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Darren (1599 KP) rated An Acceptable Loss (2018) in Movies
Jul 25, 2019
Story: An Acceptable Loss starts as Libby (Sumpter) takes a new job in education, her former career saw her working under the Vice President Rachel (Curtis) being part of a campaign known as ‘Total Victory’ which saw her career change. Libby’s new job shows how she doesn’t have any forms of communication and one of the students Martin (Tavassoli) has taken an extra interest in her life, following her around, spying her on her.
Rachel now being President sends her Chief of Staff Adrian (Hephner) and former lover of Libby to make sure she isn’t going to spill the beans on what happened in this case, all while Libby is trying to make sure she can just get on with her life.
Thoughts on An Acceptable Loss
Characters – Libby once worked for the Vice President on one of the most controversial projects in defence and dealing with potential terrorist against America, she has left this job because of what happened trying to find a new career in education, she wants to stay off the radar with how she lives, which sees her avoid her former colleagues and fellow members of the faculty. Rachel is the former Vice-President, now President who is trying to tie up the loose ends of operation Total Victory, this will see her challenge Libby on whether she will expose the truth of her actions. Martin is a student that has taken an interest in Libby following her around spying on her looking for some kind of answer. Adrian is the Chief of Staff and former lover of Libby’s, he has been assigned to keep Libby quiet.
Performances – Tika Sumpter does give us a strong performance, we do see how her guilt is controlling her life, while showing how she will do what she can to fix her mistake. Jamie Lee Curtis is the star of the film because every time she is on camera we seeing everything upped to the next level. Ben Tavassoli and Jeff Hepnher both complete the main cast and both do a solid enough role.
Story – The story follows a former staff worker for the Vice President and one of the major parts of a project which saw many people killed, she has moved on with her life away from politics, hoping to one day tell the truth against the now current President. This story is a heavy political set up which shows us just how they will do anything to cover up any secrets, the story does jump around between the two times and careers that Libby has which does just come and go way to often. The problem with this story comes from the fact this could have been a lot more intense because of the subject matter we are going into.
Thriller – The could be a thriller that is truly one of the most intense movies of the year, because the subject could have been showing bigger consequences instead of a couple of friendly conversations.
Settings – The film is set in the everyday location, it shows how easy it could be to get people coming after somebody who might hold a secret.
Scene of the Movie – Jamie Lee Curtis scenes.
That Moment That Annoyed Me – It does become very predictable.
Final Thoughts – This is a predictable thriller that does tackle a bigger subject matter that goes through cover ups, we are saved by Jamie Lee Curtis scene stealing performance.
Overall: Predictable, through entertaining.
Rachel now being President sends her Chief of Staff Adrian (Hephner) and former lover of Libby to make sure she isn’t going to spill the beans on what happened in this case, all while Libby is trying to make sure she can just get on with her life.
Thoughts on An Acceptable Loss
Characters – Libby once worked for the Vice President on one of the most controversial projects in defence and dealing with potential terrorist against America, she has left this job because of what happened trying to find a new career in education, she wants to stay off the radar with how she lives, which sees her avoid her former colleagues and fellow members of the faculty. Rachel is the former Vice-President, now President who is trying to tie up the loose ends of operation Total Victory, this will see her challenge Libby on whether she will expose the truth of her actions. Martin is a student that has taken an interest in Libby following her around spying on her looking for some kind of answer. Adrian is the Chief of Staff and former lover of Libby’s, he has been assigned to keep Libby quiet.
Performances – Tika Sumpter does give us a strong performance, we do see how her guilt is controlling her life, while showing how she will do what she can to fix her mistake. Jamie Lee Curtis is the star of the film because every time she is on camera we seeing everything upped to the next level. Ben Tavassoli and Jeff Hepnher both complete the main cast and both do a solid enough role.
