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Sarah (7798 KP) rated Crisis (2021) in Movies
Feb 19, 2021
Worth it just for Oldman
Crisis is a 2021 film from write, director and producer Nicholas Jarecki, who previously brought us 2012's Arbitrage starring Richard Gere. Crisis is a story about drugs, namely opioids, and follows three separate yet related narratives about opioids and their impact on US society. There's an undercover DEA agent posing as a drug trafficker arranging a Fentanyl smuggling operation between Canada and the US (Armie Hammer), a recovering addict architect determined to track down those responsible for her son's involvement in narcotics (Evangeline Lilly), and a university professor (Gary Oldman) who's research laboratory uncovers dangerous revelations about a new drug that they've been paid to research by a very influential drug company and their executives (Luke Evans).
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
Gareth von Kallenbach (965 KP) rated Fast & Furious 6 (2013) in Movies
Aug 7, 2019
Paul Walker and Vin Diesel are back in “Fast & Furious 6” the latest chapter in the hugely popular “Fast & Furious” series. This time out the renegade crew is enticed from their comfortable and no-extradition lifestyles with the promise of full pardons by Agent Hobbs (Dwayne Johnson). Hobbs is willing to meet the team’s high demands due to the international threat posed by a team of drivers who are headed by a former military specialist named Owen Shaw (Luke Evans).
A rough first encounter and pursuit through London not only proves just how dangerous and skilled Shaw and his crew are, but brings Dominic (Vin Diesel), face to face with Letty (Michelle Rodriquez), who was thought to have been killed years ago. Battling conflicting emotions with finding Letty not only alive but also on the team he’s trying to bring down, Dominic must get the crew into shape to discover where Shaw will strike next. Thankfully Brian( Paul Walker) is able to use his skills from his law enforcement days in order to get a much needed lead despite the peril it costs him to do so. In a race against time, the crew must risk it all to thwart Shaw who is the most skilled and dangerous foe they have encountered to date. What follows is an action-packed, adrenaline-fueled all out romp that is a solid action film.
The movie requires you to take great leaps of logic and faith even for a film of this type and while it does not work as well as the previous two entries, Director Justin Lin knows his audience and delivers what they want. There is plenty of racing and action and the film does use plenty of actual stunts rather than CGI and the Fast & Furious crew throw themselves into the highly physical roles. The cast works well with one another and seem to be having a good time being back with one another, which is a good thing as the jaw-dropping after credits scene promises that the series still has enough gas in the tank to thrill audiences.
A rough first encounter and pursuit through London not only proves just how dangerous and skilled Shaw and his crew are, but brings Dominic (Vin Diesel), face to face with Letty (Michelle Rodriquez), who was thought to have been killed years ago. Battling conflicting emotions with finding Letty not only alive but also on the team he’s trying to bring down, Dominic must get the crew into shape to discover where Shaw will strike next. Thankfully Brian( Paul Walker) is able to use his skills from his law enforcement days in order to get a much needed lead despite the peril it costs him to do so. In a race against time, the crew must risk it all to thwart Shaw who is the most skilled and dangerous foe they have encountered to date. What follows is an action-packed, adrenaline-fueled all out romp that is a solid action film.
The movie requires you to take great leaps of logic and faith even for a film of this type and while it does not work as well as the previous two entries, Director Justin Lin knows his audience and delivers what they want. There is plenty of racing and action and the film does use plenty of actual stunts rather than CGI and the Fast & Furious crew throw themselves into the highly physical roles. The cast works well with one another and seem to be having a good time being back with one another, which is a good thing as the jaw-dropping after credits scene promises that the series still has enough gas in the tank to thrill audiences.
JT (287 KP) rated Fast & Furious 6 (2013) in Movies
Mar 10, 2020
I've been a fan of this franchise since the very first film, and while Tokyo Drift might have been a little blip, or bump in the road, there is no denying that the films have delivered box office success. Fast and Furious 6 is the second film to be left on a cliffhanger (we’ll get to that later) and delves deep into the story of the mystery surrounding Letty’s (Michelle Rodriguez) death a few films ago. I don’t regard that as a plot spoiler as it’s in the trailer. Having demolished most of Rio and now living peacefully in a country with no extradition Dom and new dad Brian think that they have put all their troubles behind them.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If you’re a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a ménage à trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldn’t care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibson’s Roman providing much of the light heartedness that the film needed. Let’s face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and you’ll need to check your brain in at the door. To quote a cliché it ‘does what it says on the tin’, and doesn’t take itself too seriously.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If you’re a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a ménage à trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldn’t care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibson’s Roman providing much of the light heartedness that the film needed. Let’s face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and you’ll need to check your brain in at the door. To quote a cliché it ‘does what it says on the tin’, and doesn’t take itself too seriously.
