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Movie Metropolis (309 KP) rated Red Sparrow (2018) in Movies
Jun 10, 2019
Never entertaining, frequently repugnant
Director Francis Lawrence and Hollywood sweetheart Jennifer Lawrence (they are no relation, I’ve checked) aren’t a new combination when it comes to film-making.
In fact, Francis Lawrence may have kick-started the world’s love affair with the young actress after he directed her in the best Hunger Games movie, Catching Fire.
They both went on to finish the saga with Mockingjay’s two instalments and the rest as they say, is box office magic.
Here though, they both take on a very different project, aimed at a very different group of movie fans. Red Sparrow is the first hard-hitting thriller of 2018. But is it any different from the plethora of films already out there in the genre?
Prima ballerina Dominika Egorova (Jennifer Lawrence) faces a bleak and uncertain future after she suffers an injury that ends her career. She soon turns to Sparrow School, a secret intelligence service that trains exceptional young people to use their minds and bodies as weapons. Egorova emerges as the most dangerous Sparrow after completing the sadistic training process. As she comes to terms with her new abilities, Dominika meets Joel Edgerton’s CIA agent Nate Nash (yes really) who tries to convince her that he is the only person she can trust.
The film starts off very promisingly as the audience are treated to a beautifully choreographed opening that follows Lawrence at the height of her dancing fame and Edgerton as he goes about an assignment. Both characters don’t intertwine at this point, and as the music builds to a crescendo we realise both their nights are about to go very wrong. It’s nicely filmed, if a little Black Swan–esque. Unfortunately, this impressive crescendo signals something else, the start of a downhill slope for Red Sparrow.
For a film marketed as a classy, adults-only thriller, Red Sparrow has very little in the way of class, despite the inclusion of Jennifer Lawrence. Her acting, as usual is sublime, minus her at times dreadful Russian accent and the rest of the cast do their best with Edgerton coming across well, but the rest of the film is just such a mess. Jeremy Irons feels incredibly miscast as a Russian General and the script by Justin Haythe is borderline incomprehensible.
The overuse of graphic violence and sex really does it no favours. There’s only so many times you can watch Lawrence be raped without wondering what the hell the film-makers thought they were doing and one (thankfully consensual) sex scene will have your eyes rolling in the back of your head: not out of pleasure, but out of absurdity.
It really begs the question: why did Lawrence pick such a bizarre choice of role in the first place?
Then there’s the action, or lack thereof. Where films like Atomic Blonde stylised the violence and the action to create a particular aesthetic, Red Sparrow just doesn’t. The limited amount of action that is presented to the audience is lazily filmed and worlds apart from director Francis Lawrence’s excellent work on the Hunger Games series.
Sure, the sets are lavish and the globetrotting that Lawrence gets to do is pleasant enough, but we’ve seen it all before and done much, much better. The production has a very staid quality that isn’t befitting of its director and its leading lady.
The final act twists that piece together everything that has come before is 30 minutes too late. At 140 minutes long, Red Sparrow is an absolute behemoth of a film but there is no reason whatsoever for it to be this long. Had it been thrilling and entertaining it could have gotten away with it – unfortunately it drags continuously from beginning to end.
Overall, Red Sparrow is a real dud that even the talents of Jennifer Lawrence can’t save. Not only is it never entertaining and frequently repugnant, it really begs the question: why did Lawrence pick such a bizarre choice of role in the first place? If it’s to escape her Katniss Everdeen persona she’s succeeded, but this could make movie studios think twice about casting her in projects in the future.
https://moviemetropolis.net/2018/03/07/red-sparrow-review-never-entertaining-frequently-repugnant/
In fact, Francis Lawrence may have kick-started the world’s love affair with the young actress after he directed her in the best Hunger Games movie, Catching Fire.
They both went on to finish the saga with Mockingjay’s two instalments and the rest as they say, is box office magic.
Here though, they both take on a very different project, aimed at a very different group of movie fans. Red Sparrow is the first hard-hitting thriller of 2018. But is it any different from the plethora of films already out there in the genre?