Story – The story follows a former staff worker for the Vice President and one of the major parts of a project which saw many people killed, she has moved on with her life away from politics, hoping to one day tell the truth against the now current President. This story is a heavy political set up which shows us just how they will do anything to cover up any secrets, the story does jump around between the two times and careers that Libby has which does just come and go way to often. The problem with this story comes from the fact this could have been a lot more intense because of the subject matter we are going into.
Thriller – The could be a thriller that is truly one of the most intense movies of the year, because the subject could have been showing bigger consequences instead of a couple of friendly conversations.
Settings – The film is set in the everyday location, it shows how easy it could be to get people coming after somebody who might hold a secret.
Scene of the Movie – Jamie Lee Curtis scenes.
That Moment That Annoyed Me – It does become very predictable.
Final Thoughts – This is a predictable thriller that does tackle a bigger subject matter that goes through cover ups, we are saved by Jamie Lee Curtis scene stealing performance.
Overall: Predictable, through entertaining.
Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
Sassy Brit (97 KP) rated Playing With Death in Books
Jun 6, 2019
^^ I am familiar with Simon Scarrow’s Roman novels, so was excited to try this one out, as it is something new from an established author. With Playing with Death, Scarrow is co-writing writing this novel with Lee Francis, and it is NOT a historical novel! My goodness. This could be the death of him, or so I thought. But actually, it wasn’t bad.
^^ This is what I’d call a technological thriller and it highlights how the use of gaming via Artificial Intelligence and virtual reality technology could be detrimental to society, even in our world as it is today.
^^ Rose Blake is an FBI agent with a strange new case to investigate, and it is one that will take her beyond anything she can at first imagine, as murder and online gaming intertwine and the boundaries of what she knows to be true are stretched to the limit. To top it all she is feeling distanced from her husband, Jeff, who works as Senetor Kelly’s media manager with very little downtime, plus her own job is (as you would imagine) very demanding and often cutting into her family time, putting a strain their marriage.
^^ It’s a violent, fast-paced story with lots of twists and turns, and as a lover of thrillers, I thoroughly enjoyed Scarrow’s refreshing change of genre. My dad is a huge fan of Scarrow, however, I’m not sure how he’ll take to this since it’s about technology of which I doubt he’ll be interested in. I’m hoping he’ll try it out though. Saying that, this new genre is a great way to reach out to new readers, who may have not read any of his previous historical books.
Overall: I look forward to seeing if this is the start of a new series, as I would like to see how this enjoyable book, develops into more exciting stories.
^^ This is what I’d call a technological thriller and it highlights how the use of gaming via Artificial Intelligence and virtual reality technology could be detrimental to society, even in our world as it is today.
^^ Rose Blake is an FBI agent with a strange new case to investigate, and it is one that will take her beyond anything she can at first imagine, as murder and online gaming intertwine and the boundaries of what she knows to be true are stretched to the limit. To top it all she is feeling distanced from her husband, Jeff, who works as Senetor Kelly’s media manager with very little downtime, plus her own job is (as you would imagine) very demanding and often cutting into her family time, putting a strain their marriage.
^^ It’s a violent, fast-paced story with lots of twists and turns, and as a lover of thrillers, I thoroughly enjoyed Scarrow’s refreshing change of genre. My dad is a huge fan of Scarrow, however, I’m not sure how he’ll take to this since it’s about technology of which I doubt he’ll be interested in. I’m hoping he’ll try it out though. Saying that, this new genre is a great way to reach out to new readers, who may have not read any of his previous historical books.
Overall: I look forward to seeing if this is the start of a new series, as I would like to see how this enjoyable book, develops into more exciting stories.
LeftSideCut (3778 KP) rated Cursed Films - Season 1 in TV
Oct 7, 2020
Cursed Films is a 5 part series focusing on the ins and outs of film productions that were deemed cursed for one reason or another - the 5 parts concentrate on The Exorcist, The Omen, Poltergeist, The Crow, and The Twilight Zone movie respectively.
