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Gareth von Kallenbach (971 KP) rated Brooklyn's Finest (2010) in Movies
Aug 8, 2019
The story of three cops Sal, Tango, and Eddie, “Brooklyn’s Finest” depicts a graphic understanding of the challenges faced by hardened policemen. Eddie (Richard Gere) is disgruntled and seven days away from retirement from the police force. Tango (Don Cheadle) is stuck undercover while his real life is breaking apart. Sal (Ethan Hawke) can’t afford to support his growing family. All three of them are about to have a week that will test who they are as cops in the not so clear-cut morals of the Brooklyn police force.
A hard-hitting and graphic film, “Brooklyn’s Finest” shows the complicated life of cops struggling to balance morals and justice. Audiences will find it strongly languaged, visually appalling, and emotionally striking. These cops are not the clean-cut ideals that serve and protect, but rather people who have intensified problems on the mean streets of Brooklyn.
For the three lead actors these roles offer significant stretch, particularly in the case of Gere, who displays a physical and emotional depth in the film that is engrossing. Another worthy performance is that of Wesley Snipes as Caz, a gang leader who has recently returned from prison and is now seeking a path to new better life. With complicated characters like these, the film takes a hold of viewers by examining right and wrong in the world of both cops and criminals.
In short, “Brooklyn’s Finest” is a well-paced gripping story played by strong actors. However, audiences should be warned that the tough subject matter and hardened characters make it a far cry from traditional police dramas. This is a film that is likely to offend those who have strong ties to the ideals of police life or a distinct dislike for violence. For the rest of the movie-going public, “Brooklyn’s Finest” is a well-scripted film that is hard to ignore.
A hard-hitting and graphic film, “Brooklyn’s Finest” shows the complicated life of cops struggling to balance morals and justice. Audiences will find it strongly languaged, visually appalling, and emotionally striking. These cops are not the clean-cut ideals that serve and protect, but rather people who have intensified problems on the mean streets of Brooklyn.
For the three lead actors these roles offer significant stretch, particularly in the case of Gere, who displays a physical and emotional depth in the film that is engrossing. Another worthy performance is that of Wesley Snipes as Caz, a gang leader who has recently returned from prison and is now seeking a path to new better life. With complicated characters like these, the film takes a hold of viewers by examining right and wrong in the world of both cops and criminals.
In short, “Brooklyn’s Finest” is a well-paced gripping story played by strong actors. However, audiences should be warned that the tough subject matter and hardened characters make it a far cry from traditional police dramas. This is a film that is likely to offend those who have strong ties to the ideals of police life or a distinct dislike for violence. For the rest of the movie-going public, “Brooklyn’s Finest” is a well-scripted film that is hard to ignore.
Andy K (10821 KP) rated First Reformed (2018) in Movies
Jul 6, 2019
Emotionless emotion takes its toll
Father Toller is a troubled man. Every day his convictions are being tested in the world all around him. His marriage failed due to the death of a child. A couple comes to him for help only to have that end in tragedy. The 250th anniversary of his home base church is coming up bringing with it all sorts of planning and the forced inclusion of one of the sponsors; a large company who is a leading contributor of pollution to the Earth. Then, his health deteriorates and he won't let others in to help or console him.
How can he stand by and let these things happen? He sits in on group therapy sessions at the church and is confronted by those who don't believe or are conflicted by what they see happening around them as well.
He is approached by a grieving woman and is torn by his own emotional reactions to her and her needs.
First Reformed is a character study of this troubled, religious man and his actions and reactions to his crumbling encounters with the world. He wants to say more, but feels he can't while staying true to his convictions.
Ethan Hawke has a great resume and is performance here is breathtaking and should've received at least an Oscar nomination. It seems he is often overlooked and has given great performances for years in films like Training Day, Dead Poets Society and Alive. His role here is complex and I would imagine difficult to portray someone who has to lead a muffled existence.
I am still digesting the ending of the film, so I am not sure how I feel about that yet.
Ask me again in a couple days. Unique for sure.
How can he stand by and let these things happen? He sits in on group therapy sessions at the church and is confronted by those who don't believe or are conflicted by what they see happening around them as well.
He is approached by a grieving woman and is torn by his own emotional reactions to her and her needs.
First Reformed is a character study of this troubled, religious man and his actions and reactions to his crumbling encounters with the world. He wants to say more, but feels he can't while staying true to his convictions.