Emma @ The Movies (1786 KP) rated Ma (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Ma is the sort of horror movie that I like (although I feel it's much more thriller than horror), and Blumhouse being involved is probably a good indication of whether I'll like this type of film or not. Happy Death Day, Halloween, Upgrade, The First Purge... not Truth Or Dare, no one is looking at you, Truth Or Dare. (As a note, Blumhouse is making a Magic 8 Ball movie, outlook not so good.)
Maggie and her new friends are stuck for somewhere to hang out, so what do five teens with a van and nowhere to go do? They head to the off-license and try to get people to buy them alcohol. This is where they meet Sue Ann, a friendly if a little odd woman. She's worried about them going out drinking and potentially driving drunk so she invites them to use her basement, all they have to do is check in before they leave so she knows they'll be okay. There's just one firm rule, don't go upstairs.
I was surprised by the cast, out headliner is Octavia Spencer (who I love) and it's such a diversion from what I'm used to seeing her in. It's safe to say I was excited and a little bit scared for this film. She's always been quick-witted and funny in things I've previously seen like Instant Family, The Shape Of Water and Hidden Figures, she's such a solid performer though that I shouldn't have worried too much. Well, apart from the fact that she does psycho extremely well. I loved the way she switched between sweet and evil, it was good to see her doing something a little different.
There are lots of people in this to recognise. Diana Silvers has also just appeared in Booksmart and Dante Brown has been in a lot of TV and is probably most recognisable as Roger Murtaugh Jr in Lethal Weapon. The other three teens have also appeared in a selection of TV and films. As an ensemble they work well together, all their interactions were natural and felt authentic... apart from the major one, who goes and parties in a stranger's basement?
The adult support cast is star-studded. Julie Lewis as Erica (Maggie's mum), Luke Evans as Ben (Andy's dad), Missi Pyle as Mercedes (Ben's girlfriend) and Allison Janney as Doctor Brooks (Sue Ann's boss). All of them bring something great to the film but I think that Missi Pyle had my favourite scene in the whole movie... I don't want to spoil it though.
I like the way the connections between the kids and Ma revealed themselves as we go. The added snippets from young Sue Ann break it up a bit and give us some insight into her and her motivations. What I will say though is that those moments combined with what we learn about Sue Ann in the present lead to what seems like an obvious upcoming revelation... but it doesn't come. The revenge that Sue Ann has in her seems like it should have come from something like that plot point, something much bigger, like this non-existent plot point.
As trailers go I think this one was made wrong. A lot of the promotion shows the scene where Ma is sat on the sofa with the kids around her, yes it gives you that shock factor thrill that makes you want to go and see what it means but it also kind of ruins a moment that could have been a great and rather disturbing surprise.
It seems ridiculous to say that this storyline is a little far fetched, after all, it's supposed to be, but I kept finding myself getting annoyed about the fact that I didn't believe these kids would be getting themselves into this situation. Most of those moments also lead to super awkward pieces, which by now you probably know that I hate.
Ma had potential and it certainly wasn't an issue with the acting, that was probably the best thing throughout. The storyline seemed very oddly weighted with a lot of emphasis on the build-up including moments that were slightly irrelevant, it almost felt like other scenes involving them had been cut to keep the time down. The "horror" side of it could definitely have been amped up a bit, and that's coming from someone who doesn't really like horror.
What you should do
If you're into this kind of horror then it's worth a watch but I don't feel like you need to rush to the cinema for it, there are probably better examples of the genre out there.
Movie thing you wish you could take home
I have to give Ma some credit, I too would opt for Luke Evans, but with a slightly different outcome.
Maggie and her new friends are stuck for somewhere to hang out, so what do five teens with a van and nowhere to go do? They head to the off-license and try to get people to buy them alcohol. This is where they meet Sue Ann, a friendly if a little odd woman. She's worried about them going out drinking and potentially driving drunk so she invites them to use her basement, all they have to do is check in before they leave so she knows they'll be okay. There's just one firm rule, don't go upstairs.