When this series is focused on the films themselves, it's a real treat. Some of the interviews are moving as hell - in particular the conversations with Richard Sawyer, Lance Anderson, Jeff Most, and Gary Sherman. These guys are to this day still affected by some of the things that happened during their film productions.
The Twilight Zone episode includes footage of the infamous on set accident which is genuinely haunting, and is honestly a really powerful part of the documentary having Sawyer's interview running alongside it.
The Crow episode is great as well, and the look we get at Anderson's relationship with Brandon Lee is so human and raw.
These moments really shine a light on how ridiculous the curse theories are, when in fact, they are just tragic events that effected real people, people who then had to deal with a following media circus.
The big thing I really didn't like about this series is only really relevant to The Omen and Exorcist episodes. It's almost like they didn't have enough material to fill the runtime of these segments, and so opt to pad it out with interviews with real exorcists, or magicians that practice black magic. I'm sure that there are interesting stories to be told by these people, but it feels really out of place and forced here. It's even cringe inducing at times and feels like very obvious filler. It detracts somewhat from what is otherwise a pretty solid documentary series.
Cursed Films is certainly an interesting watch, and is easy to digest in the 30 minute episodes that are presented. Also, that theme music is wild (found out it's by an Italian space-prog band from the 70s called I Signori Della Galassia!)
Worth a watch for sure, just ignore the silly filler parts.
When this series is focused on the films themselves, it's a real treat. Some of the interviews are moving as hell - in particular the conversations with Richard Sawyer, Lance Anderson, Jeff Most, and Gary Sherman. These guys are to this day still affected by some of the things that happened during their film productions.
The Twilight Zone episode includes footage of the infamous on set accident which is genuinely haunting, and is honestly a really powerful part of the documentary having Sawyer's interview running alongside it.
The Crow episode is great as well, and the look we get at Anderson's relationship with Brandon Lee is so human and raw.
These moments really shine a light on how ridiculous the curse theories are, when in fact, they are just tragic events that effected real people, people who then had to deal with a following media circus.
The big thing I really didn't like about this series is only really relevant to The Omen and Exorcist episodes. It's almost like they didn't have enough material to fill the runtime of these segments, and so opt to pad it out with interviews with real exorcists, or magicians that practice black magic. I'm sure that there are interesting stories to be told by these people, but it feels really out of place and forced here. It's even cringe inducing at times and feels like very obvious filler. It detracts somewhat from what is otherwise a pretty solid documentary series.
Cursed Films is certainly an interesting watch, and is easy to digest in the 30 minute episodes that are presented. Also, that theme music is wild (found out it's by an Italian space-prog band from the 70s called I Signori Della Galassia!)
Worth a watch for sure, just ignore the silly filler parts.
Phillip McSween (751 KP) rated The Lost World: Jurassic Park (1997) in Movies
Feb 5, 2020
Ian Malcolm Should Have Left Them On the Island
Thoughts before watching The Lost World: Jurassic Park as a twelve-year-old in 1997: “Oh man, I can’t wait to check out all this dino action! Raptors for life!” Thoughts before watching The Lost World: Jurassic Park as a thirty-five-year-old in 2019: “Why the hell are they going back to the island? These people clearly have a death wish!” Yes, the sequel to one of the greatest movies ever made sees a return to the dinosaur madness as a special team led by Jeff Goldblum’s Ian Malcolm goes on a mission for Jurassic Park’s creator John Hammond (Richard Attenborough).
Acting: 10
Jeff Goldblum has a way of captivating any screen he’s on. He has charm, wit, and an erratic nature that’s absolutely hilarious. He has a strong cast backing him up with guys like Vince Vaughn and Julianne Moore helping to run the show.
Beginning: 10
Strong start as we see there are still idiots out there that don’t know how to stay away from these islands. The movie is immediately entertaining while also letting you know it’s going to be a different kind of movie than the first. Definitely piqued my interest.
