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Gareth von Kallenbach (980 KP) rated Free Fire (2017) in Movies
Jul 11, 2019
At a rundown warehouse in 1970’s Boston, Justine (Brie Larson) and Ord (Armie Hammer) are brokering a deal between a South African arms dealer (Sharlto Copley) and members of the IRA (Cillian Murphy & Michael Smiley). Tensions flare almost immediately between the two sides and an inevitable battle of wills and gunplay ensues when two members of their entourage take decisive action on a fresh grudge from the night before.
It may say Scorsese’s producing, but Free Fire definitely smacks more of a Tarantino-influenced affair and I can think of no better example, in recent years anyway, that proves the lasting legacy of his still awe-inspiring debut, Reservoir Dogs. After years of making deliberately obtuse films (High Rise, A Field in England), Ben Wheatley has finally made something accessible, but unfortunately, Free Fire can’t pack the same visceral punch and narrative competence as the films that it takes influence from. I’m having flashbacks to about this time last year when I reviewed another film from A24, Green Room. I walked out of Free Fire in much the same manner; on a high, feeling satisfied from what appeared to be something unique and notable. As the hours have passed and I’m preparing my summation, the sentiment has all but vanished and I’m wanting of something with a little more substance. Granted, an 90 minute runtime can only accommodate so much, but I have to ask: could all that time spent crawling around in the dust and the rubble, as realistic a light that it may or may not shine on the authenticity of an actual shootout, have been used instead to get inside our characters motivations, driving us to really care about their fates? There’s no doubt that from its style and attitude, there was the potential for this to be the Reservoir Dogs for a new generation, but ultimately it’s just not a very memorable experience.
What will save Free Fire from obscurity is a cast that, despite having little plot to work with, is firing on all cylinders. An exemplary job is done from Oscar winners on down to character actors whose faces you know, but names you don’t. There isn’t one weak link in the chain and their performances have an excellent balance of toughness and levity that grounds them just enough to allow for suspension of disbelief. I might chastise Ben Wheatley as a storyteller, but there’s no doubt that he has an ear for great dialogue and fine judgement on the performers to deliver it.
It may say Scorsese’s producing, but Free Fire definitely smacks more of a Tarantino-influenced affair and I can think of no better example, in recent years anyway, that proves the lasting legacy of his still awe-inspiring debut, Reservoir Dogs. After years of making deliberately obtuse films (High Rise, A Field in England), Ben Wheatley has finally made something accessible, but unfortunately, Free Fire can’t pack the same visceral punch and narrative competence as the films that it takes influence from. I’m having flashbacks to about this time last year when I reviewed another film from A24, Green Room. I walked out of Free Fire in much the same manner; on a high, feeling satisfied from what appeared to be something unique and notable. As the hours have passed and I’m preparing my summation, the sentiment has all but vanished and I’m wanting of something with a little more substance. Granted, an 90 minute runtime can only accommodate so much, but I have to ask: could all that time spent crawling around in the dust and the rubble, as realistic a light that it may or may not shine on the authenticity of an actual shootout, have been used instead to get inside our characters motivations, driving us to really care about their fates? There’s no doubt that from its style and attitude, there was the potential for this to be the Reservoir Dogs for a new generation, but ultimately it’s just not a very memorable experience.
What will save Free Fire from obscurity is a cast that, despite having little plot to work with, is firing on all cylinders. An exemplary job is done from Oscar winners on down to character actors whose faces you know, but names you don’t. There isn’t one weak link in the chain and their performances have an excellent balance of toughness and levity that grounds them just enough to allow for suspension of disbelief. I might chastise Ben Wheatley as a storyteller, but there’s no doubt that he has an ear for great dialogue and fine judgement on the performers to deliver it.
Bob Mann (459 KP) rated Churchill (2017) in Movies
Sep 29, 2021
“We will bore them on the beaches”.
“Churchill” tells the story of the great leader’s extreme opposition to “Operation Overlord”, the Eisenhower-led invasion of Normandy in 1944 that ultimately led – more by luck that judgement perhaps – to the fall of the Third Reich in the following year.
I’m not a historian but am married to one, so know the importance of “sources” in the pursuit of “truth”: one man’s terrorist is after all another man’s freedom fighter from a different perspective. Some sources on the internet (here for example) certainly suggest the The British (led by Churchill as Prime Minister) might have sensibly promoted the acceleration of the Italian campaign to reach Berlin rather than the far riskier Channel crossing.
This film however paints Churchill as a man demonised by his decision to send young men to their deaths in the fateful Gallipoli beach landings of World War One, with this – rather than a sensible strategic one – being the primary reason for opposing the Normandy landings. To further paint him as a bumbling old fool that is “worked around” by his peers strikes you as borderline libellous.