I was surprised by the cast, out headliner is Octavia Spencer (who I love) and it's such a diversion from what I'm used to seeing her in. It's safe to say I was excited and a little bit scared for this film. She's always been quick-witted and funny in things I've previously seen like Instant Family, The Shape Of Water and Hidden Figures, she's such a solid performer though that I shouldn't have worried too much. Well, apart from the fact that she does psycho extremely well. I loved the way she switched between sweet and evil, it was good to see her doing something a little different.
There are lots of people in this to recognise. Diana Silvers has also just appeared in Booksmart and Dante Brown has been in a lot of TV and is probably most recognisable as Roger Murtaugh Jr in Lethal Weapon. The other three teens have also appeared in a selection of TV and films. As an ensemble they work well together, all their interactions were natural and felt authentic... apart from the major one, who goes and parties in a stranger's basement?
The adult support cast is star-studded. Julie Lewis as Erica (Maggie's mum), Luke Evans as Ben (Andy's dad), Missi Pyle as Mercedes (Ben's girlfriend) and Allison Janney as Doctor Brooks (Sue Ann's boss). All of them bring something great to the film but I think that Missi Pyle had my favourite scene in the whole movie... I don't want to spoil it though.
I like the way the connections between the kids and Ma revealed themselves as we go. The added snippets from young Sue Ann break it up a bit and give us some insight into her and her motivations. What I will say though is that those moments combined with what we learn about Sue Ann in the present lead to what seems like an obvious upcoming revelation... but it doesn't come. The revenge that Sue Ann has in her seems like it should have come from something like that plot point, something much bigger, like this non-existent plot point.
As trailers go I think this one was made wrong. A lot of the promotion shows the scene where Ma is sat on the sofa with the kids around her, yes it gives you that shock factor thrill that makes you want to go and see what it means but it also kind of ruins a moment that could have been a great and rather disturbing surprise.
It seems ridiculous to say that this storyline is a little far fetched, after all, it's supposed to be, but I kept finding myself getting annoyed about the fact that I didn't believe these kids would be getting themselves into this situation. Most of those moments also lead to super awkward pieces, which by now you probably know that I hate.
Ma had potential and it certainly wasn't an issue with the acting, that was probably the best thing throughout. The storyline seemed very oddly weighted with a lot of emphasis on the build-up including moments that were slightly irrelevant, it almost felt like other scenes involving them had been cut to keep the time down. The "horror" side of it could definitely have been amped up a bit, and that's coming from someone who doesn't really like horror.
What you should do
If you're into this kind of horror then it's worth a watch but I don't feel like you need to rush to the cinema for it, there are probably better examples of the genre out there.
Movie thing you wish you could take home
I have to give Ma some credit, I too would opt for Luke Evans, but with a slightly different outcome.
Connor Sheffield (293 KP) rated The Raven (2012) in Movies
Apr 27, 2017
A brilliant crime thriller (4 more)
Gory
Connections to the work of Edgar Allan Poe
Great Cast
Watchable over and over again
Would love to know what happens in the end (1 more)
Not as exhilirating after the first watch
Quote the Raven, Nevermore.
First of all let me say this;
I am a poet and a writer, and my biggest inspiration as a writer has always been Edgar Allan Poe. I love the gothic horror, the tragedy, the macabre, and everything that makes Edgar Allan Poe the legend he is today.
With that said, let me tell you why I love this movie. It involves connections to some of Poe's greatest work, and not his poetry necessarily, it's actually more about his stories. Telltale Heart, Pit and the Pendulum and others that are all combined into the twisted mind of our antagonist who uses these stories to commit his crimes and leave evidence behind that only Poe himself would be able to figure out.
It's a brilliant crime thriller that delves into the mind of someone who is essentially Poe's biggest fan, but in a very dark and twisted way that gives us a fictional story about what happened during Poe's last days before he was found dead on a park bench. It's a known fact that Poe's last days remain a mystery and so this film had the opportunity to really play with some great ideas and they were executed brilliantly.
Speaking of execution this film is very grim and gory. One scene involving the story of The Pit and the Pendulum has us watch as a Pendulum drops lower and lower before slicing through a man's stomach like a warm knife through butter. It doesn't leave a lot to the imagination which gives this film some charm and makes it stand out from the rest of the Poe Film adaptations.