Characters: 6
One of my biggest issues with the entire movie. I’m honestly surprised I didn’t score it lower. For the most part, I hated these characters outside of Ian Malcolm. I almost wish he had left the rest of them to stew on the island by themselves. Julianne Moore’s character Sarah Harding was obnoxious and pretty annoying. Then again, I can say that for a lot of the characters including Malcolm’s daughter Kelly Curtis (Vanessa Lee Chester). At times, it really made it hard for me to enjoy the movie.
Cinematography/Visuals: 9
The dino special effects were taken to new heights in this one. I particularly love the extra work they put into the velociraptors showing off their incredible jumping ability and rogue-like stealth. I also appreciated the multitude of dinos you get in this one as well from the stegosaurus down to the tiny compies. I can’t remember their names, but my particular favorite dino was the one with the bone head. His hard skull could crash through just about anything. I enjoyed watching it wreak havoc on a number of doors and people.
What bothered me just a bit was the choice of a darker color tone throughout the movie. It was almost as if they were trying to purposefully differentiate from the first by doing this. It takes some getting used to, but ultimately didn’t kill the movie for me.
Conflict: 10
Entertainment Value: 10
Memorability: 4
Pace: 8
Plot: 4
What a stupid story. Who in their right mind after hearing all the craziness that went down at the original park would ever go back to face off against these dinos? Rescue mission my ass, not this guy! Had they followed the book, I feel it would have been a lot more believable.
Resolution: 9
Overall: 77
Let’s be honest, no way this movie was going to match the first in any way. Jurassic Park set an amazing standard that is just hard to follow. However, I will say that, while not perfect, The Lost World: Jurassic Park does have its moments that make it a decent enough watch.
Acting: 10
Jeff Goldblum has a way of captivating any screen he’s on. He has charm, wit, and an erratic nature that’s absolutely hilarious. He has a strong cast backing him up with guys like Vince Vaughn and Julianne Moore helping to run the show.
Beginning: 10
Strong start as we see there are still idiots out there that don’t know how to stay away from these islands. The movie is immediately entertaining while also letting you know it’s going to be a different kind of movie than the first. Definitely piqued my interest.
Characters: 6
One of my biggest issues with the entire movie. I’m honestly surprised I didn’t score it lower. For the most part, I hated these characters outside of Ian Malcolm. I almost wish he had left the rest of them to stew on the island by themselves. Julianne Moore’s character Sarah Harding was obnoxious and pretty annoying. Then again, I can say that for a lot of the characters including Malcolm’s daughter Kelly Curtis (Vanessa Lee Chester). At times, it really made it hard for me to enjoy the movie.
Cinematography/Visuals: 9
The dino special effects were taken to new heights in this one. I particularly love the extra work they put into the velociraptors showing off their incredible jumping ability and rogue-like stealth. I also appreciated the multitude of dinos you get in this one as well from the stegosaurus down to the tiny compies. I can’t remember their names, but my particular favorite dino was the one with the bone head. His hard skull could crash through just about anything. I enjoyed watching it wreak havoc on a number of doors and people.
What bothered me just a bit was the choice of a darker color tone throughout the movie. It was almost as if they were trying to purposefully differentiate from the first by doing this. It takes some getting used to, but ultimately didn’t kill the movie for me.
Conflict: 10
Entertainment Value: 10
Memorability: 4
Pace: 8
Plot: 4
What a stupid story. Who in their right mind after hearing all the craziness that went down at the original park would ever go back to face off against these dinos? Rescue mission my ass, not this guy! Had they followed the book, I feel it would have been a lot more believable.
Resolution: 9
Overall: 77
Let’s be honest, no way this movie was going to match the first in any way. Jurassic Park set an amazing standard that is just hard to follow. However, I will say that, while not perfect, The Lost World: Jurassic Park does have its moments that make it a decent enough watch.
BankofMarquis (1832 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 6, 2019
Check Into the El Royale, You'll Be Glad You Did
BAD TIMES AT THE EL ROYALE is a bloody movie about bloody people doing bloody things at a bloody hotel.
