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MelanieTheresa (997 KP) rated The Boys in TV
Oct 23, 2019
I have the advantage of not having read the comics, so I was able to go into this with fresh eyes and appreciate it on its own merits, and I'm so glad I gave it a shot. What a great fucking show. It's dark, it's cynical, it's funny and it's smart. Elizabeth Shue is terrific (but when isn't she?). Anthony Starr's Homelander is absolutely mesmerizing in a messed up way; he's a terrible, horrible person and everything he does is insanely wrong - but I couldn't look away. The societal commentary is on point. Really a very well done show in every respect. Can't wait to see what they do with season 2!
LeftSideCut (3778 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020 (Updated Feb 12, 2020)
Birds of Prey is a mixed bag, but there's just about enough good there to make it an enjoyable time.
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way đź‘Ť)
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way đź‘Ť)
Movie Metropolis (309 KP) rated 10 Cloverfield Lane (2016) in Movies
Jun 11, 2019
Somewhat misleading but thrilling nonetheless
It’s best to start off this review as honest as possible. If you’re expecting a fully-fledged sequel or even a prequel to Matt Reeves’ brilliant monster horror, Cloverfield in 10 Cloverfield Lane, you’ll be very disappointed.
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Tenet (2020) in Movies
Jan 2, 2021
Nolan's PhD Thesis on time
And…on the first day of 2021…the BankofMarquis viewed the best film of 2020.
Christopher Nolan’s TENET is dense, beautifully shot, confusing, wonderfully acted, well staged, mind bending…and brilliant.
Starring John David Washington (Denzel’s kid - more on him later), TENET is Christopher Nolan’s “Spy Movie”. Much like what he did with the Murder Mystery genre (MEMENTO), the Heist Genre (INCEPTION), the Sci-Fi flick (INTERSTELLAR) and the war picture (DUNKIRK), Nolan takes the Spy film and turns it upside by playing with the one thing we all take for granted - time.
While all of these previous films were Nolan’s “warm up” to this film, TENET is Nolan’s PhD Thesis on playing with time - and the audience’s expectations of how time works. Not only does Nolan play with moving people and action forward and backwards through time, he also plays scenes where you don’t realize that the two folks talking are actually speaking at 2 different places in time.
It is a mind-bender to be sure - and I cannot imagine what the filmmakers, stunt personnel and actors went through in making it - but there is one thing I can guarantee you - you will be confused for (at least) the first part of the film while you retrain your mind to forget all preconceived notions on how time works.
But, if you are able to get your mind around this, Director Nolan has crafted a strong, well-acted, beautiful, exciting and action packed film that, in the end, is very satisfying.
Let’s start with the acting - top to bottom the performances are stellar. John David Washington (BLACK KkKLANSMAN) is “The Protagonist” (that is how he is billed, we never learn his name) and he is a charming and charismatic screen presence to experience this film with. Washington is a former professional football player and he uses this physicality throughout the film. But he is not a “lumbering brute”. He is intelligent and thoughtful as he learns things and adapts his plans as the audience learns them and helps lead us through the often complex plot and concepts throughout.
Elizabeth Debicki builds on her strong work in 2019’s WIDOWS (if you haven’t seen this film, check it out). Her character is much, much more than a “Femme Fatale” and goes mano-a-mano with the men in this film and more than holds her own. Nolan favorite Michael Caine (ALFIE) shows up as does Himesh Patel (INCEPTION), Dimple Kapadia (a major Bollywood star) and Aaron Taylor-Johnson (KICKASS) - all 3 of them bring their “A” game to this film and supports the story very very well.
Kenneth Branagh (TV’s WALLANDER) shows that he still has his fastball - when he is interested - as the film’s main villain. He has some very intense scenes where he just acts the pants off the others in the room (this is a compliment). Sir Kenneth has had a long, storied career (including many, many Shakespearean roles) and he plays the villain as a Shakespeare villain - and is very successful doing so. I’m glad he didn’t waste his “villain turn” on a Marvel or James Bond flick - he saved it for the right film.
Special notice should be made to the work of Robert Pattinson (TWILIGHT) - he has spent his “post-Twilight” years reinventing himself as a performer, mostly working in small, actor-led independent films, and this performance bears the fruits of those efforts. He is charming and mysterious as The Protagonist’s partner and proves that he can, indeed, act.
Like most Nolan films, the Cinematography is mesmerizing and beautiful to behld. Hats off to frequent Nolan Cinematographer Hoyte Van Hoytema who was able to create a mood and feeling of evil riding just under the surface of beauty - as well as to be able to distinguish those that are going forward in time versus those that are going backwards all while framing shots that are pictures of artistic beauty.
Nolan did not work with frequent musical collaborator Hans Zimmer on this film. He stated he felt that this film needed a “new, more modern” sound and turned to Ludwig Goransson (the Disney+ series THE MANDALORIAN) and he was smart to do so. The music/sound of this film is another character and helps drive the story forward in so many ways.
