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Gareth von Kallenbach (965 KP) rated Nightcrawler (2014) in Movies
Aug 6, 2019
The concept of the American dream is generally thought of as ascending to great heights of success. For some, that means creating something out of nothing. They can do this either through lots of hard work, or by having a stroke of good luck.
“Nightcrawler” centers around Louis Bloom (Jake Gyllenhaal), a young man who is attempting to do just that – create something out of nothing and ascend to great heights of success.
Truly a schmuck by every definition of the word, Louis is a contemptible character. He lies, steals, and bends every rule in pursuit of the almighty dollar. This makes for a character that people will love to hate.
Louis discovers a grand opportunity to make money by essentially playing paparazzi to the world of crime. A skill in high demand in a news industry which sensationalizes violence and crime in order to gain ratings.
The film portrays the workings of the news media as somewhat twisted. The industry plays off of the naivety of the American public.
This theme builds throughout the movie, becoming more and more apparent. It hints at an uncertainty of the ethics of crime news coverage. This message is perhaps intended to extend beyond the silver screen and into the real world.
A thriller with depth, “Nightcrawler” is one hell of a debut for director Dan Gilroy. In addition to the unique and complex plot line, the cast is expertly selected.
Each character achieves a raw realness that turns the audience into witnesses rather than movie goers.
Gyllenhaal, who lost 20 pounds for the role, has mastered the art of portraying madness. His eyes communicate a certain detached sadness, yet at the same time he appears egotistical. His expression exudes an inner dialogue which is fleeting and somewhat absent from reality. He is the main character in the movie, as well as in his own mind.
The evolution which his character, Louis, exhibits is electrifying. He is a man in constant motion – doing whatever it takes to succeed, and sinking deeper into the dark side of a news media that lives off of ratings.
The film starts to resemble a gory train wreck which one cannot resist but to stare at as it follows Louis. In order to get the perfect shot, he pushes the line of morality further and further. His morally questionable character begins to blur into the realm of psychotic.
Human lives begin to be something of a commodity when on the other side of a lens. Nina (Rene Russo), a news director desperate to stay in demand is determined to stay focused on theme of urban crime creeping into suburban neighborhoods. She knows this is what grabs attention, and despite reality, she intends to deliver a particular story to viewers.
Russo’s tired eyes add to the realness of the dramatic story. She is just one of the characters which may confuse the audience in regards to who is “good” and who is “bad.” The interplay between characters who cannot be defined as good or bad creates a massively entertaining drama.
The deeper message of the film is left up for interpretation. Perhaps many people are just “not so good,” then there’s Louis who most people won’t be able to help but loath.
A true statement piece, “Nightcrawler” delivers a nauseating cinematic rush.
I give “Nightcrawler” 5 out of 5 stars.
“Nightcrawler” centers around Louis Bloom (Jake Gyllenhaal), a young man who is attempting to do just that – create something out of nothing and ascend to great heights of success.
Truly a schmuck by every definition of the word, Louis is a contemptible character. He lies, steals, and bends every rule in pursuit of the almighty dollar. This makes for a character that people will love to hate.
Louis discovers a grand opportunity to make money by essentially playing paparazzi to the world of crime. A skill in high demand in a news industry which sensationalizes violence and crime in order to gain ratings.
The film portrays the workings of the news media as somewhat twisted. The industry plays off of the naivety of the American public.
This theme builds throughout the movie, becoming more and more apparent. It hints at an uncertainty of the ethics of crime news coverage. This message is perhaps intended to extend beyond the silver screen and into the real world.
A thriller with depth, “Nightcrawler” is one hell of a debut for director Dan Gilroy. In addition to the unique and complex plot line, the cast is expertly selected.
Each character achieves a raw realness that turns the audience into witnesses rather than movie goers.
Gyllenhaal, who lost 20 pounds for the role, has mastered the art of portraying madness. His eyes communicate a certain detached sadness, yet at the same time he appears egotistical. His expression exudes an inner dialogue which is fleeting and somewhat absent from reality. He is the main character in the movie, as well as in his own mind.
The evolution which his character, Louis, exhibits is electrifying. He is a man in constant motion – doing whatever it takes to succeed, and sinking deeper into the dark side of a news media that lives off of ratings.
The film starts to resemble a gory train wreck which one cannot resist but to stare at as it follows Louis. In order to get the perfect shot, he pushes the line of morality further and further. His morally questionable character begins to blur into the realm of psychotic.
