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LeftSideCut (3776 KP) rated The Dead Don't Die (2019) in Movies
Jan 7, 2020 (Updated Jan 29, 2020)
Several Wild Animals
The Dead Don't Die is truly a bizarre experience.
Jim Jarmusch has crafted a gratuitously deadpan and self aware zombie film that tackles tired genre tropes in unique and confusing ways.
Truth be told, I was ready to hate it. I knew that it wasn't the same style of zombie-comedy as Zombieland, or Shaun of the Dead, and I expected to be bogged down in pretentiousness - I'm happy to admit that I was wrong in this case.
A lot of the complaints I've seen about TDDD is precisely that. That, and the fourth wall breaking, but those are two aspects that I actually really liked.
The humour is really subtle for the most part. The dead pan delivery of a lot of the script was quite jarring at first, but it didn't take long for it settle, and I actually ended up finding it pretty funny, just not in-your-face funny (which is a good thing).
The fourth wall stuff verges on being too-clever-for-its-own-good but it just about pulls it off, and gives an interesting alternate thought process to the general narrative.
The cast is brimming with people that I like and love - Bill Murray, Adam Driver (surely a full blown man crush by this point), Chloë Sevigny, Steve Buscemi, Danny Glover, Tilda Swinton... God damn I even love Iggy Pop. It's a great cast list for sure, and the charming and witty script gives them all a lot to do, even if some of the many characters feel under developed at times.
The zombie aspect is a bit if a back seat for me. I was certainly more invested in the aforementioned cast, than any actual zombie action, but I enjoyed the 'classic' shuffling zombies in a small town setting for what it's worth.
I'm not sure what I expected from The Dead Don't Die, but it certainly wasn't what I got, and that precisely why it stands out.
Jim Jarmusch has crafted a gratuitously deadpan and self aware zombie film that tackles tired genre tropes in unique and confusing ways.
Truth be told, I was ready to hate it. I knew that it wasn't the same style of zombie-comedy as Zombieland, or Shaun of the Dead, and I expected to be bogged down in pretentiousness - I'm happy to admit that I was wrong in this case.
A lot of the complaints I've seen about TDDD is precisely that. That, and the fourth wall breaking, but those are two aspects that I actually really liked.
The humour is really subtle for the most part. The dead pan delivery of a lot of the script was quite jarring at first, but it didn't take long for it settle, and I actually ended up finding it pretty funny, just not in-your-face funny (which is a good thing).
The fourth wall stuff verges on being too-clever-for-its-own-good but it just about pulls it off, and gives an interesting alternate thought process to the general narrative.
The cast is brimming with people that I like and love - Bill Murray, Adam Driver (surely a full blown man crush by this point), Chloë Sevigny, Steve Buscemi, Danny Glover, Tilda Swinton... God damn I even love Iggy Pop. It's a great cast list for sure, and the charming and witty script gives them all a lot to do, even if some of the many characters feel under developed at times.
The zombie aspect is a bit if a back seat for me. I was certainly more invested in the aforementioned cast, than any actual zombie action, but I enjoyed the 'classic' shuffling zombies in a small town setting for what it's worth.
I'm not sure what I expected from The Dead Don't Die, but it certainly wasn't what I got, and that precisely why it stands out.
JT (287 KP) rated The Gentlemen (2020) in Movies
Mar 3, 2020
Guy Richie back to doing what he does best (1 more)
Excellent cast
Twists, turns and carnage
Since Snatch Guy Richie hasn’t covered himself in glory with some of his recent films. The likes of Swept Away, Revolver and King Arthur: Legend of the Sword did little to enhance his street cred.
While Sherlock Holmes and The Man From U.N.C.L.E were certainly enjoyable romps they didn’t have the cutting edge to what Richie does best, the gangster flick. Thankfully The Gentlemen provides everything you could want from that genre and Richie is back on familiar ground.
Mickey Pearson (Matthew McConaughey) is looking to retire from his current criminal life and plans to sell off his highly profitable marijuana empire in London. However, when rival gangs get wind of his plans there is blackmail, bribery and double-crossing aplenty.
One of the stars of the film is Hugh Grant, who for once is not playing a bumbling English gentry. Instead, he plays a slimy cockney called Fletcher with inside knowledge of what Mickey’s plans are and attempts to use them for his own financial gain.
