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The Children Act (2018)
8.0
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As her marriage crumbles, a judge must decide a case involving a teenage boy who is refusing a blood...
The Duke (2020)
8.0
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In 1961, Kempton Bunton, a 60 year old taxi driver, steals Goya's portrait of the Duke of Wellington...
Don't Tell a Soul (2020)
Movie
Two thieving teenage brothers, stealing money to help their sick mom, match wits with a troubled...
Black Mirror: Bandersnatch (2018)
7.3
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In Bandersnatch, viewers make decisions for the main character, a young programmer Stefan Butler...
Dunkirk (2017)
8.0
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In May 1940, Germany advanced into France, trapping Allied troops on the beaches of Dunkirk. Under...
Niten. NR (75 KP) rated Dunkirk (2017) in Movies
Jul 27, 2017
Cinematography (6 more)
Story line/lines (merge)
An excellent cast.
Hans Zimmer's score
Minimalistic dialogue
Spitfires (aerial combat scenes)
Fionn Whitehead, Mark Rylance & Tom Hardy (being cool) .
Powerful & Immense
This is one hell of a film. It's an epic, all consuming, continually intensifying beast of a movie. The cinematography blew me away with those great big expansive shots. The 3 storyline amalgamation and the timescale structure of this, was superb in my opinion. Each lead in each storyline gave a powerful performance without the overuse of dialogue. Hans Zimmer's score built and built until, at times I felt like I was about to explode. I did feel that I enjoyed the film all the more because I was aware of the situation historically, there is a brief explanation early on but, I would advise anyone who's not aware, to read up a little on the massive scale of this evacuation, the uniqueness of the situation and the dangerous time it was for all involved. Overall, it's a must see at the cinema and to get the best of the sound and those beautiful aerial Spitfire vs Messerschmitt scenes, in Imax if possible.
Sarah (7798 KP) rated Black Mirror: Bandersnatch (2018) in Movies
Dec 28, 2018 (Updated Dec 28, 2018)
A brilliant concept
Black Mirror is one of those series that is very divisive, people either seem to love it or hate it. I absolutely adore it. I love the bleak, technology driven alternate reality based stories, it’s fascinating and a worrying insight into what our future could become. I only found out yesterday that they were releasing this feature length standalone on Netflix, and when I found out it was a ‘choose your own ending’ type story, I couldn’t have been more excited. And it really does not disappoint.
The choose your own adventure style is flawless. I was worried it’d be clunky, slow or disrupt the flow of the scene, but it really is immaculate. The scene carries on while you choose, and choosing is simple, although you do have to be quite quick. It starts off with a few innocuous choices but then soon descends into ones that are a lot darker, and in some cases a lot funnier too. When you get to whatever ending you’ve reached, it allows you to go back and change some of your choices to see how the outcome would’ve differed, exactly like you’d do if you were reading a choose your ending Goosebumps book - flicking back and choosing a different option. On watching some of the alternate options, I soon realised some of the ones I’d picked were the best choices!
The plot itself is interesting and relevant, and also very meta as the story goes along, which for me really helped involve me as a watcher. There are some very bleak, gruesome and funny moments in this, which is really exactly what you’d expect from Charlie Brooker and even gets you questioning your own reality. Fionn Whitehead is great as Stefan, after this and Dunkirk he’s sure to do well. My only negative is that the story seemed to unfold very slowly in parts, but this could have all been down to the choices I made.
This is a fantastic concept for Black Mirror, and I’d love to see it used in other parts of the series. Albeit very sparingly, as it is something that could get old quite quickly if overused. But for Bandersnatch, it was a delight to watch, and take part.
The choose your own adventure style is flawless. I was worried it’d be clunky, slow or disrupt the flow of the scene, but it really is immaculate. The scene carries on while you choose, and choosing is simple, although you do have to be quite quick. It starts off with a few innocuous choices but then soon descends into ones that are a lot darker, and in some cases a lot funnier too. When you get to whatever ending you’ve reached, it allows you to go back and change some of your choices to see how the outcome would’ve differed, exactly like you’d do if you were reading a choose your ending Goosebumps book - flicking back and choosing a different option. On watching some of the alternate options, I soon realised some of the ones I’d picked were the best choices!
