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JT (287 KP) rated Headhunters (2012) in Movies
Mar 10, 2020
Roger Brown (Hennie) has it all, a gorgeous wife a beautiful house and lots of money. As a headhunter for a recruitment company he supplements this lifestyle by stealing rare and expensive paintings and replacing them with perfect copies.
At his wife Diana’s art gallery he is introduced to Clas (Coster-Waldau) who he lines up for a potential job with a big client. When Roger discovers that Clas is in possession of a rare painting he takes the opportunity to steal it, not realizing however that his actions will be traced back to him.
It’s clear that Roger’s flamboyant lifestyle and trophy wife is compensation for his own inferiority complex, as he explains in the opening monologue of the film. Filled with paranoia he soon believes that Clas is out to kill him, either for stealing the painting or to get rid of him so Clas can have Diana for his own.
It’s a simple game of cat and mouse between Roger and Clas that escalates into epic proportions as Roger goes on the run. Clas is extremely cool and calculated in his approach and toys with Roger, it’s a film that will keep you on the edge of your seat, tension that foreign film is seemingly well known for.
It’s adapted from the Jo Nesbø novel of the same name, and to be honest once Roger goes on the run it turns from thriller to black comedy and back again in an instant. Some scenes have shock value, others will turn your head away from the screen no sooner look at it but it’s all good fun.
Roger is put through the wringer as he’s slowly hunted down, avoiding capture by hiding in human faeces, trying to escape on the slowest form of transport imaginable and driven off the end of a cliff. At the end of all this the sympathy for Roger is overwhelming.
It’s a comically engaging film with twists and turns, gruesome in parts which you won’t expect.
At his wife Diana’s art gallery he is introduced to Clas (Coster-Waldau) who he lines up for a potential job with a big client. When Roger discovers that Clas is in possession of a rare painting he takes the opportunity to steal it, not realizing however that his actions will be traced back to him.
It’s clear that Roger’s flamboyant lifestyle and trophy wife is compensation for his own inferiority complex, as he explains in the opening monologue of the film. Filled with paranoia he soon believes that Clas is out to kill him, either for stealing the painting or to get rid of him so Clas can have Diana for his own.
It’s a simple game of cat and mouse between Roger and Clas that escalates into epic proportions as Roger goes on the run. Clas is extremely cool and calculated in his approach and toys with Roger, it’s a film that will keep you on the edge of your seat, tension that foreign film is seemingly well known for.
It’s adapted from the Jo Nesbø novel of the same name, and to be honest once Roger goes on the run it turns from thriller to black comedy and back again in an instant. Some scenes have shock value, others will turn your head away from the screen no sooner look at it but it’s all good fun.
Roger is put through the wringer as he’s slowly hunted down, avoiding capture by hiding in human faeces, trying to escape on the slowest form of transport imaginable and driven off the end of a cliff. At the end of all this the sympathy for Roger is overwhelming.
It’s a comically engaging film with twists and turns, gruesome in parts which you won’t expect.
JT (287 KP) rated The Wolfman (2010) in Movies
Mar 10, 2020
As what we would describe as the classic monster horror, this remake of the 1941 black and white picture in some way does itself and the original some justice.
Back then horror was starting to carve itself out to a market of film goers who really didn’t have much of an idea as to how film could and would change their lives. The likes of Dracula and Frankenstein had also achieved great historic status.
The plot of the story stays true, man is bitten, man becomes werewolf, all hell breaks loose and it is the efforts of a love interest that tries in vein to break the curse. Something which not even the gypsies could achieve.
Special effects wise its impressive, Del Toro went through make up hell in order to gain the look, some three hours to apply and one to remove so his dedication must be applauded. As to whether he was the right choice for the part is another question, in some parts, in human form he loodke out of place with his foreign slightly merged American accent.
The original film ultimately was basic, a drama that based itself around a werewolf, there was no gore and hardly any blood. So of course it was only fitting that this film should contain both, and vast quantities of flying limbs and spouting red stuff. Did it need it? It surely must have only been there too satisfy an age where any lack of these effects would seem a disappointment.
The supporting cast ranging from Anthony Hopkins as Sir John Talbot, Hugo Weaving as Inspector Abberline and the beautiful Emily Blunt as Gwen all do a wonderful job adding their talents to the narrative. Hopkins especially was his usual dark, sinister and composed self.
There are some truly scary scenes, and some fantastic shots of a Gothic London but the film tends to drift off in places. Overall its a worthwhile watch but doesn’t do enough to really make it one of standouts of 2010.
Back then horror was starting to carve itself out to a market of film goers who really didn’t have much of an idea as to how film could and would change their lives. The likes of Dracula and Frankenstein had also achieved great historic status.
The plot of the story stays true, man is bitten, man becomes werewolf, all hell breaks loose and it is the efforts of a love interest that tries in vein to break the curse. Something which not even the gypsies could achieve.
Special effects wise its impressive, Del Toro went through make up hell in order to gain the look, some three hours to apply and one to remove so his dedication must be applauded. As to whether he was the right choice for the part is another question, in some parts, in human form he loodke out of place with his foreign slightly merged American accent.
The original film ultimately was basic, a drama that based itself around a werewolf, there was no gore and hardly any blood. So of course it was only fitting that this film should contain both, and vast quantities of flying limbs and spouting red stuff. Did it need it? It surely must have only been there too satisfy an age where any lack of these effects would seem a disappointment.
The supporting cast ranging from Anthony Hopkins as Sir John Talbot, Hugo Weaving as Inspector Abberline and the beautiful Emily Blunt as Gwen all do a wonderful job adding their talents to the narrative. Hopkins especially was his usual dark, sinister and composed self.
There are some truly scary scenes, and some fantastic shots of a Gothic London but the film tends to drift off in places. Overall its a worthwhile watch but doesn’t do enough to really make it one of standouts of 2010.
Gareth von Kallenbach (980 KP) rated To Rome with Love (2012) in Movies
Aug 7, 2019
Before I even begin, I have something to admit, I am not very knowledgeable about Woody Allen. Sure, I have seen the occasional film and have overheard gossip but I am not a Woody Allen buff. To remedy this, I considered running out and renting every one of his films in an attempted cinematic cram session. But I decided not to. There are some people who go to the movies just to enjoy themselves and that is as good of a reason to see a film as any other.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
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