Ethan Hawke has a great resume and is performance here is breathtaking and should've received at least an Oscar nomination. It seems he is often overlooked and has given great performances for years in films like Training Day, Dead Poets Society and Alive. His role here is complex and I would imagine difficult to portray someone who has to lead a muffled existence.
I am still digesting the ending of the film, so I am not sure how I feel about that yet.
Ask me again in a couple days. Unique for sure.
Andrew Thomas (363 KP) rated The Purge (2013) in Movies
Aug 12, 2020 (Updated Aug 19, 2020)
My first exposure to smart horror.
Contains spoilers, click to show
With the exception of SAW, I didn't have a high regard for modern horror films for a longtime...until I saw The Purge.
For starters, we have quality actors like Ethan Hawke and Lena Headey that portray two seemingly unsympathetic and unrelatable rich yuppies. But eventually they prove themselves to be resourceful and in possession of some morals...unlike the crazies outside who actively celebrate The Purge.
While the very notion of The Purge is outlandish and unrealistic in our own society, the writer/director does an amazing job grounding it in reality and making it appear to be possible. It also forces you to ruminate about yourself and what you would be capable of doing if you could behave however you wish without consequences. It also makes you take a closer glance at your friends and neighbors, forcing you to ruminate about how they might act during The Purge.
The only complaint I have is that the film throws alot of lore at you without any explanation. For example, the emergency broadcast alert that announces the commencement of The Purge includes the quote "blessed be our New Founding Fathers and America, a nation reborn" First time I saw this part I said "I don't like the sound of that" Who were these New Founding Fathers? What the hell has happened to America where The Purge is now the new normal?
In conclusion, The Purge restored my enthusiasm for modern horror and captured my imagination. I highly recommend it to anyone who is interested in ultra violent crime thrillers or dystopian future stories.
For starters, we have quality actors like Ethan Hawke and Lena Headey that portray two seemingly unsympathetic and unrelatable rich yuppies. But eventually they prove themselves to be resourceful and in possession of some morals...unlike the crazies outside who actively celebrate The Purge.
While the very notion of The Purge is outlandish and unrealistic in our own society, the writer/director does an amazing job grounding it in reality and making it appear to be possible. It also forces you to ruminate about yourself and what you would be capable of doing if you could behave however you wish without consequences. It also makes you take a closer glance at your friends and neighbors, forcing you to ruminate about how they might act during The Purge.
The only complaint I have is that the film throws alot of lore at you without any explanation. For example, the emergency broadcast alert that announces the commencement of The Purge includes the quote "blessed be our New Founding Fathers and America, a nation reborn" First time I saw this part I said "I don't like the sound of that" Who were these New Founding Fathers? What the hell has happened to America where The Purge is now the new normal?
In conclusion, The Purge restored my enthusiasm for modern horror and captured my imagination. I highly recommend it to anyone who is interested in ultra violent crime thrillers or dystopian future stories.
Chris Sawin (602 KP) rated The Black Phone (2022) in Movies
Jun 26, 2022
Ethan Hawke (2 more)
Madeleine McGraw
Leaves much of the horror to the audience's imagination
Writing is a bit silly at times (1 more)
Teases more story elements and horror than it reveals
A Juvenile Curtain Call of Death
Somewhere in North Denver in 1978, The Black Phone sees Finney (Mason Thames) and his sister Gwen (Madeleine McGraw) attempting to survive constant bullying at school and the abuse of an alcoholic father (played by Jeremy Davies). The missing kids in town are said to be a result of The Grabber (Ethan Hawke); a man who drives around in a black van with black balloons kidnapping and eventually killing kids. When Finney is suddenly taken by The Grabber, he’s told that the black phone in his room doesn’t work but then the phone rings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Darren (1599 KP) rated Taking Lives (2004) in Movies
Jul 25, 2019
Story: Taking Lives starts as we see a young man kill another young man to steal his identity, years later a body is discovered in Canada which leads to the local French-Canadian police to call in FBI profiler Illeana (Jolie) to help with the new mystery body. Things take a turn when a man Costa (Hawke) believes he interrupted the next attempted murder before the killer is finished dealing with the body.
When the police learn this killer has been killing and stealing identities the case takes a turn and now they must figure out who the latest victim is and who he has become.