The plot itself is interesting and relevant, and also very meta as the story goes along, which for me really helped involve me as a watcher. There are some very bleak, gruesome and funny moments in this, which is really exactly what you’d expect from Charlie Brooker and even gets you questioning your own reality. Fionn Whitehead is great as Stefan, after this and Dunkirk he’s sure to do well. My only negative is that the story seemed to unfold very slowly in parts, but this could have all been down to the choices I made.
This is a fantastic concept for Black Mirror, and I’d love to see it used in other parts of the series. Albeit very sparingly, as it is something that could get old quite quickly if overused. But for Bandersnatch, it was a delight to watch, and take part.
Bob Mann (459 KP) rated Dunkirk (2017) in Movies
Sep 29, 2021
A war vehicle running low on fuel.
The words “Christopher Nolan” and “disappointment” are not words I would naturally associate… but for me, they apply where “Dunkirk” is concerned.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
Gareth von Kallenbach (965 KP) rated Voyagers (2021) in Movies
Apr 7, 2021
The classic novel Lord of the Flies by William Golding is not only a beloved classic but has been assigned reading for generations of students since it was first published in 1954. The book has been adapted into plays and films over the years and remains a chilling and poignant cautionary tale.
In the new movie “Voyagers” audiences are introduced to an Earth that has been ravaged by climate change and disease. In an effort to save the species; a grand experiment to genetically create a group of children who are the origins of a colonization effort is undertaken.
The planet is 86 years away so the decision is made that the children will be raised and trained indoors without any exposure to nature, open skies, fresh air, and other aspects they will be deprived of on the ship.
Richard (Colin Farrell) decides to accompany the children on the mission as he wants to protect them and ensure things go as planned so their progeny will be well suited to continue on the mission to the next generation who will ultimately be the ones who colonize the planet.
Ten years into the mission things are going well until a discovery is made that a drink the children take daily known as “The Blue” is a drug used to suppress their emotions and keep them docile and easy to control.
When friends Christopher (Tye Sheridan) and Zac (Fionn Whitehead); who learned the secret of the drug decide to stop taking it; they soon reveal the truth of their discovery to the rest of the children who in turn stop using the drug.
In no time rampant emotions, aggressions, desires, paranoia, and mistrust start to run wild and Zac becomes obsessed with Sela (Lilly-Rose Depp). His unwelcome advances soon become more and more aggressive which causes Christopher and Richard to intervene and tragedy soon follows.
Christopher and Zac soon find themselves at odds with one another and fear and paranoia lead the crew to form into factions and turn on one other which not only threatens the mission but their very survival.
The film was very engaging and while I saw the influence of Lord of the Flies early on; the engaging cast and setting make the film entertaining and enjoyable despite any really unexpected twists.
The young leads work well with one another and it will be very interesting to watch how their careers unfold in the years to come. “Voyagers” is a refreshing new take on a classic tale and provides an entertaining and engaging adventure for viewers to enjoy.
In the new movie “Voyagers” audiences are introduced to an Earth that has been ravaged by climate change and disease. In an effort to save the species; a grand experiment to genetically create a group of children who are the origins of a colonization effort is undertaken.
The planet is 86 years away so the decision is made that the children will be raised and trained indoors without any exposure to nature, open skies, fresh air, and other aspects they will be deprived of on the ship.
Richard (Colin Farrell) decides to accompany the children on the mission as he wants to protect them and ensure things go as planned so their progeny will be well suited to continue on the mission to the next generation who will ultimately be the ones who colonize the planet.
Ten years into the mission things are going well until a discovery is made that a drink the children take daily known as “The Blue” is a drug used to suppress their emotions and keep them docile and easy to control.
When friends Christopher (Tye Sheridan) and Zac (Fionn Whitehead); who learned the secret of the drug decide to stop taking it; they soon reveal the truth of their discovery to the rest of the children who in turn stop using the drug.