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Bob Mann (459 KP) rated Can You Ever Forgive Me? (2018) in Movies
Sep 28, 2021
McCarthy and Grant in a memorable double act.
I have a big apology to make to Melissa McCarthy. A few months ago, at the excellent Picturehouse Harbour Lights film trivia quiz (every 2nd Tuesday of the month in Southampton… “be there and be… well… a bit of a film geek”!) there was a fun round of suggesting New Year’s resolutions for movie stars. Mine was the rather spiteful and cutting “Melissa McCarthy…. to retire”. In my defence, I did have the truly dreadful “Happytime Murders” fixed in my memory, and McCarthy’s track record since “Bridesmaids” has not exactly been stellar. As the quiz’s host – Stephen ‘Grand Moff’ Sambrook – justly admonished me for at the time “McCarthy is about to come out with a very different role which is supposed to be pretty good”. This film is that role…. and I take it all back.
For McCarthy is a revelation in a dramatic role which, whilst having moments of levity, is largely downbeat and very moving.
The Plot.
Based on a true story, McCarthy plays Lee Israel; a cat-loving bestselling biography writer who has seen better days. Her work is now so poor that her publisher (“3rd Rock”‘s Jane Curtin) no longer returns her call. She doesn’t help herself by having an alcohol problem and an ability to get on with other people that borders on the sociopathic.
Stumbling by accident on a letter from a famous author, she sells it for a decent sum to a dealer in such documents and is asked if she has any similar documents. What follows is a criminal trail of counterfeiting and grand larceny, into which she introduces her only friend: the gay and itinerant Jack Hock (Richard E. Grant).
With newfound success can Lee find criminally-induced happiness? Or will the authorities eventually catch up with her and Jack.
A great double-act.
The reason to see this film is the tremendous double-act between McCarthy and Grant which is just magic. Both have been lauded with nominations during awards season, and both are richly deserved.
Without aspersions against the excellent Shakespearean actress Brenda Fricker, this film could have turned into a 2 hour downer featuring a literary-equivalent of the bird-woman from “Home Alone 2”. The fact it doesn’t – notwithstanding a Central Park scene that just about re-films the final scene of HA/2! – is wholly down to McCarthy’s stunning performance. Although having some scenes of darker comedy, the majority of her performance is dramatically convincing as the conflicted and depressed victim of chronic writer’s block.
Grant as well is just superbly entertaining, all teeth and over-confidence in the face of all odds. If he wasn’t up for an Oscar nomination at one point in the process, then his final scene in the film absolutely nailed it. If you are not moved by this scene, you have a very hard heart indeed.
Ephron-esque.
The script is by the relatively unknown Nicole Holofcener and the debut writer Jeff Whitty, who are nominated for best adapted screenplay for both BAFTA and Oscar award: not bad going! It’s ironic that the late Nora Ephron is (comically) referenced by the screenplay, since there is a strong whiff of Ephron-esque about the film. (This is further enforced through reference to struggling book shops, that harked me back to “You’ve Got Mail”). The movie’s directed by the up and coming Marielle Heller, who’s debut was the well-regarded “Diary of a Teenage Girl”.
Cheer on the anti-hero.
Once again, like last year’s disappointing “Ocean’s 8“, for the film to work we have to emotionally support the actions of a criminal woman and, in this case, her damaged man-friend. This movie almost gets away with it, in that a) the ‘victims’ are unseen wealthy ‘collectors’ who ‘probably have too much money to burn’ anyway and b) Lee expresses such a wondrous delight in the quality of her work; delight that pulls her out of her destructive downward spiral of depression. It’s hard not to get behind her to at least some degree.
Given the movie dives into subjects including animal – or at least animal owner – cruelty, death, depression, homelessness and terminal illness, will you enjoy it? My bell-weather here is my wife Sue, who was unwillingly dragged along to see this, but ended up enjoying it mightily.
For McCarthy is a revelation in a dramatic role which, whilst having moments of levity, is largely downbeat and very moving.
The Plot.