Prima ballerina Dominika Egorova (Jennifer Lawrence) faces a bleak and uncertain future after she suffers an injury that ends her career. She soon turns to Sparrow School, a secret intelligence service that trains exceptional young people to use their minds and bodies as weapons. Egorova emerges as the most dangerous Sparrow after completing the sadistic training process. As she comes to terms with her new abilities, Dominika meets Joel Edgerton’s CIA agent Nate Nash (yes really) who tries to convince her that he is the only person she can trust.
The film starts off very promisingly as the audience are treated to a beautifully choreographed opening that follows Lawrence at the height of her dancing fame and Edgerton as he goes about an assignment. Both characters don’t intertwine at this point, and as the music builds to a crescendo we realise both their nights are about to go very wrong. It’s nicely filmed, if a little Black Swan–esque. Unfortunately, this impressive crescendo signals something else, the start of a downhill slope for Red Sparrow.
For a film marketed as a classy, adults-only thriller, Red Sparrow has very little in the way of class, despite the inclusion of Jennifer Lawrence. Her acting, as usual is sublime, minus her at times dreadful Russian accent and the rest of the cast do their best with Edgerton coming across well, but the rest of the film is just such a mess. Jeremy Irons feels incredibly miscast as a Russian General and the script by Justin Haythe is borderline incomprehensible.
The overuse of graphic violence and sex really does it no favours. There’s only so many times you can watch Lawrence be raped without wondering what the hell the film-makers thought they were doing and one (thankfully consensual) sex scene will have your eyes rolling in the back of your head: not out of pleasure, but out of absurdity.
It really begs the question: why did Lawrence pick such a bizarre choice of role in the first place?
Then there’s the action, or lack thereof. Where films like Atomic Blonde stylised the violence and the action to create a particular aesthetic, Red Sparrow just doesn’t. The limited amount of action that is presented to the audience is lazily filmed and worlds apart from director Francis Lawrence’s excellent work on the Hunger Games series.
Sure, the sets are lavish and the globetrotting that Lawrence gets to do is pleasant enough, but we’ve seen it all before and done much, much better. The production has a very staid quality that isn’t befitting of its director and its leading lady.
The final act twists that piece together everything that has come before is 30 minutes too late. At 140 minutes long, Red Sparrow is an absolute behemoth of a film but there is no reason whatsoever for it to be this long. Had it been thrilling and entertaining it could have gotten away with it – unfortunately it drags continuously from beginning to end.
Overall, Red Sparrow is a real dud that even the talents of Jennifer Lawrence can’t save. Not only is it never entertaining and frequently repugnant, it really begs the question: why did Lawrence pick such a bizarre choice of role in the first place? If it’s to escape her Katniss Everdeen persona she’s succeeded, but this could make movie studios think twice about casting her in projects in the future.
https://moviemetropolis.net/2018/03/07/red-sparrow-review-never-entertaining-frequently-repugnant/
Neil Goddard (3 KP) rated Mother! (2017) in Movies
Feb 27, 2020
This Movie has ALL of EVERYTHING
You want Jennifer Lawrence looking awesome?
Here you go, she looks awesome throughout.
You want Javier Bardem imposing and broody?
Fill your boots; imposing and broody throughout.
You want biblical allegories?
Have ALL the allegories.
You want pointless pretention masquerading as art?
(sigh) Here's ALL THE POINTLESS PRETENTION MASQUERADING AS ART!
There is so much about this movies to find annoying that it seems churlish to single just one or two out. So, in lieu of that, I will merely recount the level of annoying critique concerning this movie that I have seen on other sites;
Position 1 - "If you don't like/understand this movie, you aren't intelligent enough."
Position 2 - "This was b@llocks."
Both reviews are highly unhelpful as starting from a standpoint that you are better than other people viewing it (position 1) instantly flags you as a bit of a c-nt. A three word review (position2) is also pointless in the extreme and comes off as troll-ish. Minimum a review should be is 15 words (www.twitter.com/15wordreviews).