Human lives begin to be something of a commodity when on the other side of a lens. Nina (Rene Russo), a news director desperate to stay in demand is determined to stay focused on theme of urban crime creeping into suburban neighborhoods. She knows this is what grabs attention, and despite reality, she intends to deliver a particular story to viewers.
Russo’s tired eyes add to the realness of the dramatic story. She is just one of the characters which may confuse the audience in regards to who is “good” and who is “bad.” The interplay between characters who cannot be defined as good or bad creates a massively entertaining drama.
The deeper message of the film is left up for interpretation. Perhaps many people are just “not so good,” then there’s Louis who most people won’t be able to help but loath.
A true statement piece, “Nightcrawler” delivers a nauseating cinematic rush.
I give “Nightcrawler” 5 out of 5 stars.
Gareth von Kallenbach (965 KP) rated Source Code (2011) in Movies
Aug 7, 2019
Following upon his breakout success with the film Moon director Duncan Jones has returned with Source Code and has proven that he is not a one-hit wonder but also a talent on the rise.
The film stars Jake Gyllenhaal as Colter Stevens who, after waking up on a train, finds himself disoriented and unable to identify his travel companion, the attractive Christina Warren (Michelle Monaghan), who sits across from him eagerly discussing things they appear to have spoken about previously.
Taking a quick survey of his surroundings, Colter finds out that he is on a train heading to Chicago and that he cannot explain how he ended up where he currently is. Colter is not given much time to ponder his situation as the train is suddenly rocked by a massive explosion and he finds himself engulfed in a wall of flame. Shortly thereafter Colter awakens and finds himself upside down and strapped into what appears to be a cockpit of some sort.
A voice soon fills the cockpit, followed by the face of the woman he can’t identify on a video monitor. Unable to ascertain what is going on, a frantic Colter only recalls that he was a helicopter pilot on mission in Afghanistan. The mystery woman (Vera Farmiga) tells him that he is now part of a top-secret project that is attempting to unravel the mystery behind the bombing of the train.
Before he can ask too many questions, Colter once again finds himself back on the train with Christina and the same sequence of events occur before the train is engulfed by devastating fireball. When he once again awakens in his cockpit, Colter learns that the project he’s involved with can send him back in time 8 minutes into the body of someone on the train. He will be sent back time and time again to relive those final 8 min. in an effort to determine who is responsible for the bombing.
Despite his protests, Colter relives the events each time looking for new clues and each time ending up engulfed in the fireball and awakening in his cockpit. Eventually after numerous trips to the past Colter becomes obsessed with not only getting to the bottom of the mystery but with saving Christina to whom he is becoming attached through their numerous 8 minute interactions. Colter is also desperate to determine his exact situation as he has no memory of how he ended up in the program and finds himself not only trying to solve the mystery of the bombing, save Christina, but also fill in the gaps in his memory.
What follows is a fast-paced, character-driven adventure film that relies on the interaction’s between the two leads rather than special effects to carry the film. Gyllenhaal and Monaghan have good chemistry with each other and the film has some nice twists and turns that will keep the audience engrossed even if the concepts of time travel and temporal mechanics escape them.
Jones keeps the film moving at a brisk pace and it does not drag or overstay its welcome. Like Moon, Jones has based the film around a leading man who is facing isolation and questioning his mental state. With what could’ve been a dumbed-down action film, Jones has exceeded expectations and produced a smart and innovative action thriller with a touch of science fiction and romance thrown in, a winning combination that makes for a very enjoyable film.
The film stars Jake Gyllenhaal as Colter Stevens who, after waking up on a train, finds himself disoriented and unable to identify his travel companion, the attractive Christina Warren (Michelle Monaghan), who sits across from him eagerly discussing things they appear to have spoken about previously.
Taking a quick survey of his surroundings, Colter finds out that he is on a train heading to Chicago and that he cannot explain how he ended up where he currently is. Colter is not given much time to ponder his situation as the train is suddenly rocked by a massive explosion and he finds himself engulfed in a wall of flame. Shortly thereafter Colter awakens and finds himself upside down and strapped into what appears to be a cockpit of some sort.
A voice soon fills the cockpit, followed by the face of the woman he can’t identify on a video monitor. Unable to ascertain what is going on, a frantic Colter only recalls that he was a helicopter pilot on mission in Afghanistan. The mystery woman (Vera Farmiga) tells him that he is now part of a top-secret project that is attempting to unravel the mystery behind the bombing of the train.