Based on a true story, McCarthy plays Lee Israel; a cat-loving bestselling biography writer who has seen better days. Her work is now so poor that her publisher (“3rd Rock”‘s Jane Curtin) no longer returns her call. She doesn’t help herself by having an alcohol problem and an ability to get on with other people that borders on the sociopathic.
Stumbling by accident on a letter from a famous author, she sells it for a decent sum to a dealer in such documents and is asked if she has any similar documents. What follows is a criminal trail of counterfeiting and grand larceny, into which she introduces her only friend: the gay and itinerant Jack Hock (Richard E. Grant).
With newfound success can Lee find criminally-induced happiness? Or will the authorities eventually catch up with her and Jack.
A great double-act.
The reason to see this film is the tremendous double-act between McCarthy and Grant which is just magic. Both have been lauded with nominations during awards season, and both are richly deserved.
Without aspersions against the excellent Shakespearean actress Brenda Fricker, this film could have turned into a 2 hour downer featuring a literary-equivalent of the bird-woman from “Home Alone 2”. The fact it doesn’t – notwithstanding a Central Park scene that just about re-films the final scene of HA/2! – is wholly down to McCarthy’s stunning performance. Although having some scenes of darker comedy, the majority of her performance is dramatically convincing as the conflicted and depressed victim of chronic writer’s block.
Grant as well is just superbly entertaining, all teeth and over-confidence in the face of all odds. If he wasn’t up for an Oscar nomination at one point in the process, then his final scene in the film absolutely nailed it. If you are not moved by this scene, you have a very hard heart indeed.
Ephron-esque.
The script is by the relatively unknown Nicole Holofcener and the debut writer Jeff Whitty, who are nominated for best adapted screenplay for both BAFTA and Oscar award: not bad going! It’s ironic that the late Nora Ephron is (comically) referenced by the screenplay, since there is a strong whiff of Ephron-esque about the film. (This is further enforced through reference to struggling book shops, that harked me back to “You’ve Got Mail”). The movie’s directed by the up and coming Marielle Heller, who’s debut was the well-regarded “Diary of a Teenage Girl”.
Cheer on the anti-hero.
Once again, like last year’s disappointing “Ocean’s 8“, for the film to work we have to emotionally support the actions of a criminal woman and, in this case, her damaged man-friend. This movie almost gets away with it, in that a) the ‘victims’ are unseen wealthy ‘collectors’ who ‘probably have too much money to burn’ anyway and b) Lee expresses such a wondrous delight in the quality of her work; delight that pulls her out of her destructive downward spiral of depression. It’s hard not to get behind her to at least some degree.
Given the movie dives into subjects including animal – or at least animal owner – cruelty, death, depression, homelessness and terminal illness, will you enjoy it? My bell-weather here is my wife Sue, who was unwillingly dragged along to see this, but ended up enjoying it mightily.
Daniel Boyd (1066 KP) rated The Dirt (2019) in Movies
Apr 4, 2019 (Updated Apr 4, 2019)
Brainless Fun
The Dirt is a Motley Crue biopic that debuted on Netflix last month. It is Jeff Tremaine's, (the director of the Jackass movies,) first narrative feature film. This should maybe give you some idea of what to expect within the movie. If Bohemian Rhapsody, Wayne's World and Jackass had a baby, this would most likely be the result.
Your enjoyment of this movie will probably depend on what you are wanting out of it going in. I am a casual Motely Crue fan, I only know a few of their songs and have a very surface level knowledge of their history. I was watching this movie for a bit of dumb fun after I had seen the trailer and it delivered exactly what I expected it to. If however, you are a die hard Motley Crue fan looking for an in-depth biopic with a sense of grit and realism, you will most likely be sorely disappointed.
The plot to this thing plays out like a Wikipedia article, in the sense that it hits all of the major beats of the band's history, but glosses over so much more and leaves any sense of nuance at the door. It is also incredibly cartoonish and cheesy, at no point in the film do you ever feel that you are watching the actual members of Motley Crue and it is always painfully clear that you are watching a group of actors in bad wigs playing faux, characterture versions of real people.