Thoughts on Taking Lives
Characters – Illeane Scott is an FBI Profiler bought in to help with the case of a killer that is stealing identities of the people he is murdering, she gets the profile correct and wants to had home after starting to become interested in one of the key witnesses. Costa is a key witness who interrupts one of the murders before the killer can complete his plan, he gives the information to track the killer. Hart is a man that soon enters Costa’s life after the incident making him the prime suspect as the killer.
Performances – Angelina Jolie is solid enough in this leading role which disappoints because we know she can be a fantastic cop figure. Ethan Hawke struggles with his role too which is only really filled with disappointment as he never convinces in his witness role. Kiefer Sutherland disappoints because we know how good he can be and want to see him more often in a film.
Story – The story is a FBI agent needing to help track down a serial killer who steals identity, yeah these are usually entertaining to watch but this just doesn’t reach the levels of mystery it needs, this might be because this is a repeat viewing and I know the ending, but there are never really any hints or suspects to work with through the film. the film lacks the true tension needed in a film that is filled with twisted crimes going on.
Crime/Mystery – The crime is interesting for a killer to be acting the way they do, the weakest part is the mystery as we just don’t meet enough potential suspects.
Settings – The film is sent in a big city which plays into the idea that someone could steal and identity and kill someone without people noticing someone going missing.
Special Effects – The effects are good because we get to see practical effects when it comes to the kills and aftermath from them.
Scene of the Movie – The lift opening.
That Moment That Annoyed Me – Not enough suspects.
Final Thoughts – This is a crime thriller that lacks the punch to make it stand out from the crowded market, we always need a large group of suspects, but this didn’t give us enough, while it did create a great killer.
Overall: Lacklustre crime thriller
When the police learn this killer has been killing and stealing identities the case takes a turn and now they must figure out who the latest victim is and who he has become.
Thoughts on Taking Lives
Characters – Illeane Scott is an FBI Profiler bought in to help with the case of a killer that is stealing identities of the people he is murdering, she gets the profile correct and wants to had home after starting to become interested in one of the key witnesses. Costa is a key witness who interrupts one of the murders before the killer can complete his plan, he gives the information to track the killer. Hart is a man that soon enters Costa’s life after the incident making him the prime suspect as the killer.
Performances – Angelina Jolie is solid enough in this leading role which disappoints because we know she can be a fantastic cop figure. Ethan Hawke struggles with his role too which is only really filled with disappointment as he never convinces in his witness role. Kiefer Sutherland disappoints because we know how good he can be and want to see him more often in a film.
Story – The story is a FBI agent needing to help track down a serial killer who steals identity, yeah these are usually entertaining to watch but this just doesn’t reach the levels of mystery it needs, this might be because this is a repeat viewing and I know the ending, but there are never really any hints or suspects to work with through the film. the film lacks the true tension needed in a film that is filled with twisted crimes going on.
Crime/Mystery – The crime is interesting for a killer to be acting the way they do, the weakest part is the mystery as we just don’t meet enough potential suspects.
Settings – The film is sent in a big city which plays into the idea that someone could steal and identity and kill someone without people noticing someone going missing.
Special Effects – The effects are good because we get to see practical effects when it comes to the kills and aftermath from them.
Scene of the Movie – The lift opening.
That Moment That Annoyed Me – Not enough suspects.
Final Thoughts – This is a crime thriller that lacks the punch to make it stand out from the crowded market, we always need a large group of suspects, but this didn’t give us enough, while it did create a great killer.
Overall: Lacklustre crime thriller
Chris Sawin (602 KP) rated Daybreakers (2009) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
In the not too distant future, the majority of the population are vampires and the world has been modified to adjust to the daylight. Remaining humans are "farmed" for blood, but the supply is running thin and the human race is on the verge of extinction. Dr. Edward Dalton (Ethan Hawke) is a hematologist that works at Bromley Marks, the empire of Charles Bromley (Sam Neill), and is put in charge of finding a blood substitute, but has come up empty handed up until this point. Dalton is convinced that the vampire race has its work cut out for them with the blood supply being so low. He runs into a small group of humans one night at work and is eventually introduced to Lionel "Elvis" Cormac (Willem Dafoe), a former vampire who has something better than a blood substitute; a cure. Now Dalton finds himself risking everything on an experimental treatment that could be the key to saving mankind.
Daybreakers had all the ingredients of a film that should be loved by any horror fan. First and foremost, it's a new vampire movie that isn't Twilight. On top of that, it's R-rated so it doesn't pull any punches when it comes to blood and gore (and trust me, there's quite a bit). It also offers a bit of a new twist on what was otherwise exhausted when it comes to stories relating to vampires. With all that being said, however, it still wasn't as good as it should have been.
