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Gareth von Kallenbach (971 KP) rated Cruella (2021) in Movies
May 26, 2021
Back in 1961; Disney adapted the 1056 Novel The Hundred and One Dalmatians and in doing so; crafted a beloved animated classic and introduced the world at large to Cruella De Vil. The film has not only endured but has spawned television series, a direct to video sequel, merchandise, and two live-action versions.
Despite being delayed due to the Pandemic; Disney has scheduled the much-anticipated “Cruella” for release and I am happy to announce that the film is a Wickedly Delicious new entry into the series.
The story follows young Estella as she and her mom plan to start a new life in London in the 1960s. When tragedy strikes, the young girl finds herself on the streets and working a life of crime and grift with fellow street kids Jasper and Horace.
Flash forward to the 1970s and Estella (Emma Stone) toils away in a store cleaning while hoping for her shot in the world of fashion. When fate arrives and places Estella in the path of vain, self-centered, and vicious fashion magnate The Baroness (Emma Thompson); who hires Estella to begin her career in fashion.
The savage way The Baroness treats those around her intimidates Estella but her friends Jasper (Joel Fry) and Horace (Paul Walter Hauser); see this as an opportunity to rob from The Baroness and this places them at odds with Estella as her designs start to gain traction.
When situations clarify and things begin to evolve into a mission of revenge; Estella transforms into Cruella which had long been the name associated with the darker side of her personality.
Cruella takes the fashion world by storm for her innovative looks, bold designs, and theatrical events which upstage the Baroness at major fashion events.
With her sales and reputation in decline, The Baroness declares war on Cruella which sets a dark and sinister series of events into motion which drives the film into darker content then one may expect from a Disney film.
The cast is very strong as Stone and Thompson are amazing as they are both wicked and captivating without ever going to far over the top or extreme with their characters. The supporting cast is great as well as Fry who was hysterical in the series Plebs brings a depth to Jasper which takes him above just being a stumbling sidekick.
Mark Strong also does great work and elevated all the scenes in which he was in with his strong presence. While at first I wondered if we really needed to have this part of Cruella’s life told; the story is engaging and the cast is fantastic which makes this movie dark and delightful.
While elements of it may not be ideal for younger viewers; the story was captivating and the performances were amazingly engaging.
The film ran about two hours and 10 minutes and seemed a bit long in one segment but the film does regroup brings the story home. There is a mid-credit scene audiences will want to stay for as it was an unexpected and very charming nod to what is to come and is not to be missed.
It will be interesting to see if the film is the hit that I expect it to be if Disney will consider more films in the series as it would be amazing to see this cast return for further wickedly dark adventures.
4 stars out of 5
Despite being delayed due to the Pandemic; Disney has scheduled the much-anticipated “Cruella” for release and I am happy to announce that the film is a Wickedly Delicious new entry into the series.
The story follows young Estella as she and her mom plan to start a new life in London in the 1960s. When tragedy strikes, the young girl finds herself on the streets and working a life of crime and grift with fellow street kids Jasper and Horace.
Flash forward to the 1970s and Estella (Emma Stone) toils away in a store cleaning while hoping for her shot in the world of fashion. When fate arrives and places Estella in the path of vain, self-centered, and vicious fashion magnate The Baroness (Emma Thompson); who hires Estella to begin her career in fashion.
The savage way The Baroness treats those around her intimidates Estella but her friends Jasper (Joel Fry) and Horace (Paul Walter Hauser); see this as an opportunity to rob from The Baroness and this places them at odds with Estella as her designs start to gain traction.
When situations clarify and things begin to evolve into a mission of revenge; Estella transforms into Cruella which had long been the name associated with the darker side of her personality.
Cruella takes the fashion world by storm for her innovative looks, bold designs, and theatrical events which upstage the Baroness at major fashion events.
With her sales and reputation in decline, The Baroness declares war on Cruella which sets a dark and sinister series of events into motion which drives the film into darker content then one may expect from a Disney film.
The cast is very strong as Stone and Thompson are amazing as they are both wicked and captivating without ever going to far over the top or extreme with their characters. The supporting cast is great as well as Fry who was hysterical in the series Plebs brings a depth to Jasper which takes him above just being a stumbling sidekick.
Mark Strong also does great work and elevated all the scenes in which he was in with his strong presence. While at first I wondered if we really needed to have this part of Cruella’s life told; the story is engaging and the cast is fantastic which makes this movie dark and delightful.
While elements of it may not be ideal for younger viewers; the story was captivating and the performances were amazingly engaging.
The film ran about two hours and 10 minutes and seemed a bit long in one segment but the film does regroup brings the story home. There is a mid-credit scene audiences will want to stay for as it was an unexpected and very charming nod to what is to come and is not to be missed.