Before he can ask too many questions, Colter once again finds himself back on the train with Christina and the same sequence of events occur before the train is engulfed by devastating fireball. When he once again awakens in his cockpit, Colter learns that the project he’s involved with can send him back in time 8 minutes into the body of someone on the train. He will be sent back time and time again to relive those final 8 min. in an effort to determine who is responsible for the bombing.
Despite his protests, Colter relives the events each time looking for new clues and each time ending up engulfed in the fireball and awakening in his cockpit. Eventually after numerous trips to the past Colter becomes obsessed with not only getting to the bottom of the mystery but with saving Christina to whom he is becoming attached through their numerous 8 minute interactions. Colter is also desperate to determine his exact situation as he has no memory of how he ended up in the program and finds himself not only trying to solve the mystery of the bombing, save Christina, but also fill in the gaps in his memory.
What follows is a fast-paced, character-driven adventure film that relies on the interaction’s between the two leads rather than special effects to carry the film. Gyllenhaal and Monaghan have good chemistry with each other and the film has some nice twists and turns that will keep the audience engrossed even if the concepts of time travel and temporal mechanics escape them.
Jones keeps the film moving at a brisk pace and it does not drag or overstay its welcome. Like Moon, Jones has based the film around a leading man who is facing isolation and questioning his mental state. With what could’ve been a dumbed-down action film, Jones has exceeded expectations and produced a smart and innovative action thriller with a touch of science fiction and romance thrown in, a winning combination that makes for a very enjoyable film.
BankofMarquis (1832 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 14, 2019
A nice "palate cleanser" after Endgame
After the richness - both in emotion and spectacle - of the previous entry in the Marvel Cinematic Universe (that would be the epic that is AVENGERS: ENDGAME), SPIDERMAN: FAR FROM HOME is a palate cleanser.
And that is a smart move by the honchos at Marvel. It brings us back into this Universe acknowledging - and playing homage to - the previous film - but also points us to the future as we fondly remember, but don't dwell on, the past. This Spidey-film takes the titular web-slinger on a roadtrip to Europe where he teams up with Mysterio to fight the Elementals as Peter Parker grapples with the legacy of Tony Stark and a blossoming relationship with MJ.
And...it's a darn fine film. Director Jon Watts and writers Chis McKenna and Erik Sommers craft a light, fun action flick that leans heavily on the personality and charm of Peter Parker/Spiderman and this succeeds tremendously thanks to the continued strong performance of Tom Holland. He has grown into this role and has now fully embraced it a makes it his own. This is the 5th film that Holland has played Spiderman and he is fully in control of the character and is a joyous character to watch.
Ably joining in is Jake Gyllenhaal as Mysterio - another hero who just might be another strong mentor-like presence for Parker. A fine actor of interesting dimensions, Gyllenhaal understands the type of film that he is in and adapts his performance (and presence) accordingly. Jacob Batalon returns as Peter's friend Ned, and he is everything we've come to expect from Ned. The same can be said for Jon Favreau's Happy Hogan and Marisa Tomei's Aunt May - both are welcome, warming, presences that help everyone feel good.
The biggest surprise for me is Zendaya's performance as MJ - I really enjoyed it - and that's a surprise. It is one of those nuanced-type performances (in a Superhero film - of all things) that will make me re-assess my thinking about her as a performer. I thought she was that good.
Samuel L. Jackson and Cobie Smulders reprise their roles as Nick Fury and Maria Hill and they are solid while Martin Starr and J.B. Smoove provide broad comic relief as the two teachers who are chaperones of these high school kids (remember they are high school aged in this film - they'll have to graduate into college for the next one, their age is beginning to show). I've read/heard some negative comments on how "out of place" the 2 teachers were in style to the rest of this film (and the MCU in general) and I couldn't disagree more. I thought they brought just the right size of comedy to what is a light film.
And, make no mistake, this is a light film (which is why I call it a "palate cleanser" after Endgame) and that's just fine. The stakes are an excuse to spend time with this characters - and to dazzle with some interesting special effects that I thought were very well done.
If you're into Spiderman - or the Marvel Cinematic Universe - you'll like this film.