If you are curious enough then go and watch it, if you aren't well, I wouldn't bother.
Here you go, she looks awesome throughout.
You want Javier Bardem imposing and broody?
Fill your boots; imposing and broody throughout.
You want biblical allegories?
Have ALL the allegories.
You want pointless pretention masquerading as art?
(sigh) Here's ALL THE POINTLESS PRETENTION MASQUERADING AS ART!
There is so much about this movies to find annoying that it seems churlish to single just one or two out. So, in lieu of that, I will merely recount the level of annoying critique concerning this movie that I have seen on other sites;
Position 1 - "If you don't like/understand this movie, you aren't intelligent enough."
Position 2 - "This was b@llocks."
Both reviews are highly unhelpful as starting from a standpoint that you are better than other people viewing it (position 1) instantly flags you as a bit of a c-nt. A three word review (position2) is also pointless in the extreme and comes off as troll-ish. Minimum a review should be is 15 words (www.twitter.com/15wordreviews).
If you are curious enough then go and watch it, if you aren't well, I wouldn't bother.
Dean (6925 KP) rated House at the End of the Street (2012) in Movies
Feb 11, 2018
I wouldn't class this as a Horror, if you're expecting one and that might expect some of the low ratings. A 12a rating is another sign normally. This is definitely more of a thriller in the mould of Disturbia, Rear Window. Jennifer Lawrence can do no wrong at present and is very good in this. The twist(s) are pretty good, if a little easy to predict, but it still makes for an interesting film. You can tell they thought about the overall visual look of the film as well, it has some cool making of features to.
Erika (17788 KP) rated Red Sparrow (2018) in Movies
Mar 23, 2018
I was dreading sitting for 2+ hours to watch this movie, I complained about it all day. But, I'm glad I did. I haven't read the book yet, so I can't comment on how close it was or wasn't to the book.
Jennifer Lawrence seemed to get her Russian accent from the Rocky and Bullwinkle cartoon. It was a little whack, but she did well in the role. Joel Edgerton's character was neither here nor there.
It was a pretty solid espionage thriller, but still, a little long. It was fairly predictable, but it was still interesting.
Jennifer Lawrence seemed to get her Russian accent from the Rocky and Bullwinkle cartoon. It was a little whack, but she did well in the role. Joel Edgerton's character was neither here nor there.
It was a pretty solid espionage thriller, but still, a little long. It was fairly predictable, but it was still interesting.
Aasiyah Sidat (34 KP) rated Red Sparrow in Books
Jul 5, 2018
Seductive Sparrows!
I'm baaaaaaaaaaaaaack!!!!!!!!!!!!!!
My sincerest apologies for not posting last week guys but sometimes university dissertation has to take priority you know?
Anyway, I have a killer book review today with the movie adaptation releasing on the 1st of March. The movie 'Red Sparrow' stars Jennifer Lawrence, ultimate baddest bitch of all time, alongside Joel Edgerton, Jeremy Irons and Matthias Schoenaerts.
I would always always advise you read the book before you watch a movie adaptation because I feel like you get more context and detail but thats just my biased view in favour of books :)
Continue reading my review at: https://www.readsandrecipes.co.uk/2018/02/seductive-sparrows.html
My sincerest apologies for not posting last week guys but sometimes university dissertation has to take priority you know?
Anyway, I have a killer book review today with the movie adaptation releasing on the 1st of March. The movie 'Red Sparrow' stars Jennifer Lawrence, ultimate baddest bitch of all time, alongside Joel Edgerton, Jeremy Irons and Matthias Schoenaerts.
I would always always advise you read the book before you watch a movie adaptation because I feel like you get more context and detail but thats just my biased view in favour of books :)
Continue reading my review at: https://www.readsandrecipes.co.uk/2018/02/seductive-sparrows.html
BankofMarquis (1832 KP) rated Causeway (2022) in Movies
Feb 10, 2023
Strong Performances
Welcome back, Jennifer Lawrence, the movies missed you.