In no time rampant emotions, aggressions, desires, paranoia, and mistrust start to run wild and Zac becomes obsessed with Sela (Lilly-Rose Depp). His unwelcome advances soon become more and more aggressive which causes Christopher and Richard to intervene and tragedy soon follows.
Christopher and Zac soon find themselves at odds with one another and fear and paranoia lead the crew to form into factions and turn on one other which not only threatens the mission but their very survival.
The film was very engaging and while I saw the influence of Lord of the Flies early on; the engaging cast and setting make the film entertaining and enjoyable despite any really unexpected twists.
The young leads work well with one another and it will be very interesting to watch how their careers unfold in the years to come. “Voyagers” is a refreshing new take on a classic tale and provides an entertaining and engaging adventure for viewers to enjoy.
Bob Mann (459 KP) rated The Children Act (2018) in Movies
Sep 28, 2021
“And the Oscar goes to”… (or should go to)… “Dame Emma Thompson”.
Given my last review was for “The Equalizer 2“, where Denzel was judge, jury and executioner, it’s a nice seque that this film follows the life of a senior judge in London’s Law Courts: trying to do the justice job, but in the right way!
Judge Maye (Thompson) is a childless wife to her loving husband Jack (Tucci), but is also a workaholic. This is driving the long-term couple to the point of infidelity: a fact the ever-focused Fiona – whose life, to her, probably feels to be in a perfect if selfish equilibrium – is oblivious to. With Fiona’s intense but comfortable world about to cave in around her, her increasing stress is not helped by the latest case she is working on: one where Adam ( Fionn Whitehead from “Dunkirk“), a Jehovah’s Witness boy and a minor, is refusing on religious grounds the blood transfusion he desperately needs to fight his leukaemia. Fiona’s decisions in the months ahead go much further than a simple judgement on the case.
Two acting giants – one born in London; one born in New York – tower over this Ian McEwan adaptation like leviathons. I bandy around the phrase “national treasure” a lot in these reviews but, if there was a league table of national treasures, Emma Thompson would qualify for the Champion’s League every season. Here she is simply breathtakingly powerful in the lead role of Judge Fiona Maye, exhibiting such extremes of emotion that you would like to think that an Oscar nomination would be assured. (However, before I run out and put a £10 bet on her to win, the film is such a small British film that unfortunately both a nomination and a win seem unlikely! THIS IS A CRIME! So I have added the tag #OscarBuzz to this post…. please share and lobby people, lobby! Perhaps at the very least we can hope for some BAFTA recognition).
Sometimes a masterly lead performance can make a co-star performance seem unbalanced, but no such danger here. Stanley Tucci makes a perfect acting foil for Thompson: if he were a wine he would be described as “exasperation, frustration, compassion with strong notes of respect”. And he carries it off with perfection.
This is an incredibly intelligent film, working on so many different levels and subject to so much interpretation. Fiona’s feelings for the troubled teenager feel more maternal than sexual, but when those feelings become returned and escalate the whole piece develops a queasily oedipal quality. Many films have focused on illicit attractions between teacher and pupil, but here lies a new variation, with Maye fighting against her best professional insticts to ‘do the right thing’. “I’m frightened of myself” she eventually wails to a colleague.
In his opening hospital scenes*, Adam seems completely other-wordly compared to a typical teen and this comes across as utterly false. That is, until you consider the oddness of his family background and Jehovah’s Witness upbringing. As such, the film just about gets away with it. Whitehead does a good job with a difficult role. (*It took my wife to point out – after the film, thank goodness – the similarities between this hospital scene and a famous guitar-playing scene in “Airplane” at which I dissolved into guffaws!).
If you’ve been in a court, you’ll know that there is something regal and magical about a judge in full regalia entering a packed courtroom. So it’s unusual to see the view from the other side of the door… a non-descript office corridor and a non-descript door. Helping the judge on this side of the door is her PA Nigel, played by the brilliant Jason Watkins: a TV regular (e.g. “Line of Duty”, “W1A”) but seen far less at the movies.