Letter Grade: B+
7 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
And that is a smart move by the honchos at Marvel. It brings us back into this Universe acknowledging - and playing homage to - the previous film - but also points us to the future as we fondly remember, but don't dwell on, the past. This Spidey-film takes the titular web-slinger on a roadtrip to Europe where he teams up with Mysterio to fight the Elementals as Peter Parker grapples with the legacy of Tony Stark and a blossoming relationship with MJ.
And...it's a darn fine film. Director Jon Watts and writers Chis McKenna and Erik Sommers craft a light, fun action flick that leans heavily on the personality and charm of Peter Parker/Spiderman and this succeeds tremendously thanks to the continued strong performance of Tom Holland. He has grown into this role and has now fully embraced it a makes it his own. This is the 5th film that Holland has played Spiderman and he is fully in control of the character and is a joyous character to watch.
Ably joining in is Jake Gyllenhaal as Mysterio - another hero who just might be another strong mentor-like presence for Parker. A fine actor of interesting dimensions, Gyllenhaal understands the type of film that he is in and adapts his performance (and presence) accordingly. Jacob Batalon returns as Peter's friend Ned, and he is everything we've come to expect from Ned. The same can be said for Jon Favreau's Happy Hogan and Marisa Tomei's Aunt May - both are welcome, warming, presences that help everyone feel good.
The biggest surprise for me is Zendaya's performance as MJ - I really enjoyed it - and that's a surprise. It is one of those nuanced-type performances (in a Superhero film - of all things) that will make me re-assess my thinking about her as a performer. I thought she was that good.
Samuel L. Jackson and Cobie Smulders reprise their roles as Nick Fury and Maria Hill and they are solid while Martin Starr and J.B. Smoove provide broad comic relief as the two teachers who are chaperones of these high school kids (remember they are high school aged in this film - they'll have to graduate into college for the next one, their age is beginning to show). I've read/heard some negative comments on how "out of place" the 2 teachers were in style to the rest of this film (and the MCU in general) and I couldn't disagree more. I thought they brought just the right size of comedy to what is a light film.
And, make no mistake, this is a light film (which is why I call it a "palate cleanser" after Endgame) and that's just fine. The stakes are an excuse to spend time with this characters - and to dazzle with some interesting special effects that I thought were very well done.
If you're into Spiderman - or the Marvel Cinematic Universe - you'll like this film.
Letter Grade: B+
7 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Okja (2017) in Movies
Jan 10, 2018
Solid Film
In their efforts to be cost efficient and profitable, the Mirando Corporation creates a breed of "super pigs" that will be able to feed more homes per pig. One pig in particular, Okja, is being raised by little Mija (Seo-hyeon Ahn) in the mountains of South Korea. When the Mirando Corporation come to claim what is theirs, Mija will stop at nothing to get her best friend back.
There is a lot to like about this film, but one primary thing bothered me overall. At one point, Okja takes an extremely dark turn that I was neither ready for nor did I think was absolutely necessary. People that have seen the film probably know exactly which part I'm referring to. It was merely a piece of an overall delightful puzzle that just didn't match.
Solid acting performances abound in the film and it's not just the big names carrying their weight. Tilda Swinton and Jake Gyllenhaal (almost spelled his name right on the first try!) were really in tune with their respective zany characters. As a viewer the two show you that they are more than mere cardboard antagonists, but rather there were layers and levels to their characters that left you with insight. Of course that can't be pulled off without a solid actor/actress behind the helm. Ahn's performance as Mija was stellar. To be able to exemplify such strength and weakness in the same role takes real talent. My personal favorite of them all was Kim's role played by Choi Woo-Shik. His humor is subtle yet sidesplitting. He accomplishes a lot in the small amount of time he's on screen.
This films captures your attention both in its originality and a consistently entertaining pace. Even during the scenes with heavy dialogue, the film managed to hold on to its unique feel that captured my attention in the first place. Prepare to run the gauntlet of emotions as it goes from funny to heartbreaking to heartwarming to just plain sad at times. So glad I saw what I think has the potential to become a cult classic. I give it an 84.
There is a lot to like about this film, but one primary thing bothered me overall. At one point, Okja takes an extremely dark turn that I was neither ready for nor did I think was absolutely necessary. People that have seen the film probably know exactly which part I'm referring to. It was merely a piece of an overall delightful puzzle that just didn't match.