Shot to stardom early - a 3x Oscar Nominee by the age of 23 (winning once for SILVER LININGS PLAYBOOK) and the top paid actress in 2015, 2016 - Jennifer Lawrence took a hiatus from filmmaking right before the pandemic.
With the lowkey, PTSD character study CAUSEWAY, let’s hope that Lawrence is back for good.
Directed by Lila Neugebauer (ROOM 104), Causeway tells the tale of Lynsey (played by Lawrence) who returns home after suffering a Traumatic Brain Injury while serving overseas. Once home, she forms an unlikely friendship with James (an Oscar Nominated Brian Tyree Henry) who also has some trauma to work through.
It is a low-key, pensive film about friendship, recovery and dealing with loss/pain. Most of the film is the 2 lead characters talking and in order for it to succeed, the 2 main characters better be performed by 2 charismatic, interesting actors.
And fortunately for CAUSEWAY, it is.
Starting with Lawrence. She is a unique acting talent in that one can see what she is thinking and feeling with a minimum of facial gestures. She draws the audience into her portrayal of Lynsey - making her a person to empathize with (but not pity). Lynsey is strong, fearful, focused and damaged and the audience sees every part of this in Lawrence’s performance. It is a wonderfully understated performance and it’s a shame that she, too, was not nominated for an Oscar.
But, of course, with a talk-y, two character piece, BOTH performances better be Oscar caliber to keep the audience engaged and with the surprising strong and vulnerable performance of here-to-fore known as comedy performer Henry (BULLET TRAIN) Causeway has the 2nd anchor to this film.
When James (Henry’s character) is first introduced, the audience gets the impression that he is the funny, affable, friendly rock that Lynsey needs to get back on her feet, but as the film progresses and we peel back the layers of James’ onion, we find out that he is just as damaged - and as real - as she is. Henry embodies James with the same strength and vulnerability that Lawrence shows as Lynsey - and Henry is a well-deserved Oscar nominee for his work.
Creidt, of course, for this paring - and the performances therein - lies with Director Neugebauer who lets her camera linger on the performances and the emotions that are laid raw in front of the viewer.
Not the fastest paced film, Causeway is a marvelous unlikely pairing of 2 damaged souls portrayed, strongly, by 2 fine actors.
Letter Grade: B+
7 1/2 stars (out of 10)
Shot to stardom early - a 3x Oscar Nominee by the age of 23 (winning once for SILVER LININGS PLAYBOOK) and the top paid actress in 2015, 2016 - Jennifer Lawrence took a hiatus from filmmaking right before the pandemic.
With the lowkey, PTSD character study CAUSEWAY, let’s hope that Lawrence is back for good.
Directed by Lila Neugebauer (ROOM 104), Causeway tells the tale of Lynsey (played by Lawrence) who returns home after suffering a Traumatic Brain Injury while serving overseas. Once home, she forms an unlikely friendship with James (an Oscar Nominated Brian Tyree Henry) who also has some trauma to work through.
It is a low-key, pensive film about friendship, recovery and dealing with loss/pain. Most of the film is the 2 lead characters talking and in order for it to succeed, the 2 main characters better be performed by 2 charismatic, interesting actors.
And fortunately for CAUSEWAY, it is.
Starting with Lawrence. She is a unique acting talent in that one can see what she is thinking and feeling with a minimum of facial gestures. She draws the audience into her portrayal of Lynsey - making her a person to empathize with (but not pity). Lynsey is strong, fearful, focused and damaged and the audience sees every part of this in Lawrence’s performance. It is a wonderfully understated performance and it’s a shame that she, too, was not nominated for an Oscar.
But, of course, with a talk-y, two character piece, BOTH performances better be Oscar caliber to keep the audience engaged and with the surprising strong and vulnerable performance of here-to-fore known as comedy performer Henry (BULLET TRAIN) Causeway has the 2nd anchor to this film.