Don't get me wrong, I don't think that the cast have anything to do with how shallow or glossy this thing is. I think that Daniel Webber did a decent job as Vince Neil and Douglas Booth is okay as Nikki Sixx. For some reason, Machine Gun Kelly plays Tommy Lee as a goofy, lovable rogue, as apposed to the aggressive violent abuser he is in real life. Iwan Rheon is by far the stand out as Mick Mars, the older, more jaded member of the group who totally dismisses the immature 'sex drugs and rock and roll,' bullshit mentality of his band-mates and comes away with some of the driest, funniest lines in the movie.
Overall, I gave this a 7 based on the brainless fun I had watching it, but it by no means feels accurate or realistic, nor does it feel like it's trying to be. Hardcore Motely Crue fans will probably feel like they were let down by this biopic, but I got exactly what I wanted out of it and enjoyed it for what it was.
Your enjoyment of this movie will probably depend on what you are wanting out of it going in. I am a casual Motely Crue fan, I only know a few of their songs and have a very surface level knowledge of their history. I was watching this movie for a bit of dumb fun after I had seen the trailer and it delivered exactly what I expected it to. If however, you are a die hard Motley Crue fan looking for an in-depth biopic with a sense of grit and realism, you will most likely be sorely disappointed.
The plot to this thing plays out like a Wikipedia article, in the sense that it hits all of the major beats of the band's history, but glosses over so much more and leaves any sense of nuance at the door. It is also incredibly cartoonish and cheesy, at no point in the film do you ever feel that you are watching the actual members of Motley Crue and it is always painfully clear that you are watching a group of actors in bad wigs playing faux, characterture versions of real people.
Don't get me wrong, I don't think that the cast have anything to do with how shallow or glossy this thing is. I think that Daniel Webber did a decent job as Vince Neil and Douglas Booth is okay as Nikki Sixx. For some reason, Machine Gun Kelly plays Tommy Lee as a goofy, lovable rogue, as apposed to the aggressive violent abuser he is in real life. Iwan Rheon is by far the stand out as Mick Mars, the older, more jaded member of the group who totally dismisses the immature 'sex drugs and rock and roll,' bullshit mentality of his band-mates and comes away with some of the driest, funniest lines in the movie.
Overall, I gave this a 7 based on the brainless fun I had watching it, but it by no means feels accurate or realistic, nor does it feel like it's trying to be. Hardcore Motely Crue fans will probably feel like they were let down by this biopic, but I got exactly what I wanted out of it and enjoyed it for what it was.
Gareth von Kallenbach (971 KP) rated Bad Times at the El Royale (2018) in Movies
Jul 2, 2019
The El Royale Hotel sit directly on the California and Nevada border just outside of Lake Tahoe. In its heyday, the novelty hotel, vibrant and bustling with activity. Even getting visits from famous actors, singers and politicians. But by the 1960s those days had gone and now it is rundown and mostly vacant. Then on one fateful day a group of random strangers meet at the El Royale. There is a minister, Father Daniel Flynn (Jeff Bridges), on his way back from Oakland visiting his brother. Singer Darlene Sweet (Cynthia Erivo) who came to the El Royale because her midday casino singing gig in Reno didn’t pay enough for her to stay anywhere else. Then there is Laramie Seymour Sullivan (John Hamm) the vacuum salesman who talks fast and loud. His company does all the hotel bookings so he was stuck with the El Royale, but he is dead set on enjoying the luxurious Honeymoon Suite given the choices. Lastly, there is Emily (Dakota Johnson) she doesn’t say much besides she wants a room far away from the other guests. The mismatched group is all greeted by the bellhop/bar tender/service manager Miles (Lewis Pullman). All seems like a chance meeting of a group of travelers. But nothing is what it seems. By the nights end all manner of secrets will come out and all the guests’ lives will be in jeopardy.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.