Solid acting performances abound in the film and it's not just the big names carrying their weight. Tilda Swinton and Jake Gyllenhaal (almost spelled his name right on the first try!) were really in tune with their respective zany characters. As a viewer the two show you that they are more than mere cardboard antagonists, but rather there were layers and levels to their characters that left you with insight. Of course that can't be pulled off without a solid actor/actress behind the helm. Ahn's performance as Mija was stellar. To be able to exemplify such strength and weakness in the same role takes real talent. My personal favorite of them all was Kim's role played by Choi Woo-Shik. His humor is subtle yet sidesplitting. He accomplishes a lot in the small amount of time he's on screen.
This films captures your attention both in its originality and a consistently entertaining pace. Even during the scenes with heavy dialogue, the film managed to hold on to its unique feel that captured my attention in the first place. Prepare to run the gauntlet of emotions as it goes from funny to heartbreaking to heartwarming to just plain sad at times. So glad I saw what I think has the potential to become a cult classic. I give it an 84.
LeftSideCut (3778 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 2, 2019 (Updated Dec 27, 2019)
The future is bright for the MCU
Contains spoilers, click to show
Far From Home is in a tricky position, coming out a couple of months after Avengers Endgame, having to deal with the fallout out of the Infinity story arc, and also having to follow up a great first entry into the MCU Spider-Man franchise, and it's does a damn fine job.
Tom Holland continues to be a near perfect Peter Parker, and he's surrounded by a charming cast - Zendaya is great as MJ, Jon Favreau is always welcome as Happy, and Samuel L. Jackson does his usual broody Nick Fury, this time going up against the more cooky humour of Peters classmates, and it all works - the humour all lands for the most part (and as Curb Your Enthusiasm fan, I couldn't help but enjoy JB Smoove).
But the shining star in Far From Home is of course Jake Gyllenhaal. His portrayal of Quentin Beck/Mysterio is great - watching him go from a sad and scarred man, looking to save the world and be Peters friend, to the eventual (and of course expected) reveal that he's actually a calculating-genius-maniac is pretty great.
The set pieces to begin with are standard Marvel fun, but the first time Spider-Man goes head to head with Mysterio and his illusions is ok another level (zombie Iron Man anyone!?) - it feels lifted straight from the comics, and is a visual treat, knocking down Doctor Strange in terms of crazy hallucinating sequences. It's perfect!
It's also a lovely touch just how much Tony Stark has to do in this film - his character may be gone but his presence is constant throughout.
And to top everything off - the first post credit scene includes a unexpected come back that made me grin from ear to ear, and then the second one, well that was just nuts - needless to say, I'm truly excited for what comes next in the MCU.
Far From Home is fun, visually thrilling, with great cast, and for me, is up there with the top tier MCU films.
Tom Holland continues to be a near perfect Peter Parker, and he's surrounded by a charming cast - Zendaya is great as MJ, Jon Favreau is always welcome as Happy, and Samuel L. Jackson does his usual broody Nick Fury, this time going up against the more cooky humour of Peters classmates, and it all works - the humour all lands for the most part (and as Curb Your Enthusiasm fan, I couldn't help but enjoy JB Smoove).
But the shining star in Far From Home is of course Jake Gyllenhaal. His portrayal of Quentin Beck/Mysterio is great - watching him go from a sad and scarred man, looking to save the world and be Peters friend, to the eventual (and of course expected) reveal that he's actually a calculating-genius-maniac is pretty great.
The set pieces to begin with are standard Marvel fun, but the first time Spider-Man goes head to head with Mysterio and his illusions is ok another level (zombie Iron Man anyone!?) - it feels lifted straight from the comics, and is a visual treat, knocking down Doctor Strange in terms of crazy hallucinating sequences. It's perfect!
It's also a lovely touch just how much Tony Stark has to do in this film - his character may be gone but his presence is constant throughout.
And to top everything off - the first post credit scene includes a unexpected come back that made me grin from ear to ear, and then the second one, well that was just nuts - needless to say, I'm truly excited for what comes next in the MCU.
Far From Home is fun, visually thrilling, with great cast, and for me, is up there with the top tier MCU films.