When James (Henry’s character) is first introduced, the audience gets the impression that he is the funny, affable, friendly rock that Lynsey needs to get back on her feet, but as the film progresses and we peel back the layers of James’ onion, we find out that he is just as damaged - and as real - as she is. Henry embodies James with the same strength and vulnerability that Lawrence shows as Lynsey - and Henry is a well-deserved Oscar nominee for his work.
Creidt, of course, for this paring - and the performances therein - lies with Director Neugebauer who lets her camera linger on the performances and the emotions that are laid raw in front of the viewer.
Not the fastest paced film, Causeway is a marvelous unlikely pairing of 2 damaged souls portrayed, strongly, by 2 fine actors.
Letter Grade: B+
7 1/2 stars (out of 10)
Suswatibasu (1701 KP) rated Mother! (2017) in Movies
Jan 24, 2018 (Updated Jan 24, 2018)
Tries too hard to be something innovative but just turns out terrible
What an abysmal film. Convoluted to the extreme with very little actual plot. The main aspect of the film surrounds a lonely housewife played by Jennifer Lawrence and her troubled poet husband (Javier Bardem), and their unexpected house guests. From the first moment, we see Lawrence's strange eccentricities, her clear connection with the house itself. The more the house is disturbed, the more she is troubled and vice versa.
The guests begin to behave more and more erratically, to the point of ridiculousness. I have to say, I hated this film. It just made me extremely angry. Baby cannibalism is just uncalled for.
The guests begin to behave more and more erratically, to the point of ridiculousness. I have to say, I hated this film. It just made me extremely angry. Baby cannibalism is just uncalled for.
David McK (3233 KP) rated Passengers (2016) in Movies
Mar 15, 2020
Sci-Fi romance starring Chris Pratt and Jennifer Lawrence (with support from Michael Sheen and Laurence Fishbourne) as two travellers aboard an interstellar vessel, who awaken out of hibernation 30 years into a 90 year journey (I think those are both right) to their new home planet, with no means of getting back to sleep or of waking up any other passengers or crew.
What follows, then, mostly - of necessity - follows those two characters (and Sheen's android bartender), asking just what you would do in their circumstances? How would you live out your life?
Beautiful cinematography and some fancy effects, however, can not fully make up for (at times) as dull as dishwater and leaden pacing ...
What follows, then, mostly - of necessity - follows those two characters (and Sheen's android bartender), asking just what you would do in their circumstances? How would you live out your life?
Beautiful cinematography and some fancy effects, however, can not fully make up for (at times) as dull as dishwater and leaden pacing ...
Andy K (10821 KP) rated Winter's Bone (2010) in Movies
Jan 27, 2019
JLaw and the rednecks
Before she was "JLaw", Jennifer Lawrence garnered an Oscar nomination for this Best Picture nominee from 2010 about a young girl trying to find her delinquent father and trying to keep her family together at the same time.
Tensions rise quickly among the local townsfolk when the girl starts asking questions to try and figure out his whereabouts so she doesn't have to lose the family home to foreclosure.
Great acting and writing and overall look of this bleak film where none of the characters are very savory. The young girl's journey is interesting and has some twists and turns before she finally figures things out.
I liked it a lot.
Tensions rise quickly among the local townsfolk when the girl starts asking questions to try and figure out his whereabouts so she doesn't have to lose the family home to foreclosure.
Great acting and writing and overall look of this bleak film where none of the characters are very savory. The young girl's journey is interesting and has some twists and turns before she finally figures things out.
I liked it a lot.
Gareth von Kallenbach (971 KP) rated Joy (2015) in Movies
Aug 6, 2019
Jennifer Lawrence (Joy), Robert De Niro (Rudy, Joy’s father),
Bradley Cooper (Neil Walker, Joy’s eventual boss), Edgar Ramirez (Tony,
Joy’s ex-husband), Isabella Rossellini (Trudy, Rudy’s girlfriend), Diane
Ladd (Mimi, Joy’s grandmother), Virginia Madsen (Terry, Joys mother),
and Elisabeth Röhm (Peggy, Joys half-sister)
Also making appearances that were notable to me were Susan Lucci as
Danica, a character seen on the TV soap opera that Joys mother Terry is
constantly watching, and Melissa Rivers, playing her mother Joan Rivers
on the TV channel QVC.