John Cusack plays the lengend himself, Edgar Allan Poe and brings a very interesting performance, that seems to suggest Poe thought himself as a higher intelligence to those around him, and he isn't shy to announce it.
Sharing the screen with Cusack, includes names such as Luke Evans who portrays Detective Fields, the detective I mentioned earlier that seeks Poe's assistance in the murder case. Brendan Gleeson portrays a very protective father named Charles Hamilton, who despises Poe being anywhere near his daughter Emily Hamilton, portrayed by Alice Eve. However there differences are put aside as the hunt for the missing Emily continues.
The story transitions well from scene to scene and story to story as each clue leads to the next, and eventually we discover the culprit who I shall not name here because I wish to leave the tension and suspense for you as you watch this film.
I am a poet and a writer, and my biggest inspiration as a writer has always been Edgar Allan Poe. I love the gothic horror, the tragedy, the macabre, and everything that makes Edgar Allan Poe the legend he is today.
With that said, let me tell you why I love this movie. It involves connections to some of Poe's greatest work, and not his poetry necessarily, it's actually more about his stories. Telltale Heart, Pit and the Pendulum and others that are all combined into the twisted mind of our antagonist who uses these stories to commit his crimes and leave evidence behind that only Poe himself would be able to figure out.
It's a brilliant crime thriller that delves into the mind of someone who is essentially Poe's biggest fan, but in a very dark and twisted way that gives us a fictional story about what happened during Poe's last days before he was found dead on a park bench. It's a known fact that Poe's last days remain a mystery and so this film had the opportunity to really play with some great ideas and they were executed brilliantly.
Speaking of execution this film is very grim and gory. One scene involving the story of The Pit and the Pendulum has us watch as a Pendulum drops lower and lower before slicing through a man's stomach like a warm knife through butter. It doesn't leave a lot to the imagination which gives this film some charm and makes it stand out from the rest of the Poe Film adaptations.
John Cusack plays the lengend himself, Edgar Allan Poe and brings a very interesting performance, that seems to suggest Poe thought himself as a higher intelligence to those around him, and he isn't shy to announce it.
Sharing the screen with Cusack, includes names such as Luke Evans who portrays Detective Fields, the detective I mentioned earlier that seeks Poe's assistance in the murder case. Brendan Gleeson portrays a very protective father named Charles Hamilton, who despises Poe being anywhere near his daughter Emily Hamilton, portrayed by Alice Eve. However there differences are put aside as the hunt for the missing Emily continues.
The story transitions well from scene to scene and story to story as each clue leads to the next, and eventually we discover the culprit who I shall not name here because I wish to leave the tension and suspense for you as you watch this film.
JT (287 KP) rated The Raven (2012) in Movies
Mar 10, 2020
I've never really been a massive fan of John Cusack, I find him a bit tenuous and someone who slightly over acts. The Raven gives him the chance to over act to his heart’s content, as he plays poet Edgar Allan Poe who is drawn into the world and mind of a serial killer.
The film is set in 18th century Maryland where the flamboyant Edgar Allan Poe is busy churning out poems and gruesome stories that he desperately tries to get published in the local paper, although frustratingly as he experiences no one really knows or cares who he is?
This leads to large quantities of booze and lots of shouting and aggression at anyone who stands in his way. When a series of killings alert the local police, Detective Fields (Luke Evans) is called in to investigate, and when it’s discovered that the killings are in some way a copy of Poe’s illustrious work the man himself is tasked with assisting.
Visually the film is very good and is in keeping with the traditions of the 18th century, dark and slightly gothic it certainly gives the sense of a disturbed horror film. The killer is masked for the majority until the reveal, but clues are dropped as to the identity giving the viewer the chance to play detective. Although you probably don’t need to be Inspector Morse to figure it out.
When Poe’s beloved fiancé Emily Hamilton (Alice Eve) is kidnapped and buried alive it adds a whole new twist to the plot. The killer is making this a personal vendetta against Poe who seems at a loss to who could be targeting him in such a horrific way, it then becomes a race against time as the killer leaves clues on his victims for Poe to follow that will lead him to a theatrical conclusion.
The film echos Se7en, in that both Fields and Poe are being taunted by a sadistic killer who is clearly making a bold statement with his work, that involve a huge swinging blade, being buried into a wall and having your tongue cut out. Also a young beautiful woman is at the killers mercy, can Poe race against time to save her?