Grant adds a subtle level of humour to the proceedings and spends most of the time in dialogue with Ray (Charlie Hunnam) Mickey’s right-hand man, who actually delivers a half-decent performance.
The Gentlemen has Richie’s aggressive dialogue which is bathed in neat action set pieces. It’s foul-mouthed and the characters all have their own unique and very distinct personalities. From Colin Farrell’s Coach to Henry Golding’s psychotic Dry Eye they can stand happily alongside some of the greats from Lock, Stock and Two Smoking Barrels and Snatch.
The film has a cool swagger about it where everything clicks nicely. There are a few twists and turns along the way which is expected from the British director and it is filled with his trademarks that hit the right notes at the right time. For me, this is by far and away his best film for quite some time.
While Sherlock Holmes and The Man From U.N.C.L.E were certainly enjoyable romps they didn’t have the cutting edge to what Richie does best, the gangster flick. Thankfully The Gentlemen provides everything you could want from that genre and Richie is back on familiar ground.
Mickey Pearson (Matthew McConaughey) is looking to retire from his current criminal life and plans to sell off his highly profitable marijuana empire in London. However, when rival gangs get wind of his plans there is blackmail, bribery and double-crossing aplenty.
One of the stars of the film is Hugh Grant, who for once is not playing a bumbling English gentry. Instead, he plays a slimy cockney called Fletcher with inside knowledge of what Mickey’s plans are and attempts to use them for his own financial gain.
Grant adds a subtle level of humour to the proceedings and spends most of the time in dialogue with Ray (Charlie Hunnam) Mickey’s right-hand man, who actually delivers a half-decent performance.
The Gentlemen has Richie’s aggressive dialogue which is bathed in neat action set pieces. It’s foul-mouthed and the characters all have their own unique and very distinct personalities. From Colin Farrell’s Coach to Henry Golding’s psychotic Dry Eye they can stand happily alongside some of the greats from Lock, Stock and Two Smoking Barrels and Snatch.
The film has a cool swagger about it where everything clicks nicely. There are a few twists and turns along the way which is expected from the British director and it is filled with his trademarks that hit the right notes at the right time. For me, this is by far and away his best film for quite some time.
JT (287 KP) rated Fright Night (2011) in Movies
Mar 10, 2020
Colin Farrell as a vampire? He would hardly be my choice as the leading man in this one, yet beneath it all you get the impression that he loved every minute.
As Jerry, the new neighbour who has moved into a quiet suburb deep in the Las Vegas desert, he has all the charm and likeability of any new dweller. That is until his true identity and ambitions are revealed.
Opposite Farrell is Charley (Yelchin), a nerd who has suddenly burst out of his shell and blended in with the upper echelons of high school society. Enough that he has bagged Imogen Poots as his girlfriend.
It’s very much a no brainer when it comes to the plot, but Yelchin does enough in the early parts to keep you hooked in. Battling with his former best friend played by Christopher Mintz-Plasse, who yet again does the role so well, he suddenly realises that there is more truth to the rumour that Jerry is devouring the locals.
The humour keeps the film ticking along and the introduction of David Tennant as Peter Vincent, a Vegas showman who as luck would have it, has the largest amount of vampire collectables going.
The special effects and gore elements are exciting, but its hardly frightening anyone to the core, which is a shame. If you’re going to do a remake then make sure its executed as well as it can be.
For me though the film is about Farrell, contented with playing the nice guy for the most part of his career its great to see him opening up to a new role. Even his Horrible Bosses turn showed that he had the potential for a badass, and long may it continue.
It’s not a patch on the original, and let’s be fair not a lot of remakes ever are, but its a credible effort from Gillespie. Farrell here sticks two fingers up to Twilight, and I bloody loved that!
As Jerry, the new neighbour who has moved into a quiet suburb deep in the Las Vegas desert, he has all the charm and likeability of any new dweller. That is until his true identity and ambitions are revealed.
Opposite Farrell is Charley (Yelchin), a nerd who has suddenly burst out of his shell and blended in with the upper echelons of high school society. Enough that he has bagged Imogen Poots as his girlfriend.