Neon's Nerd Nexus (360 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 2, 2019
Home Run
Spiderman Far From Home while more like add on dlc to the far superior Homecoming is packed with enough breathtaking moments & genuinely touching character moments to make is a top notch Spidey road trip. I cant deny Im a sucker for anything Spiderman related so please take my review as possibly slightly bias. At first Far from home had me extremely worried as some of the writing is borderline awful, some acting felt extremely off & its strange offbeat comedy is thrown at us so thick & fast I was eeeessshing more than I was laughing. However about half an hour in something changed & all the things I hated started to come together & I really felt my self becoming really involved with it all. I think what the movie had actually managed to do was not only remind me of the 90s animated show but almost recreate its feel in live action form too. Full of exposition & plot twists I saw coming a mile off Far from home still managed to keep me invested in its characters & raise the stakes/tension constantly as the film went on. What started off as a silly predictable romp actually ended up being a thrilling adrenaline rush filled with pulse pounding busy action scenes that utilised slow motion & unique camera tracking brilliantly as well as a finally thats heartfelt & extremely touching. Themes of new love & the rush it brings as well as its beautiful awkwardness are so relatable & believable & its darker themes of how the worlds gullibility/naivety/social media can be used against us as a weapon are scarily current also. Jake gyllenhaal is literally of the chain as mysterio & I would go as far as saying brings THE best acting I've ever seen in any marvel film so far. Seriously his performance is next level especially when you compare how his character behaves in the first half of the film against in the second half going from quiet, bland, weak & emotionless to unstable, intelligent, overconfident & tactical with some intense/harrowing use of his powers too. One of the most comic like comic book superhero films we've had so far its dorky, full of awesome action, twists/turns & a kickass villain so sit back & take it for what it is pure enjoyment.
JT (287 KP) rated End of Watch (2012) in Movies
Mar 10, 2020
Officer Brian Taylor’s (Jake Gyllenhaal) opening monologue in which we see a car chase and shoot out from the front dashboard camera of a Los Angeles black and white, sets the tone for what will be a gripping action flick.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
It’s an indication that this cop film is not going to be as clear cut as any before it, and its no frills policy will surely shock most viewers as officers Taylor and Zavala (Michael Peña) tackle everything from the mundane to the murderous on their watch. We follow the pair during their daily routines which includes in the locker room, the briefing room as well as unique camera set ups from inside the patrol car and a hand held that Taylor carries along with him.
It’s incredibly well shot, and takes the conventional cop film and gives it a big slice of realism. It would give you the impression of what a real ride along might include, and the kinds of situations they find themselves in.
“I am the police, and I’m here to arrest you. You’ve broken the law.”
These situations might affect you in different ways, like the one involving two young children, which is particularly hard to watch. Director David Ayer has not shied away from the brutality of the surroundings the officers find themselves in, and uncomfortable scenarios are all part and parcel of this job. It’s not long before they start to ruffle a few feathers not just on the streets but within their own department. When they uncover a drug cartel which is a small piece of a very large jigsaw they are marked for death.
The film is also looked at from the view point of LA’s criminal underworld, where it seems everyone has a hand held camera and likes to film themselves. It seems a bit stupid really and maybe Ayer should have kept that side of the story to the conventional camera, it doesn’t work all that well if I’m honest. The relationship between Taylor and Zavala is probably the most believable of any on screen buddy cop partnerships, not since Lethal Weapon (the first film at least) has a pairing conveyed such emotion and chemistry. You’d almost believe that these two had been together for years.
Ayer has had plenty of experience in this field already, having written the scripts for S.W.A.T, Training Day and The Fast and the Furious, but those films only looked at cops from the outside. End of Watch goes in just that little bit further which helps to make it unique from all the rest.
BankofMarquis (1832 KP) rated Strange world (2022) in Movies
Jan 7, 2023
Takes Too Long To Find It's Legs
If a film is going to be 1/2 good and 1/2 bad, is it better to have the good part first (which will get you to watch until the end) or last (which will leave you with a good feeling, if you make it that far). With the new Disney Animated Film STRANGE WORLD it is bad first, good second. So, if you stick through the disjointed first part of this film, you’ll be rewarded for your persistence with an interesting and satisfying finale.
A nod to the “Pulp Magazine” Science Fiction works of the 1950’s, STRANGE WORLD follows the adventures of the Clade clan as they try to find out what is beyond the hills of their land with the central conflict of this movie being that the Grandfather - the great explorer Jaeger Clade - wanting to explore. His son, Searcher Clade, wanting to stay put and the Grandson, Ethan Clade, caught between the 2.
It is pretty standard fare that is made all the more confusing by the setup of the premise and the clumsy introduction of the myriad of characters and situations that leads the audience to the exploration adventure that is to come.