Cusack does an admirable job in fairness to him and his portrayal of Poe is an accurate reincarnation. Brendan Gleeson who despite limited screen time still manages to command a presence that has to be respected, and here as Emily’s father he gives off a burning sense of desperation.
The rest of the cast amble a long and certainly don’t set any fires alight It’s an OK film and it does have the thrills but nothing that is going to set pulses racing. When you turn it off you just let out one big long “Meh!”
The film is set in 18th century Maryland where the flamboyant Edgar Allan Poe is busy churning out poems and gruesome stories that he desperately tries to get published in the local paper, although frustratingly as he experiences no one really knows or cares who he is?
This leads to large quantities of booze and lots of shouting and aggression at anyone who stands in his way. When a series of killings alert the local police, Detective Fields (Luke Evans) is called in to investigate, and when it’s discovered that the killings are in some way a copy of Poe’s illustrious work the man himself is tasked with assisting.
Visually the film is very good and is in keeping with the traditions of the 18th century, dark and slightly gothic it certainly gives the sense of a disturbed horror film. The killer is masked for the majority until the reveal, but clues are dropped as to the identity giving the viewer the chance to play detective. Although you probably don’t need to be Inspector Morse to figure it out.
When Poe’s beloved fiancé Emily Hamilton (Alice Eve) is kidnapped and buried alive it adds a whole new twist to the plot. The killer is making this a personal vendetta against Poe who seems at a loss to who could be targeting him in such a horrific way, it then becomes a race against time as the killer leaves clues on his victims for Poe to follow that will lead him to a theatrical conclusion.
The film echos Se7en, in that both Fields and Poe are being taunted by a sadistic killer who is clearly making a bold statement with his work, that involve a huge swinging blade, being buried into a wall and having your tongue cut out. Also a young beautiful woman is at the killers mercy, can Poe race against time to save her?
Cusack does an admirable job in fairness to him and his portrayal of Poe is an accurate reincarnation. Brendan Gleeson who despite limited screen time still manages to command a presence that has to be respected, and here as Emily’s father he gives off a burning sense of desperation.
The rest of the cast amble a long and certainly don’t set any fires alight It’s an OK film and it does have the thrills but nothing that is going to set pulses racing. When you turn it off you just let out one big long “Meh!”
Gareth von Kallenbach (965 KP) rated Beauty and the Beast (2017) in Movies
Jul 12, 2019
Whenever I was asked who my favorite Disney prince was, I’d answer, without hesitation, “The Beast.”
Friends would look at me askance and ask, “The Beast? Really?”
And I’d simply reply, “Have you not seen his library?”
I also claim Belle as my favorite Disney princess. As a bookworm, Beauty and the Beast gave me a princess I could relate to. Sure, I had just graduated from high school the year before the animated film – not really the demographic Disney was catering to. But when I first watched Belle’s introductory scene, as she made her way through the village with her nose buried in a book while the townfolk sang of her “odd” behavior, I felt l the corners of my lips rise on their own, in a smile of recognition.
Sure, it also may have been because of the clever lyrics of the late Howard Ashman and the wondrous melodies of Alan Menken in that first song alone, but Belle quickly me over not only with her joy for stories and spirit of adventure, but also with her brave spirit.
Beauty and the Beast is a fairy tale told many times over and Disney’s live-action version follows the animated classic closely with some variation and additional scenes and few more songs. Like the animated film, it’s sweepingly romantic and just as enchanting. What the audience may struggle with is that Emma Watson’s Belle is not as…well, animated as the animated Belle. She brings a solemnity to the role, and as singing talent goes, while she is no Paige O’Hara, she can sing.
Luke Evans makes a menacingly handsome Gaston and his big number, with his sidekick LeFou (Josh Gad) is an entertaining high point that cements Gaston’s position as my favorite villain. Dan Stevens brought a bit more humanity to Beast, and with a heartbreaking song of his own, his despair is more keenly felt in this movie. But I have to admit, I prefer Josh Groban’s version of Beast’s solo, which you do get to hear if you sit through the credits.