So the film’s script, by novice Alex von Tunzelmann, immediately set the wrong tone with me, and the undeniably strong performances of Brian Cox (“The Bourne Identity”) as Churchill and the wonderful Miranda Richardson (“Harry Potter” and the soon to be released “Stronger”) as Clemmie can’t fill the gap.
Besides anything else, diretor Jonathan Teplitzky (“The Railway Man”) delivers a piece so dull and lifeless, and with so much brooding, that its not remotely enjoyable. You think the introduction of a bullied secretary – Ms Garrett (Ella Purnell) – with a strong personal connection to ‘Overlord’ will add dramatic colour? But this angle too seems to go nowhere in particular.
There are many tales of the Normandy landings that are fascinating, over and above the dramatic sweep of “The Longest Day” (which is surely well overdue for a remake?) and Spielberg’s fictionalisation of the Niland brothers in “Saving Private Ryan”. How about the 2 out of 29 American amphibious tanks that reached Omaha beach after ignoring British advice to not launch so far from shore in rough seas?
So, as a film, it might be “worthy”. But I didn’t remotely believe the depiction of Churchill and it astonished me that such a rivetingly exciting period of British history could deliver a film that bored me. So, sorry, can’t recommend this one. Perhaps Joe Wright will have a better go with Gary Oldman as Churchill in “Darkest Hour”…
I’m not a historian but am married to one, so know the importance of “sources” in the pursuit of “truth”: one man’s terrorist is after all another man’s freedom fighter from a different perspective. Some sources on the internet (here for example) certainly suggest the The British (led by Churchill as Prime Minister) might have sensibly promoted the acceleration of the Italian campaign to reach Berlin rather than the far riskier Channel crossing.
This film however paints Churchill as a man demonised by his decision to send young men to their deaths in the fateful Gallipoli beach landings of World War One, with this – rather than a sensible strategic one – being the primary reason for opposing the Normandy landings. To further paint him as a bumbling old fool that is “worked around” by his peers strikes you as borderline libellous.
So the film’s script, by novice Alex von Tunzelmann, immediately set the wrong tone with me, and the undeniably strong performances of Brian Cox (“The Bourne Identity”) as Churchill and the wonderful Miranda Richardson (“Harry Potter” and the soon to be released “Stronger”) as Clemmie can’t fill the gap.
Besides anything else, diretor Jonathan Teplitzky (“The Railway Man”) delivers a piece so dull and lifeless, and with so much brooding, that its not remotely enjoyable. You think the introduction of a bullied secretary – Ms Garrett (Ella Purnell) – with a strong personal connection to ‘Overlord’ will add dramatic colour? But this angle too seems to go nowhere in particular.
There are many tales of the Normandy landings that are fascinating, over and above the dramatic sweep of “The Longest Day” (which is surely well overdue for a remake?) and Spielberg’s fictionalisation of the Niland brothers in “Saving Private Ryan”. How about the 2 out of 29 American amphibious tanks that reached Omaha beach after ignoring British advice to not launch so far from shore in rough seas?
So, as a film, it might be “worthy”. But I didn’t remotely believe the depiction of Churchill and it astonished me that such a rivetingly exciting period of British history could deliver a film that bored me. So, sorry, can’t recommend this one. Perhaps Joe Wright will have a better go with Gary Oldman as Churchill in “Darkest Hour”…
RavenclawPrincess913 (253 KP) rated How to heal a gryphon in Books
Sep 19, 2022
How to heal a Gryphon by Meg Cannistra was a very interesting read. I loved it so much. I give it a four point five out of five stars. I definitely would read it again. The cover to this book is very eye catching and so is the plot. I love how her family's very powerful and uses their magic for good. I also understand why they don't tell many people because she is right people would expect to much from them. I'm also happy she chose to follow her heart instead of what others want her to do. How her brother treated her when she told him that she wants to work with animals instead of people was not right. Just because she's different than everyone else and following her dream does not make her an embarrassment. That part made me so mad. Also I don't know how I feel about the bad luck ajf black cat following her around something seems off. I also get her frustration with her sibling always being the center of attention that can get quite annoying. The person in the shop was pretty mean to her over eating and her weight. The judgement was pretty messed up and I can personally relate to it. I also love her plans on what she plans to do with her powers it seems very fun. I also love that her friend supports her plans unlike everyone else. Her brother apologizing be making her her favorite food Tiramisu was sorta sweet but doesn't excuse his mean words. Her brother disappearing and being replaced be a walnut was kinda confusing at first. I am happy for her that Diana accepted her and that she gifted her a familiar the black cat named Sinistro. In the book it state's only Diana's followers are gifted familiars. I have a bad gut feeling about this Streghe del Malocchio who stole her brother though. Also Piccolina's greeting to her was so cute. Piccolina's father helping them get to the city to rescue Giada's brother was sweet as well. The city seemed very scary as well. The anchovies scene was hilarious with the cat's swarming around the strange women. I wonder what these people want with Giada. How she used her magic to defend herself but got punished for using that spell was sad though. I understand why the Streghe del Malocchio are the way they are because their just trying to keep balance in the world. The ending made me cry I loved it I definitely recommend reading this book.