Written and Co-Directed by Qui Nguyen (and directed by Don Hall) - both of whom are responsible for the criminally under-rated RAYA AND THE LAST DRAGON - Strange World stumbles out of the gate and spends the first 1/2 (maybe even the first 2/3) trying to recover from that stumble.
It finally does get it’s legs under itself and the end is worth the patience one must have to get through the beginning.
The voice cast is steady - but unspectacular. Jake Gyllenhaal (Searcher), Gabrielle Union (Meridian Clade - the Mom and pilot), Jaboukie Young-White (Ethan, the Grandson), Lucy Liu (explorer Callisto Mal) and Dennis Quaid (Jaeger, the Grandfather) all put in “professional” work, but none of them stick out - which is especially disappointing in Quaid’s case, for his character looks like it was written to be the quirky, different, interesting character.
Disney animation has had a mixed bag with “action/adventure” animated films. For every BIG HERO 6, there are TREASURE PLANET attempts that seemed earnest and well-meaning, but just don’t hit the mark.
If you are in the mood for a good Disney/Animated adventure that comes from Hall and Nguyen, skip STRANGE WORLD and, instead, check out RAYA AND THE LAST DRAGON.
Letter Grade: C+
5 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
A nod to the “Pulp Magazine” Science Fiction works of the 1950’s, STRANGE WORLD follows the adventures of the Clade clan as they try to find out what is beyond the hills of their land with the central conflict of this movie being that the Grandfather - the great explorer Jaeger Clade - wanting to explore. His son, Searcher Clade, wanting to stay put and the Grandson, Ethan Clade, caught between the 2.
It is pretty standard fare that is made all the more confusing by the setup of the premise and the clumsy introduction of the myriad of characters and situations that leads the audience to the exploration adventure that is to come.
Written and Co-Directed by Qui Nguyen (and directed by Don Hall) - both of whom are responsible for the criminally under-rated RAYA AND THE LAST DRAGON - Strange World stumbles out of the gate and spends the first 1/2 (maybe even the first 2/3) trying to recover from that stumble.
It finally does get it’s legs under itself and the end is worth the patience one must have to get through the beginning.
The voice cast is steady - but unspectacular. Jake Gyllenhaal (Searcher), Gabrielle Union (Meridian Clade - the Mom and pilot), Jaboukie Young-White (Ethan, the Grandson), Lucy Liu (explorer Callisto Mal) and Dennis Quaid (Jaeger, the Grandfather) all put in “professional” work, but none of them stick out - which is especially disappointing in Quaid’s case, for his character looks like it was written to be the quirky, different, interesting character.
Disney animation has had a mixed bag with “action/adventure” animated films. For every BIG HERO 6, there are TREASURE PLANET attempts that seemed earnest and well-meaning, but just don’t hit the mark.
If you are in the mood for a good Disney/Animated adventure that comes from Hall and Nguyen, skip STRANGE WORLD and, instead, check out RAYA AND THE LAST DRAGON.
Letter Grade: C+
5 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Life (2017) in Movies
Sep 29, 2021
Life after Gravity.
Mankind is on the verge of a major milestone. The “Pilgrim” probe is returning from Mars containing soil samples that might spell the discovery of the first palpable evidence of life beyond earth. Proving that earth scientists are not completely incompetent, the probe is being returned not to earth but to a lab on the International Space Station where strict quarantine can be maintained. This key mission requirement is the responsibility of Miranda North (Rebecca Ferguson, “Mission Impossible: Rogue Nation”). Supporting her is an international crew including fellow doctor David Harris (Jake Gyllenhaal, “Source Code”), professional astronaut Rory Adams (Ryan Reynolds, “Deadpool”) and Hugh Derry (Ariyon Bakare), the lead scientist studying the samples. Needless to say, the soil samples yield more promise than Derry could have ever hoped for (or North could have feared). A crisis of growth and death ensues in a manner that fans of “Alien” will be suitably familiar with. Can the crew survive against all the odds?
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Kirk Bage (1775 KP) rated Okja (2017) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
Okja (pronounced ok-cha, as far as I can discern from hearing it said) was a film I had on my radar from its release, but it took the impetus of Parasite and director Bong Joon Ho winning the Oscar to kick me into settling down to watch it. It is the kind of film I would have seen as a matter of course when I worked at the beloved Cameo Cinema, Edinburgh, back in the day… but the kind of film it takes me a while to get around to these days.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.