Lumière the candelabra and Cogsworth the clock were brought to life with great voice work Ewan McGregor and Ian McKellen, respectively. Emma Thompson voiced Mrs. Potts perfectly. I don’t know if it was her voice, the theme song or the ballroom dance scene that provoked an overwhelming sense of nostalgia, but the captivating combination literally brought tears to my eyes. Kevin Kline, who played Belle’s father, Maurice, Stanley Tucci, and Broadway great Audra McDonald round out a solid supporting cast.
As a huge fan of the 1991 Beauty and the Beast, I didn’t believe a live-action version could improve on the beloved, timeless classic. But just like with the animated film, it was truly the songs that made the movie, and the music does it again for the live-action film, making it a memorable, magical treat for young and old alike.
Friends would look at me askance and ask, “The Beast? Really?”
And I’d simply reply, “Have you not seen his library?”
I also claim Belle as my favorite Disney princess. As a bookworm, Beauty and the Beast gave me a princess I could relate to. Sure, I had just graduated from high school the year before the animated film – not really the demographic Disney was catering to. But when I first watched Belle’s introductory scene, as she made her way through the village with her nose buried in a book while the townfolk sang of her “odd” behavior, I felt l the corners of my lips rise on their own, in a smile of recognition.
Sure, it also may have been because of the clever lyrics of the late Howard Ashman and the wondrous melodies of Alan Menken in that first song alone, but Belle quickly me over not only with her joy for stories and spirit of adventure, but also with her brave spirit.
Beauty and the Beast is a fairy tale told many times over and Disney’s live-action version follows the animated classic closely with some variation and additional scenes and few more songs. Like the animated film, it’s sweepingly romantic and just as enchanting. What the audience may struggle with is that Emma Watson’s Belle is not as…well, animated as the animated Belle. She brings a solemnity to the role, and as singing talent goes, while she is no Paige O’Hara, she can sing.
Luke Evans makes a menacingly handsome Gaston and his big number, with his sidekick LeFou (Josh Gad) is an entertaining high point that cements Gaston’s position as my favorite villain. Dan Stevens brought a bit more humanity to Beast, and with a heartbreaking song of his own, his despair is more keenly felt in this movie. But I have to admit, I prefer Josh Groban’s version of Beast’s solo, which you do get to hear if you sit through the credits.
Lumière the candelabra and Cogsworth the clock were brought to life with great voice work Ewan McGregor and Ian McKellen, respectively. Emma Thompson voiced Mrs. Potts perfectly. I don’t know if it was her voice, the theme song or the ballroom dance scene that provoked an overwhelming sense of nostalgia, but the captivating combination literally brought tears to my eyes. Kevin Kline, who played Belle’s father, Maurice, Stanley Tucci, and Broadway great Audra McDonald round out a solid supporting cast.
As a huge fan of the 1991 Beauty and the Beast, I didn’t believe a live-action version could improve on the beloved, timeless classic. But just like with the animated film, it was truly the songs that made the movie, and the music does it again for the live-action film, making it a memorable, magical treat for young and old alike.
Movie Metropolis (309 KP) rated The Girl on the Train (2016) in Movies
Jun 10, 2019
A Victim of its marketing
It’s always refreshing to see a film released primarily for the adult market. We all loved The Hunger Games, but imagine what the series could’ve been like had the franchise been given a 15 or even an 18 certification.
And Fifty Shades of Grey may have its critics (me being one of them) but at least it appealed to those of us not interested in sharing cinema screens with rambling tweens. The finest of the adult genre? Well, that has to be Gone Girl. But now there’s a new kid on the block, ready to steal its crown. Is The Girl on the Train a worthy adversary?
Alcoholic Rachel Watson (Emily Blunt) catches daily glimpses of a seemingly perfect couple, Scott (Luke Evans) and Megan (Haley Bennett), from the window of her train. One day, Watson witnesses something shocking unfold in the garden of the strangers’ home. Rachel tells the authorities what she thinks she saw after learning Megan is missing. Unable to trust her memory, the troubled woman begins her own investigation, while police suspect that Rachel may have crossed a dangerous line.
Emily Blunt has become one of Hollywood’s finest actors, constantly adding new genres to her resume. From The Devil Wears Prada to Sicario and beyond, there is nothing she won’t try and The Girl on the Train is bolstered by a career-best performance by the actress. It’s never easy to play a drunk convincingly; you can look to some UK soap operas for proof of that, but she manages to pull it off exceptionally well.
