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Awix (3310 KP) rated On the Basis of Sex (2018) in Movies
Mar 1, 2019
Legal bio-pic has a title that makes it sound like a recipe for a failed marriage; unfortunately it's not as interesting as that. Felicity Jones plays a young Ruth Bader Ginsberg, battling the patriarchy first at Harvard and then in the courts, aided by her husband Marty (it's Armie Hammer time!).
Well-mounted and with some decent performances, and there are some startling revelations (sex discrimination was not considered unconstitutional in the US until fairly recently), but the actual story of the main case covered by the film is not that gripping (a lot of discussion of legal procedure and tax law), and the earnestness of the film also threatens to make it a bit indigestible: of course RBG is an important figure fighting for a good cause, but that doesn't mean any film about her has to feel like The Lives of the Saints. The documentary about Ginsberg is also flawed, but more peppy than this.
Well-mounted and with some decent performances, and there are some startling revelations (sex discrimination was not considered unconstitutional in the US until fairly recently), but the actual story of the main case covered by the film is not that gripping (a lot of discussion of legal procedure and tax law), and the earnestness of the film also threatens to make it a bit indigestible: of course RBG is an important figure fighting for a good cause, but that doesn't mean any film about her has to feel like The Lives of the Saints. The documentary about Ginsberg is also flawed, but more peppy than this.
Erika (17788 KP) rated On the Basis of Sex (2018) in Movies
Jan 14, 2019 (Updated Jan 14, 2019)
I am not a member of the RBG cult, and I honestly have no idea as to why it even exists. But, I was kind of bored yesterday and needed to get out of the house, so I decided to go see this.
I was equally bored. It started out with RBG at Harvard in law school, and, guess what? The Dean of the school and a lot of dudes were misogynist , color me shocked (heavy sarcasm). This film covers about 20 years, and dragged like it covered that amount of time. I think Felicity Jones did a good job with what she was given and her period clothing was one of my favorite things. How the court cases went weren't really a secret, so I wasn't sure why people were gasping during it. It was bizarre.
Honestly, the best part of the film was how smoking hot Armie Hammer looked.
In short, an over-hyped film, about an over-hyped figure.
I was equally bored. It started out with RBG at Harvard in law school, and, guess what? The Dean of the school and a lot of dudes were misogynist , color me shocked (heavy sarcasm). This film covers about 20 years, and dragged like it covered that amount of time. I think Felicity Jones did a good job with what she was given and her period clothing was one of my favorite things. How the court cases went weren't really a secret, so I wasn't sure why people were gasping during it. It was bizarre.
Honestly, the best part of the film was how smoking hot Armie Hammer looked.
In short, an over-hyped film, about an over-hyped figure.
Sarah (7798 KP) rated The Aeronauts (2019) in Movies
Nov 21, 2019
The truth would've been better
I didn't know much about this film, and made the mistake of reading a little about it before going in and I'm regretting doing so as it made me spend the entire film with a look of sheer disbelief.
My major issue with this film is that Amelia Rennes is a completely fictional character, and she's a very cliched and irritating one at that. They've obviously put her in for a little more excitement and romance, rather than actually concentrate on the true real story. There was no real depth or interest in the entire story either and I find it so dull and boring. I love Felicity Jones and Eddie Redmayne but I felt like even they couldn't save this film. It's a complete "Hollywoodised" film, which tried to focus on the drama and adventure rather than the real science behind it all. Such a disappointment.
My major issue with this film is that Amelia Rennes is a completely fictional character, and she's a very cliched and irritating one at that. They've obviously put her in for a little more excitement and romance, rather than actually concentrate on the true real story. There was no real depth or interest in the entire story either and I find it so dull and boring. I love Felicity Jones and Eddie Redmayne but I felt like even they couldn't save this film. It's a complete "Hollywoodised" film, which tried to focus on the drama and adventure rather than the real science behind it all. Such a disappointment.
Inferno (Film Tie In)
6.0
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Book
NOW A MAJOR FILM STARRING TOM HANKS AND FELICITY JONES. Florence: Harvard symbologist Robert Langdon...
Inferno: (Robert Langdon Book 4)
Book
NOW A MAJOR FILM STARRING TOM HANKS AND FELICITY JONES. Florence: Harvard symbologist Robert Langdon...
Movie Metropolis (309 KP) rated A Monster Calls (2016) in Movies
Jun 10, 2019
A Masterpiece
J.A. Bayona is one of the most exciting rising stars behind the camera lens. His knack for creating superbly shot, engaging films like The Orphanage and The Impossible has meant many in Hollywood have been keeping an intrigued eye on him.
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
The Art of Rogue One: A Star Wars Story
6.5
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Book
This book is a visual chronicle of the Lucasfilm art department's creation of new worlds,...
Ameeka (131 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Jul 14, 2017
Best Darth Vader scene (4 more)
Cinematography
Special Effects
Characters
Story
Very engrossing film
I was blown away with this movie, I thought this was the best Star Wars prequel and it's the best out of the very disappointing prequels.The plot to Rogue One is very simple, but it's the characters that really take this movie to new heights. The characters make this movie worth watching, and the droid, K-2S0, was able to bring great sources of humour while still being of use. Felicity Jones did a great job as the female lead, she was tough, rebellious and reckless, making her a well-crafted character that has a great backstory.Though Star Wars creates great protagonists, Rogue One's main antagonist Orson Krennic is definitely up there with the best. Ben Mendelsohn is powerful, able to give you a villain that any Star Wars fan would want. The action was spectacular, with the final climatic fight one of the best in the franchises history. Full of wonder and delight, you never drift your eyes away from the screen, with the special effects and digitally recreating some of the characters of the originals. Darth Vader has little screen-time, but he steals the show. One scene in particular was very special, as we see him in action for the first time in years.