It was great to see Willem Dafoe and Sam Neill not only as part of the cast, but also both have decent amounts of screen time. Sam Neill was in John Carpenter's In the Mouth of Madness, which is a favorite of mine that managed to make me a fan of the Irish actor. Willem Dafoe just seems underrated and doesn't get the credit he deserves. Not that his role in this will really change anyone's minds regarding him as a great actor or anything, but that's jumping the gun a bit. The story is the film's strong point, but is still pretty flawed. Humans being farmed for blood and dying out is a great concept. The cure is rather different and unique than what you've become used to in vampire films, which lead to an interesting third act. The ending is probably where the film could potentially make someone dislike the film. Not everyone is going to like the finale, but it was a nice change of pace to not have the same recycled storyline or ending for once.
Regarding the acting though, there isn't much of it. Willem Dafoe shows a little personality and has a one-liner or two that will get a few laughs. Sam Neill also shows some signs of life and fits the role as the main villain of the film rather well. Every other character felt rather flat and showed no depth at all. While the blood used in the film was a fantastic color, some of the special effects seemed rather cheesy at times. Mainly the scene where a vampire is hanging from the ceiling fighting Ethan Hawke and his brother comes to mind. The cuts were quick, which seemed to try and cover up the fact, but it still stuck out. That may be nitpicking a bit since it was pretty top notch the rest of the time. The Underworld films (at least the first two) come to mind as they left the same kind of bitter aftertaste and seemed to suffer similar problems.
It's a shame Daybreakers didn't live up to its potential. It contains a strong cast and delivers an original take on something that's been associated with horror for nearly 200 years. The acting is what seems to hurt the film the most though since the way everyone says their lines makes it seem like they don't want to be there. It's still worth viewing, but you may want to rent before buying. In all honesty, it may be worth supporting just to get an R-rated vampire film a bit more recognition and slightly dim the spotlight currently shining on whatever teenage vampire franchise is currently taking off for whatever reason.
Daybreakers had all the ingredients of a film that should be loved by any horror fan. First and foremost, it's a new vampire movie that isn't Twilight. On top of that, it's R-rated so it doesn't pull any punches when it comes to blood and gore (and trust me, there's quite a bit). It also offers a bit of a new twist on what was otherwise exhausted when it comes to stories relating to vampires. With all that being said, however, it still wasn't as good as it should have been.
It was great to see Willem Dafoe and Sam Neill not only as part of the cast, but also both have decent amounts of screen time. Sam Neill was in John Carpenter's In the Mouth of Madness, which is a favorite of mine that managed to make me a fan of the Irish actor. Willem Dafoe just seems underrated and doesn't get the credit he deserves. Not that his role in this will really change anyone's minds regarding him as a great actor or anything, but that's jumping the gun a bit. The story is the film's strong point, but is still pretty flawed. Humans being farmed for blood and dying out is a great concept. The cure is rather different and unique than what you've become used to in vampire films, which lead to an interesting third act. The ending is probably where the film could potentially make someone dislike the film. Not everyone is going to like the finale, but it was a nice change of pace to not have the same recycled storyline or ending for once.
Regarding the acting though, there isn't much of it. Willem Dafoe shows a little personality and has a one-liner or two that will get a few laughs. Sam Neill also shows some signs of life and fits the role as the main villain of the film rather well. Every other character felt rather flat and showed no depth at all. While the blood used in the film was a fantastic color, some of the special effects seemed rather cheesy at times. Mainly the scene where a vampire is hanging from the ceiling fighting Ethan Hawke and his brother comes to mind. The cuts were quick, which seemed to try and cover up the fact, but it still stuck out. That may be nitpicking a bit since it was pretty top notch the rest of the time. The Underworld films (at least the first two) come to mind as they left the same kind of bitter aftertaste and seemed to suffer similar problems.
It's a shame Daybreakers didn't live up to its potential. It contains a strong cast and delivers an original take on something that's been associated with horror for nearly 200 years. The acting is what seems to hurt the film the most though since the way everyone says their lines makes it seem like they don't want to be there. It's still worth viewing, but you may want to rent before buying. In all honesty, it may be worth supporting just to get an R-rated vampire film a bit more recognition and slightly dim the spotlight currently shining on whatever teenage vampire franchise is currently taking off for whatever reason.