Of the supporting cast, only Justin Theroux makes a lasting impact as Rachel’s ex-husband Tom, now living with his new wife Anna – a lacklustre Rebecca Ferguson. It would be unfair to sling too much mud at a very talented group of actors, but up against Blunt, there really is no comparison.
Elsewhere, the complex narrative of Paula Hawkins’ book translates to a rather messy filming style when viewed on the big screen. Continuous flashbacks from within Rachel’s mind are handled reasonably well by director Tate Taylor (The Help) and he manages to wrench everything together to stop the plot from becoming incoherent.
Unfortunately, The Girl on the Train is a victim of its own intense marketing campaign. The trailers have given away far too much for those who haven’t read the book and whilst the twists and turns aren’t immediately obvious, some of the Cluedo-esque fun has been removed. It’s clear Dreamworks wanted the film to resemble Gone Girl as much as possible, aiming to attract a similar audience, but this may have backfired slightly.
Overall, The Girl on the Train is a particularly faithful adaptation of the novel of the same name, held up by an intense and frankly incredible performance by Emily Blunt. Unfortunately, some of the film’s suspense has been lost by a poorly executed marketing campaign and as such it becomes a passable addition to the adult thriller genre. This year’s Gone Girl it is not.
https://moviemetropolis.net/2016/10/06/a-victim-of-its-marketing-the-girl-on-the-train-review/
And Fifty Shades of Grey may have its critics (me being one of them) but at least it appealed to those of us not interested in sharing cinema screens with rambling tweens. The finest of the adult genre? Well, that has to be Gone Girl. But now there’s a new kid on the block, ready to steal its crown. Is The Girl on the Train a worthy adversary?
Alcoholic Rachel Watson (Emily Blunt) catches daily glimpses of a seemingly perfect couple, Scott (Luke Evans) and Megan (Haley Bennett), from the window of her train. One day, Watson witnesses something shocking unfold in the garden of the strangers’ home. Rachel tells the authorities what she thinks she saw after learning Megan is missing. Unable to trust her memory, the troubled woman begins her own investigation, while police suspect that Rachel may have crossed a dangerous line.
Emily Blunt has become one of Hollywood’s finest actors, constantly adding new genres to her resume. From The Devil Wears Prada to Sicario and beyond, there is nothing she won’t try and The Girl on the Train is bolstered by a career-best performance by the actress. It’s never easy to play a drunk convincingly; you can look to some UK soap operas for proof of that, but she manages to pull it off exceptionally well.
Of the supporting cast, only Justin Theroux makes a lasting impact as Rachel’s ex-husband Tom, now living with his new wife Anna – a lacklustre Rebecca Ferguson. It would be unfair to sling too much mud at a very talented group of actors, but up against Blunt, there really is no comparison.
Elsewhere, the complex narrative of Paula Hawkins’ book translates to a rather messy filming style when viewed on the big screen. Continuous flashbacks from within Rachel’s mind are handled reasonably well by director Tate Taylor (The Help) and he manages to wrench everything together to stop the plot from becoming incoherent.
Unfortunately, The Girl on the Train is a victim of its own intense marketing campaign. The trailers have given away far too much for those who haven’t read the book and whilst the twists and turns aren’t immediately obvious, some of the Cluedo-esque fun has been removed. It’s clear Dreamworks wanted the film to resemble Gone Girl as much as possible, aiming to attract a similar audience, but this may have backfired slightly.
Overall, The Girl on the Train is a particularly faithful adaptation of the novel of the same name, held up by an intense and frankly incredible performance by Emily Blunt. Unfortunately, some of the film’s suspense has been lost by a poorly executed marketing campaign and as such it becomes a passable addition to the adult thriller genre. This year’s Gone Girl it is not.
https://moviemetropolis.net/2016/10/06/a-victim-of-its-marketing-the-girl-on-the-train-review/
Gareth von Kallenbach (965 KP) rated Midway (2019) in Movies
Nov 7, 2019
The events of December 7th 1941 left an indelible mark on the psyche of America and became a date that truly has lived in infamy. Though historians, authors, and filmmakers have attempted to analyze the events during and leading to the attack on Pearl Harbor; there is still a great deal of interest about the attack and the aftermath.
While Pearl Harbor was for many the opening shots of the U.S. entry into World War II; some would say that the stage was set earlier when the United States attempted to curtail what they saw as an aggressive and Imperialistic Japan by placing restrictions on their vital resources such as oil and the tonnage of their Navy.