David O. Russel wrote, directed and produced the film, bringing the
headliners back for yet another go ‘round, after the successes of Silver
Linings Playbook and American Hustle.
Joy is a divorced mother of 2, living in a house with her Grandmother
Mimi, who she adores, her mother, who practically never leaves her room,
her 2 kids, and her ex-husband in the basement. Shortly after the film
begins, her father Rudy also moves into the basement.
Joy struggles through her life every day, never quite able to get ahead,
and always just barely making ends meet. Her grandmother has big dreams
for her and insists that Joy will “rise above” and “make something” of
her life, but Joy struggles to have faith, and indeed, to even begin to
figure out how to go about such a seeming monumental task.
The story follows Joy and her family through somewhat ridiculous
scenarios, and while it was acted well by Jennifer Lawrence, De Niro,
and most of the rest of the cast, I had a hard time really getting into
the film.
I kept finding myself wondering why Joys family wasn’t more supportive
and why they all, with the exception of her Mimi and her ex-husband,
seemed to be more trying to bring her down and keep her down, than
giving her a boost and a push up. I always have liked Robert De Niro,
but in this film found myself seriously disliking him. I suppose that
speaks to his ability as an actor and being able to portray a role in
which he is “supposed to be” less than 100% likeable.
Jennifer Lawrence as Joy shows tenaciousness, grit and a will to succeed
and “rise above”, at least once she gets to the point in the film where
she has “HAD ENOUGH” of being walked on and disregarded, and plays the
part wonderfully.
I kept hoping to like the movie better, but sadly, also kept waiting for
it to GET better.
Bradley Cooper (Neil Walker, Joy’s eventual boss), Edgar Ramirez (Tony,
Joy’s ex-husband), Isabella Rossellini (Trudy, Rudy’s girlfriend), Diane
Ladd (Mimi, Joy’s grandmother), Virginia Madsen (Terry, Joys mother),
and Elisabeth Röhm (Peggy, Joys half-sister)
Also making appearances that were notable to me were Susan Lucci as
Danica, a character seen on the TV soap opera that Joys mother Terry is
constantly watching, and Melissa Rivers, playing her mother Joan Rivers
on the TV channel QVC.
David O. Russel wrote, directed and produced the film, bringing the
headliners back for yet another go ‘round, after the successes of Silver
Linings Playbook and American Hustle.
Joy is a divorced mother of 2, living in a house with her Grandmother
Mimi, who she adores, her mother, who practically never leaves her room,
her 2 kids, and her ex-husband in the basement. Shortly after the film
begins, her father Rudy also moves into the basement.
Joy struggles through her life every day, never quite able to get ahead,
and always just barely making ends meet. Her grandmother has big dreams
for her and insists that Joy will “rise above” and “make something” of
her life, but Joy struggles to have faith, and indeed, to even begin to
figure out how to go about such a seeming monumental task.
The story follows Joy and her family through somewhat ridiculous
scenarios, and while it was acted well by Jennifer Lawrence, De Niro,
and most of the rest of the cast, I had a hard time really getting into
the film.
I kept finding myself wondering why Joys family wasn’t more supportive
and why they all, with the exception of her Mimi and her ex-husband,
seemed to be more trying to bring her down and keep her down, than
giving her a boost and a push up. I always have liked Robert De Niro,
but in this film found myself seriously disliking him. I suppose that
speaks to his ability as an actor and being able to portray a role in
which he is “supposed to be” less than 100% likeable.
Jennifer Lawrence as Joy shows tenaciousness, grit and a will to succeed
and “rise above”, at least once she gets to the point in the film where
she has “HAD ENOUGH” of being walked on and disregarded, and plays the
part wonderfully.
I kept hoping to like the movie better, but sadly, also kept waiting for
it to GET better.