JT (287 KP) rated The Call (2013) in Movies
Mar 16, 2020
Don't Hang-Up on The Call
Brad Anderson directed one of my favourite horrors, Session 9, a film that is not particularly gory but is extremely unnerving in a variety of ways. It’s a film that leaves chills down your spine and fixates you to the screen, Anderson has a great way of building tension to almost breaking point, and with The Call, he’s achieved very much the same.
Halle Berry is 911 operator Jordan Turner who takes hundreds of distressing calls each day and generally manages to keep a cool head when the going gets tough. One particular day she takes a call from a young girl who has an intruder in the house, things don’t go well and as a result, Jordan takes a back seat from answering the phone to training the next generation of 911 operators.
It’s not long before she’s called back into the fray to face her fears and a familiar foe on the end of the phone, using her nerve and judgement she must help another young teenage girl from facing a similar fate. The acting is generally pretty good all-round, nothing wooden about these performances as everyone gives their all in making the situation as believable as it can be.
The film holds itself well, for the most part, maybe only wobbling when bog-standard clichés are introduced into the mix, but it’s not detracting at all and I genuinely cared about what the outcome would be. We know that suspense is driven through genuine fear, and there is no fear like being trapped inside the boot of a car which is what happens to young Abigail Breslin after she’s abducted.
During that part of the film where she is frantically on the phone to Jordan looking for a way out, we do wonder if it is going to be the end for her, and that every chance she gets to raise the alarm is thwarted as is always the case in these types of situations. The killer has a pretty good motive and the backstory is somewhat disturbing, it’s left to the audience to deduce just what his reasoning is for undertaking the horrific crimes.
The film then sets about racing away to the conclusion and it does feel a bit rushed, some have been harsh in their reviews of the way it ended, but I enjoyed it. There was a distinct nod to the original Saw which if that is correct, was a nice touch, although I think that is just me reading into it. Overall its a hell of a lot better than some other mainstream thrillers and is definitely worth the time.
Halle Berry is 911 operator Jordan Turner who takes hundreds of distressing calls each day and generally manages to keep a cool head when the going gets tough. One particular day she takes a call from a young girl who has an intruder in the house, things don’t go well and as a result, Jordan takes a back seat from answering the phone to training the next generation of 911 operators.
It’s not long before she’s called back into the fray to face her fears and a familiar foe on the end of the phone, using her nerve and judgement she must help another young teenage girl from facing a similar fate. The acting is generally pretty good all-round, nothing wooden about these performances as everyone gives their all in making the situation as believable as it can be.
The film holds itself well, for the most part, maybe only wobbling when bog-standard clichés are introduced into the mix, but it’s not detracting at all and I genuinely cared about what the outcome would be. We know that suspense is driven through genuine fear, and there is no fear like being trapped inside the boot of a car which is what happens to young Abigail Breslin after she’s abducted.
During that part of the film where she is frantically on the phone to Jordan looking for a way out, we do wonder if it is going to be the end for her, and that every chance she gets to raise the alarm is thwarted as is always the case in these types of situations. The killer has a pretty good motive and the backstory is somewhat disturbing, it’s left to the audience to deduce just what his reasoning is for undertaking the horrific crimes.
The film then sets about racing away to the conclusion and it does feel a bit rushed, some have been harsh in their reviews of the way it ended, but I enjoyed it. There was a distinct nod to the original Saw which if that is correct, was a nice touch, although I think that is just me reading into it. Overall its a hell of a lot better than some other mainstream thrillers and is definitely worth the time.
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Phillip McSween (751 KP) rated Léon: The Professional (1994) in Movies
Jul 5, 2020
Heart-racing Drama
Against his better judgement, a hitman takes in a little girl after her entire family is slaughtered.