Girls - Season 3
TV Season
In Season 3, Hannah is now in a committed relationship with Adam (Adam Driver), and the two are...
Gareth von Kallenbach (965 KP) rated Inferno (2016) in Movies
Jul 15, 2019
Inferno is the latest thriller based on the novels of Dan Brown that follow the fictional character of Robert Langdon who is a world renowned symbologist (study of symbols). Like The DaVinci Code and Angels & Demons before them, Inferno follows mostly the same story arch and structure.
Tom Hanks has reprised his role as Robert Langdon (this time with an appropriate haircut) and once again he travels around to beautiful locations of European art and architecture with a young woman by his side, trying to solve a series of clues in order to stop a billionaire madman who believes humanity is a parasite and his plague inferno is the cure. If this sounds like a film you have seen before, it is because you have. In the other two movies that have come before it
Once again, audiences will enjoy being whisked around to see beautiful cities, art, and architecture to solve historical literary clues as the film plays out like a late middle ages travel lesson. These are all good things.
The bad is that during the first half of the film, Robert Langdon has amnesia due to a blow to the head. He cannot remember much which of what he was doing, which makes him a less compelling character. Throughout the series of films, Langdon has used his “dizzying intellect” to solve clues the brightest minds could not solve. In Inferno, that “super power” is taken away and we are left with an average, middle aged man, who is somehow able to solve impossible puzzles and clues while being chased by seedy underground characters and the world health organization. Who for the purposes of this film, seem to have become the FBI/CIA in one. This setup does not work and makes for a boring first half of the film Eventually Langdon regains his memory and the film picks up a bit from there, but for some it might be too late.
As far as the performances go, Tom Hanks delivers a watchable, likable performance, much to his credit considering that the character of Robert Langdon is a relatively boring protagonist. Meanwhile Ben Foster plays the somewhat forgettable billionaire madman (Bertrand Zobrist) in a somewhat forgettable way. It is a shame because perhaps if we had a chance to understand the nuance of his character, like I assume can be done in the books, he would have felt like a more compelling character and caused us to think if he was to be on the right side of history. Unfortunately, any nuance from the book does not translate well to the film adaptation. But not all is lost. For me, the bright spot of the film was Felicity Jones who plays the gifted doctor Sienna Brooks. Brooks, who in helping Langdon with his injury, gets swept up into game for the fate of the world. In her performance, Felicity Jones shows a transition of her emotional resonance throughout the film as her character develops and we get to understand her more, for better or worse. I am excited to see Jones continue to grow in her career and look forward to seeing her this holiday’s Star Wars Story: Rouge One. She has the ability to carry a film, let’s hope she is given the opportunity to do so.
In the end, Inferno is not a terrible film, but it is not very memorable either. Unlike the two films before it, Robert Langdon is handcuffed by an injury that doesn’t allow him to use his intellect that made him compelling before Couple that with what seems like an inspector gadget plot, where the bad guy leave a series of clues to foil his own master plan, and you end up with a “Meh” film.
Tom Hanks has reprised his role as Robert Langdon (this time with an appropriate haircut) and once again he travels around to beautiful locations of European art and architecture with a young woman by his side, trying to solve a series of clues in order to stop a billionaire madman who believes humanity is a parasite and his plague inferno is the cure. If this sounds like a film you have seen before, it is because you have. In the other two movies that have come before it
Once again, audiences will enjoy being whisked around to see beautiful cities, art, and architecture to solve historical literary clues as the film plays out like a late middle ages travel lesson. These are all good things.
The bad is that during the first half of the film, Robert Langdon has amnesia due to a blow to the head. He cannot remember much which of what he was doing, which makes him a less compelling character. Throughout the series of films, Langdon has used his “dizzying intellect” to solve clues the brightest minds could not solve. In Inferno, that “super power” is taken away and we are left with an average, middle aged man, who is somehow able to solve impossible puzzles and clues while being chased by seedy underground characters and the world health organization. Who for the purposes of this film, seem to have become the FBI/CIA in one. This setup does not work and makes for a boring first half of the film Eventually Langdon regains his memory and the film picks up a bit from there, but for some it might be too late.
As far as the performances go, Tom Hanks delivers a watchable, likable performance, much to his credit considering that the character of Robert Langdon is a relatively boring protagonist. Meanwhile Ben Foster plays the somewhat forgettable billionaire madman (Bertrand Zobrist) in a somewhat forgettable way. It is a shame because perhaps if we had a chance to understand the nuance of his character, like I assume can be done in the books, he would have felt like a more compelling character and caused us to think if he was to be on the right side of history. Unfortunately, any nuance from the book does not translate well to the film adaptation. But not all is lost. For me, the bright spot of the film was Felicity Jones who plays the gifted doctor Sienna Brooks. Brooks, who in helping Langdon with his injury, gets swept up into game for the fate of the world. In her performance, Felicity Jones shows a transition of her emotional resonance throughout the film as her character develops and we get to understand her more, for better or worse. I am excited to see Jones continue to grow in her career and look forward to seeing her this holiday’s Star Wars Story: Rouge One. She has the ability to carry a film, let’s hope she is given the opportunity to do so.
In the end, Inferno is not a terrible film, but it is not very memorable either. Unlike the two films before it, Robert Langdon is handcuffed by an injury that doesn’t allow him to use his intellect that made him compelling before Couple that with what seems like an inspector gadget plot, where the bad guy leave a series of clues to foil his own master plan, and you end up with a “Meh” film.