As a story of obsessive fixation, it borders on McEwan’s disturbing earlier work “Enduring Love”. And it has the potential to go in lots of interesting directions as a sort of bonkers platonic love triangle (“He wants to live with US?” splutters Tucci). Where the story does end up going was not particularly to my liking, and a melodramatic concert scene was – for me – a little overdone. However it does give rise to a scene (the ‘sopping wet’ scene) that shows Thompson at her most brilliant: if she DID get Oscar or BAFTA nominated then this will be her pre-announcement snippet.
It’s a great film for showcasing acting talent, but beware: it’s not got a “lot of laffs”. As such it’s very much a “Father Ted film” that takes a while to recover from.
Judge Maye (Thompson) is a childless wife to her loving husband Jack (Tucci), but is also a workaholic. This is driving the long-term couple to the point of infidelity: a fact the ever-focused Fiona – whose life, to her, probably feels to be in a perfect if selfish equilibrium – is oblivious to. With Fiona’s intense but comfortable world about to cave in around her, her increasing stress is not helped by the latest case she is working on: one where Adam ( Fionn Whitehead from “Dunkirk“), a Jehovah’s Witness boy and a minor, is refusing on religious grounds the blood transfusion he desperately needs to fight his leukaemia. Fiona’s decisions in the months ahead go much further than a simple judgement on the case.
Two acting giants – one born in London; one born in New York – tower over this Ian McEwan adaptation like leviathons. I bandy around the phrase “national treasure” a lot in these reviews but, if there was a league table of national treasures, Emma Thompson would qualify for the Champion’s League every season. Here she is simply breathtakingly powerful in the lead role of Judge Fiona Maye, exhibiting such extremes of emotion that you would like to think that an Oscar nomination would be assured. (However, before I run out and put a £10 bet on her to win, the film is such a small British film that unfortunately both a nomination and a win seem unlikely! THIS IS A CRIME! So I have added the tag #OscarBuzz to this post…. please share and lobby people, lobby! Perhaps at the very least we can hope for some BAFTA recognition).
Sometimes a masterly lead performance can make a co-star performance seem unbalanced, but no such danger here. Stanley Tucci makes a perfect acting foil for Thompson: if he were a wine he would be described as “exasperation, frustration, compassion with strong notes of respect”. And he carries it off with perfection.
This is an incredibly intelligent film, working on so many different levels and subject to so much interpretation. Fiona’s feelings for the troubled teenager feel more maternal than sexual, but when those feelings become returned and escalate the whole piece develops a queasily oedipal quality. Many films have focused on illicit attractions between teacher and pupil, but here lies a new variation, with Maye fighting against her best professional insticts to ‘do the right thing’. “I’m frightened of myself” she eventually wails to a colleague.
In his opening hospital scenes*, Adam seems completely other-wordly compared to a typical teen and this comes across as utterly false. That is, until you consider the oddness of his family background and Jehovah’s Witness upbringing. As such, the film just about gets away with it. Whitehead does a good job with a difficult role. (*It took my wife to point out – after the film, thank goodness – the similarities between this hospital scene and a famous guitar-playing scene in “Airplane” at which I dissolved into guffaws!).
If you’ve been in a court, you’ll know that there is something regal and magical about a judge in full regalia entering a packed courtroom. So it’s unusual to see the view from the other side of the door… a non-descript office corridor and a non-descript door. Helping the judge on this side of the door is her PA Nigel, played by the brilliant Jason Watkins: a TV regular (e.g. “Line of Duty”, “W1A”) but seen far less at the movies.
As a story of obsessive fixation, it borders on McEwan’s disturbing earlier work “Enduring Love”. And it has the potential to go in lots of interesting directions as a sort of bonkers platonic love triangle (“He wants to live with US?” splutters Tucci). Where the story does end up going was not particularly to my liking, and a melodramatic concert scene was – for me – a little overdone. However it does give rise to a scene (the ‘sopping wet’ scene) that shows Thompson at her most brilliant: if she DID get Oscar or BAFTA nominated then this will be her pre-announcement snippet.
It’s a great film for showcasing acting talent, but beware: it’s not got a “lot of laffs”. As such it’s very much a “Father Ted film” that takes a while to recover from.