Acting: 10
Loved Jean Reno as Leon the hitman as it is inarguably his greatest performance. You can tell very early on this is a guy you don’t want to mess with. Despite his excellence, Natalie Portman outshined everyone, even Reno, in her role as Mathilda, a revenge-seeking girl that has to grow up before she’s ready. She leaves such an impact from the way she harbors rage and sadness, sometimes within the same scene. While young, this is also one of her strongest performances as an actress. When you’re getting the best of your two stars, you know you have a great movie on your hands.
Beginning: 10
Characters: 10
Cinematography/Visuals: 8
Conflict: 7
I think my issue with the actual conflict throughout the duration of the movie stems more from how amazing the beginning is. The first ten minutes of the movie almost spoil you into expecting the rest of the film to be that way. Alas it is not. It moves at a bit of a slower clip and you start to feel it playing out as more of a drama than an action movie. Don’t get me wrong, there is plenty of tension to be had, just not quite enough to blow me away.
Entertainment Value: 8
Memorability: 7
There is one particularly tense moment that had my heart racing: I don’t want to give too much away by setting the scene, but Mathilda is waiting outside of Leon’s door, pleading for him to let her in. Every single time I watch that scene, my heart leaps into my throat even though I know what’s going to happen. It’s that intense vulnerability that really sticks out. While the movie isn’t oozing with scenes to remember, say like my last review of Dirty Dancing, there was definitely enough to keep my attention.
Pace: 10
Once you understand that the movie is a drama and not an action film, you can respect the pace a lot more. The movie pushes character development and the relationship between Leon and Mathilda. By the time the film reaches its conclusion, there is legitimate concern for their well-being because you’ve grown to like both of them.
Plot: 10
Resolution: 1
Did not like the ending in the slightest. I was hoping for more. Endings like this are fine when there is more closure. As bad as it was, I still enjoyed the movie as a whole.
Overall: 81
Leon: The Professional is a great movie to watch with someone who prefers drama over action and you’re trying to meet them in the middle. It is endearing to watch Leon and Mathilda’s relationship blossom with the mad world that has been thrust upon them. The action is subtle, but the movie is awesome.
Acting: 10
Loved Jean Reno as Leon the hitman as it is inarguably his greatest performance. You can tell very early on this is a guy you don’t want to mess with. Despite his excellence, Natalie Portman outshined everyone, even Reno, in her role as Mathilda, a revenge-seeking girl that has to grow up before she’s ready. She leaves such an impact from the way she harbors rage and sadness, sometimes within the same scene. While young, this is also one of her strongest performances as an actress. When you’re getting the best of your two stars, you know you have a great movie on your hands.
Beginning: 10
Characters: 10
Cinematography/Visuals: 8
Conflict: 7
I think my issue with the actual conflict throughout the duration of the movie stems more from how amazing the beginning is. The first ten minutes of the movie almost spoil you into expecting the rest of the film to be that way. Alas it is not. It moves at a bit of a slower clip and you start to feel it playing out as more of a drama than an action movie. Don’t get me wrong, there is plenty of tension to be had, just not quite enough to blow me away.
Entertainment Value: 8
Memorability: 7
There is one particularly tense moment that had my heart racing: I don’t want to give too much away by setting the scene, but Mathilda is waiting outside of Leon’s door, pleading for him to let her in. Every single time I watch that scene, my heart leaps into my throat even though I know what’s going to happen. It’s that intense vulnerability that really sticks out. While the movie isn’t oozing with scenes to remember, say like my last review of Dirty Dancing, there was definitely enough to keep my attention.
Pace: 10
Once you understand that the movie is a drama and not an action film, you can respect the pace a lot more. The movie pushes character development and the relationship between Leon and Mathilda. By the time the film reaches its conclusion, there is legitimate concern for their well-being because you’ve grown to like both of them.
Plot: 10
Resolution: 1
Did not like the ending in the slightest. I was hoping for more. Endings like this are fine when there is more closure. As bad as it was, I still enjoyed the movie as a whole.
Overall: 81
Leon: The Professional is a great movie to watch with someone who prefers drama over action and you’re trying to meet them in the middle. It is endearing to watch Leon and Mathilda’s relationship blossom with the mad world that has been thrust upon them. The action is subtle, but the movie is awesome.
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Bob Mann (459 KP) rated 47 Meters Down (2017) in Movies
Sep 29, 2021
Down Down, Deeper and Down.
It’s summer again; it’s a shark movie. Lisa and Kate are two sisters on holiday in Mexico with one grieving a lost relationship and the other looking for fun. Against their better judgement they go shark cage diving 5 metres below a vessel that looks like it should have been in the salvage yard 20 years ago. After a mechanical failure the cage plummets down to the sea bed….. (Go on, how deep? Have a guess. Go on, go on, go on …)
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.