In the new film “Midway” we are given a glimpse into this when four years before the attack, when Edwin Layton (Patrick Wilson) meets with Admiral Nagumo (Jun Kunimura) who lets him know that hardline factions in his government have been buoyed by their invasion of China and will do what is needed to make sure the vital oil that is supplied by the U.S. remains constant.
Flash forward to the day of the attack and Layton who has warned that an attack was possible at Pearl Harbor is seeing his worst predictions come true. In the aftermath he is assigned to Admiral Nimitz (Woody Harrelson); who has been given the thankless task of taking charge of what is left of the Pacific Fleet and finding a way to stop the Japanese fleet.
The U.S. finds themselves outnumbered, outgunned, and waging war with ships and planes that are inferior to the Japanese but they must find a way to overcome the great obstacles before them and defeat a relentless enemy.
Layton and a team of code breakers are convinced the Japanese intend to attack the island of Midway and go all in to set a trap with the goal of destroying the enemy carriers so the U.S. can gain an aerial advantage in the Pacific.
With a strong cast which features Luke Evans, Dennis Quaid, Mandy Moore, Aaron Eckhart, Nick Jonas and a fine supporting cast, Director Roland Emmerich has given audiences a gripping war movie that despite the impressive visual effects; never loses site of the fact that this is a story of real people who found themselves in pivotal moments of history.
The film also shows how the Japanese commanders had differing views of the Americans they fought. Some considered them to lack braveness while others admired their tenacity and were grateful that they had what they saw as inferior and outdated planes to attack them in.
The film also does a great job showing the Doolittle Raid and how what from a military standpoint caused minor damage yet was a huge psychological boost as Japan believed they were immune from attack yet the American forces found a way to bomb Tokyo by the impossible task of using land based bombers off a carrier.
The film is a great mix of human drama that shows not only the terrible toll of war but how a group of extraordinary individuals gave their all.
While Pearl Harbor was for many the opening shots of the U.S. entry into World War II; some would say that the stage was set earlier when the United States attempted to curtail what they saw as an aggressive and Imperialistic Japan by placing restrictions on their vital resources such as oil and the tonnage of their Navy.
In the new film “Midway” we are given a glimpse into this when four years before the attack, when Edwin Layton (Patrick Wilson) meets with Admiral Nagumo (Jun Kunimura) who lets him know that hardline factions in his government have been buoyed by their invasion of China and will do what is needed to make sure the vital oil that is supplied by the U.S. remains constant.
Flash forward to the day of the attack and Layton who has warned that an attack was possible at Pearl Harbor is seeing his worst predictions come true. In the aftermath he is assigned to Admiral Nimitz (Woody Harrelson); who has been given the thankless task of taking charge of what is left of the Pacific Fleet and finding a way to stop the Japanese fleet.
The U.S. finds themselves outnumbered, outgunned, and waging war with ships and planes that are inferior to the Japanese but they must find a way to overcome the great obstacles before them and defeat a relentless enemy.
Layton and a team of code breakers are convinced the Japanese intend to attack the island of Midway and go all in to set a trap with the goal of destroying the enemy carriers so the U.S. can gain an aerial advantage in the Pacific.
With a strong cast which features Luke Evans, Dennis Quaid, Mandy Moore, Aaron Eckhart, Nick Jonas and a fine supporting cast, Director Roland Emmerich has given audiences a gripping war movie that despite the impressive visual effects; never loses site of the fact that this is a story of real people who found themselves in pivotal moments of history.
The film also shows how the Japanese commanders had differing views of the Americans they fought. Some considered them to lack braveness while others admired their tenacity and were grateful that they had what they saw as inferior and outdated planes to attack them in.
The film also does a great job showing the Doolittle Raid and how what from a military standpoint caused minor damage yet was a huge psychological boost as Japan believed they were immune from attack yet the American forces found a way to bomb Tokyo by the impossible task of using land based bombers off a carrier.
The film is a great mix of human drama that shows not only the terrible toll of war but how a group of extraordinary individuals gave their all.
BankofMarquis (1832 KP) rated Midway (2019) in Movies
Aug 10, 2020
So bad...it's bad
There are times when you watch a film and you can just hear the conference room discussion that happened back at the studio before getting it green-lit...
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)