But make no mistake about it, this film is Nolan’s baby - and it is very “Nolan-y”. The action scenes are smartly put together, the plot and concepts are strong - but very dense - and the performances are strong. All trademarks of my favorite Director working today.
This film is not for everyone. The complexities of the plot are going to be too much for some folks, but if you just “roll with the flow” when your mind can’t quite catch up to the concepts, you will be rewarded with a very rich - very original - film experience. One that, I am sure, will become deeper and richer on the many, many re watches this film deserves.
Letter Grade: A
9 stars (out of 10) - and you can take that to the Bank(ofMarquis)
Christopher Nolan’s TENET is dense, beautifully shot, confusing, wonderfully acted, well staged, mind bending…and brilliant.
Starring John David Washington (Denzel’s kid - more on him later), TENET is Christopher Nolan’s “Spy Movie”. Much like what he did with the Murder Mystery genre (MEMENTO), the Heist Genre (INCEPTION), the Sci-Fi flick (INTERSTELLAR) and the war picture (DUNKIRK), Nolan takes the Spy film and turns it upside by playing with the one thing we all take for granted - time.
While all of these previous films were Nolan’s “warm up” to this film, TENET is Nolan’s PhD Thesis on playing with time - and the audience’s expectations of how time works. Not only does Nolan play with moving people and action forward and backwards through time, he also plays scenes where you don’t realize that the two folks talking are actually speaking at 2 different places in time.
It is a mind-bender to be sure - and I cannot imagine what the filmmakers, stunt personnel and actors went through in making it - but there is one thing I can guarantee you - you will be confused for (at least) the first part of the film while you retrain your mind to forget all preconceived notions on how time works.
But, if you are able to get your mind around this, Director Nolan has crafted a strong, well-acted, beautiful, exciting and action packed film that, in the end, is very satisfying.
Let’s start with the acting - top to bottom the performances are stellar. John David Washington (BLACK KkKLANSMAN) is “The Protagonist” (that is how he is billed, we never learn his name) and he is a charming and charismatic screen presence to experience this film with. Washington is a former professional football player and he uses this physicality throughout the film. But he is not a “lumbering brute”. He is intelligent and thoughtful as he learns things and adapts his plans as the audience learns them and helps lead us through the often complex plot and concepts throughout.
Elizabeth Debicki builds on her strong work in 2019’s WIDOWS (if you haven’t seen this film, check it out). Her character is much, much more than a “Femme Fatale” and goes mano-a-mano with the men in this film and more than holds her own. Nolan favorite Michael Caine (ALFIE) shows up as does Himesh Patel (INCEPTION), Dimple Kapadia (a major Bollywood star) and Aaron Taylor-Johnson (KICKASS) - all 3 of them bring their “A” game to this film and supports the story very very well.
Kenneth Branagh (TV’s WALLANDER) shows that he still has his fastball - when he is interested - as the film’s main villain. He has some very intense scenes where he just acts the pants off the others in the room (this is a compliment). Sir Kenneth has had a long, storied career (including many, many Shakespearean roles) and he plays the villain as a Shakespeare villain - and is very successful doing so. I’m glad he didn’t waste his “villain turn” on a Marvel or James Bond flick - he saved it for the right film.
Special notice should be made to the work of Robert Pattinson (TWILIGHT) - he has spent his “post-Twilight” years reinventing himself as a performer, mostly working in small, actor-led independent films, and this performance bears the fruits of those efforts. He is charming and mysterious as The Protagonist’s partner and proves that he can, indeed, act.
Like most Nolan films, the Cinematography is mesmerizing and beautiful to behld. Hats off to frequent Nolan Cinematographer Hoyte Van Hoytema who was able to create a mood and feeling of evil riding just under the surface of beauty - as well as to be able to distinguish those that are going forward in time versus those that are going backwards all while framing shots that are pictures of artistic beauty.
Nolan did not work with frequent musical collaborator Hans Zimmer on this film. He stated he felt that this film needed a “new, more modern” sound and turned to Ludwig Goransson (the Disney+ series THE MANDALORIAN) and he was smart to do so. The music/sound of this film is another character and helps drive the story forward in so many ways.
But make no mistake about it, this film is Nolan’s baby - and it is very “Nolan-y”. The action scenes are smartly put together, the plot and concepts are strong - but very dense - and the performances are strong. All trademarks of my favorite Director working today.
This film is not for everyone. The complexities of the plot are going to be too much for some folks, but if you just “roll with the flow” when your mind can’t quite catch up to the concepts, you will be rewarded with a very rich - very original - film experience. One that, I am sure, will become deeper and richer on the many, many re watches this film deserves.
Letter Grade: A
9 stars (out of 10) - and you can take that to the Bank(ofMarquis)