It’s very much a no brainer when it comes to the plot, but Yelchin does enough in the early parts to keep you hooked in. Battling with his former best friend played by Christopher Mintz-Plasse, who yet again does the role so well, he suddenly realises that there is more truth to the rumour that Jerry is devouring the locals.
The humour keeps the film ticking along and the introduction of David Tennant as Peter Vincent, a Vegas showman who as luck would have it, has the largest amount of vampire collectables going.
The special effects and gore elements are exciting, but its hardly frightening anyone to the core, which is a shame. If you’re going to do a remake then make sure its executed as well as it can be.
For me though the film is about Farrell, contented with playing the nice guy for the most part of his career its great to see him opening up to a new role. Even his Horrible Bosses turn showed that he had the potential for a badass, and long may it continue.
It’s not a patch on the original, and let’s be fair not a lot of remakes ever are, but its a credible effort from Gillespie. Farrell here sticks two fingers up to Twilight, and I bloody loved that!
JT (287 KP) rated Dallas Buyers Club (2013) in Movies
Mar 10, 2020
All the hype surrounding Dallas Buyers Club has been focused on the individual performances of it’s leading cast, but director Jean-Marc Vallée deserves considerable recognition for so skillfully crafting this tale of exceptional warmth, humour and eternal hope.
Ron Woodroof is a hustling, homophobic, bull-riding, womanising, sometimes-electrician, whose life revolves around excess drugs, alcohol and female copulation. But after a freak accident leads to doctors discovering he’s HIV positive, Ron is forced to re-examine his priorities.
With his hillbilly friends shunning him and the back-alley supply of the drug that could prolong his life cut off, Woodroof heads across the border to Mexico in search of alternative treatments. When he realises that the medication he’s given isn’t available in the US, he seizes the opportunity to make a quick buck.
Along the way he encounters fellow AIDS sufferer and cross-dresser Rayon (Leto) with whom he strikes an unlikely partnership in forming the Dallas Buyers Club, as well as Dr. Eve Saks (Garner) who becomes increasingly sympathetic to his plight.
McConaughey’s extreme physical transformation for the lead role is in itself worthy of great praise and his Oscar-winning turn is one of outstanding range and capability, portraying all the raw emotions Woodroof is forced to conflict as the character himself is changed irrevocably throughout the film’s two hour duration.
The scenes shared by Rayon – another remarkable performance from Leto – and Woodruff are triumphant and their relationship continually brings light relief to a backdrop of struggle as The Dallas Buyers Club fights what always seems like a losing battle with the FDA.
Much like Philadelphia, this film highlights the many struggles and injustices faced by early AIDS sufferers, not just in getting the medication they needed to survive, but also the prejudices they were forced to endure. It’s an exceptional piece of cinema that everyone should take the time to see.
Ron Woodroof is a hustling, homophobic, bull-riding, womanising, sometimes-electrician, whose life revolves around excess drugs, alcohol and female copulation. But after a freak accident leads to doctors discovering he’s HIV positive, Ron is forced to re-examine his priorities.
With his hillbilly friends shunning him and the back-alley supply of the drug that could prolong his life cut off, Woodroof heads across the border to Mexico in search of alternative treatments. When he realises that the medication he’s given isn’t available in the US, he seizes the opportunity to make a quick buck.
Along the way he encounters fellow AIDS sufferer and cross-dresser Rayon (Leto) with whom he strikes an unlikely partnership in forming the Dallas Buyers Club, as well as Dr. Eve Saks (Garner) who becomes increasingly sympathetic to his plight.
McConaughey’s extreme physical transformation for the lead role is in itself worthy of great praise and his Oscar-winning turn is one of outstanding range and capability, portraying all the raw emotions Woodroof is forced to conflict as the character himself is changed irrevocably throughout the film’s two hour duration.
The scenes shared by Rayon – another remarkable performance from Leto – and Woodruff are triumphant and their relationship continually brings light relief to a backdrop of struggle as The Dallas Buyers Club fights what always seems like a losing battle with the FDA.
Much like Philadelphia, this film highlights the many struggles and injustices faced by early AIDS sufferers, not just in getting the medication they needed to survive, but also the prejudices they were forced to endure. It’s an exceptional piece of cinema that everyone should take the time to see.
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