Gareth von Kallenbach (971 KP) rated The Magnificent Seven (2016) in Movies
Jul 15, 2019
Full disclosure, I have never seen The 1960s Magnificent Seven film, nor do I care that at its core it is a retelling of the Japanese legend of the Seven Samurai. This is not a comparison review. Instead this is a simple review of what I watched on screen. Not beholden to anything other than itself as film and it being a western.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
JT (287 KP) rated Sinister (2012) in Movies
Mar 10, 2020
Has the found footage genre been done to death? Some would very much say it has, yet they keep on churning the films out. One thing to note with many of these is the budget, films like Paranormal Activity and Insidious were made for a pittance yet generated millions at the box office.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original – a staple of many Bank Holiday afternoons in my youth – I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Kirk Bage (1775 KP) rated Valerian and the City of a Thousand Planets (2017) in Movies
Jan 22, 2021
Where to begin with Luc Besson? The masterpiece of Leon aside, he is notorious for creating beautifully bonkers visual treats that twist and turn like a monkey on cocaine, making as much sense. This comic book adaptation starts well, with some jaw dropping CG design and a decent concept – it truly is a dreamscape of glorious colour and imagination rarely matched… but so is Tim Burton’s Charlie and the Chocolate Factory, and we all know how awful that is.
He just doesn’t have the knack with story and character in the same way as he does with the visuals, often leaving you with the impression that even the actors are confused by what is going on, and why, and what the hell is coming out of their mouths as an excuse for dialogue.
I like Dane De Haan, he has shown a lot of promise in some valiant near misses, such as Chronicle, The Place Beyond the Pines and The Cure For Wellness – three films I enjoyed, with reservations, that were better for him being in them – but he has not quite made it to the A-list as yet. Here, opposite the gorgeously cute but somehow hollow presence Cara Delevingne, he is burdened by a love story with no chemistry and some cringe-worthy banter. As the film ultimately focuses and depends on the likability of this relationship it inevitably fails; melting into comic book kookiness that loses a lot in translation.
I almost found myself hating them and wishing they would die painfully so the film could end, but not quite as much as I hated how fundamentally terrible Clive Owen was as the villain – I mean, so awkward and awful it made how uncomfortable Harrison Ford seemed in Ender’s Game look like an Oscar worthy performance. Risible. Inexcusable. Inexplicable. But that’s Besson where let loose into the realm of full sci-fi.
One corner of joy was Rihanna as the shape-shifting Bubble, who showed a charm and talent for film acting I hadn’t quite expected, and how much fun Ethan Hawke had dressing up and hamming it up as Jolly, her pimp. But essentially, you’d be better off turning the sound off completely and just drinking in the spectrum of imaginative design on display. A film that may hold some cult status into the future, and one small children may get oddly addicted to, but as a functioning and satisfying cinematic story… just, no.
He just doesn’t have the knack with story and character in the same way as he does with the visuals, often leaving you with the impression that even the actors are confused by what is going on, and why, and what the hell is coming out of their mouths as an excuse for dialogue.
I like Dane De Haan, he has shown a lot of promise in some valiant near misses, such as Chronicle, The Place Beyond the Pines and The Cure For Wellness – three films I enjoyed, with reservations, that were better for him being in them – but he has not quite made it to the A-list as yet. Here, opposite the gorgeously cute but somehow hollow presence Cara Delevingne, he is burdened by a love story with no chemistry and some cringe-worthy banter. As the film ultimately focuses and depends on the likability of this relationship it inevitably fails; melting into comic book kookiness that loses a lot in translation.
I almost found myself hating them and wishing they would die painfully so the film could end, but not quite as much as I hated how fundamentally terrible Clive Owen was as the villain – I mean, so awkward and awful it made how uncomfortable Harrison Ford seemed in Ender’s Game look like an Oscar worthy performance. Risible. Inexcusable. Inexplicable. But that’s Besson where let loose into the realm of full sci-fi.
One corner of joy was Rihanna as the shape-shifting Bubble, who showed a charm and talent for film acting I hadn’t quite expected, and how much fun Ethan Hawke had dressing up and hamming it up as Jolly, her pimp. But essentially, you’d be better off turning the sound off completely and just drinking in the spectrum of imaginative design on display. A film that may hold some cult status into the future, and one small children may get oddly addicted to, but as a functioning and satisfying cinematic story… just, no.