It will be interesting to see if the film is the hit that I expect it to be if Disney will consider more films in the series as it would be amazing to see this cast return for further wickedly dark adventures.
4 stars out of 5
RəX Regent (349 KP) rated Star Wars: Episode III – Revenge of the Sith (2005) in Movies
Mar 7, 2019
Far, far away from it's potential...
Contains spoilers, click to show
After 22 years of waiting, since 1983′s "Return Of The Jedi", we were sat in the auditorium ready to witness the epic moment when Obi Wan Kenobi and Anakin Skywalker would finally turn on one and other and Darth Vader's conception would be complete.
As the 'Clone War' came to a close, the Jedi had been all but wiped of the face of a galaxy far, far away and Chancellor Palpatine had ascended to become the emperor of the newly formed 'Galactic Empire', that moment had finally arrived. Was it worth the wait? Well, since the bar had be not so much lowered, but obliterated by the the first two prequels, measured with those in mind, then yes, absolutely! In fact, it does stand up well, and on the initial viewing, it was outstanding. A visual feast or choreography, visual style and epic art direction, everything you would expect from the man who had changed cinema forever, 28 years earlier.
The only issue is that even though the fans wanted nothing more that to see this duel, the rest of the prequel franchise was merely filler, and a series of plots designed to delay the inevitable battle and to give the audience anything but what they had expected. But after a ridiculous 22 year wait, there was almost no good ideas left that hadn't been explored in two decades of fan fiction, leaving all the bad ones to be included in Lucus' second, no rather third rate scripts! We had been told that he was waiting for the technology to make these films, but what was he waiting for exactly? The technology to animate the, perhaps? The visual effects in these films, though sparkling and perfect in its details, are hollow and do not match the standards of the original films, and begs the question as to why not? Four years since the release of "Revenge Of The Sith", James Cameron would finally release a film which he had being developing the technology for, for over 10 years, ("Avatar") and the result: Groundbreaking cinema, in both the 3D and Mo-cap tech, raising the bar, as "Star Wars" had done three decades earlier.
But this film had restored something which the franchise had all but destroyed with episodes one and two. This finally felt something like the original films and was a joy to watch, even though it still falls short of the mark. The acting is poor in all the prequels, which account to Lucas' directorial style, favoring green screen and CGI over acting. But John William's score is first rate, as it has been throughout the entire saga, but this was both classic and moving, a score truly in touch with the audiences love and feeling towards the films, sadly devoid in most other aspects of the production.
That's not to say that technically this was well produced, because on paper, in the computers, and certainly in sound editing suites, it was perfect, with levels of audio visual detail to die for and the scope was awesome. But in the end, it is a hollow shell of what it should have been. "Episode III" though, is the most fulfilling of the three, but all of them rely of the decades of loyalty given to them, because without it, these would probably be laughed out of the auditoriums.
But having said all that, I enjoy this film, as a part of the saga, and still look forward to seeing it, and some of the sequences in this film , though far from perfectly realized, are fun and enjoyable. This is leagues below "Star Wars" and the superior "Empire Strikes Back", but still worth a watch.
As the 'Clone War' came to a close, the Jedi had been all but wiped of the face of a galaxy far, far away and Chancellor Palpatine had ascended to become the emperor of the newly formed 'Galactic Empire', that moment had finally arrived. Was it worth the wait? Well, since the bar had be not so much lowered, but obliterated by the the first two prequels, measured with those in mind, then yes, absolutely! In fact, it does stand up well, and on the initial viewing, it was outstanding. A visual feast or choreography, visual style and epic art direction, everything you would expect from the man who had changed cinema forever, 28 years earlier.
The only issue is that even though the fans wanted nothing more that to see this duel, the rest of the prequel franchise was merely filler, and a series of plots designed to delay the inevitable battle and to give the audience anything but what they had expected. But after a ridiculous 22 year wait, there was almost no good ideas left that hadn't been explored in two decades of fan fiction, leaving all the bad ones to be included in Lucus' second, no rather third rate scripts! We had been told that he was waiting for the technology to make these films, but what was he waiting for exactly? The technology to animate the, perhaps? The visual effects in these films, though sparkling and perfect in its details, are hollow and do not match the standards of the original films, and begs the question as to why not? Four years since the release of "Revenge Of The Sith", James Cameron would finally release a film which he had being developing the technology for, for over 10 years, ("Avatar") and the result: Groundbreaking cinema, in both the 3D and Mo-cap tech, raising the bar, as "Star Wars" had done three decades earlier.
But this film had restored something which the franchise had all but destroyed with episodes one and two. This finally felt something like the original films and was a joy to watch, even though it still falls short of the mark. The acting is poor in all the prequels, which account to Lucas' directorial style, favoring green screen and CGI over acting. But John William's score is first rate, as it has been throughout the entire saga, but this was both classic and moving, a score truly in touch with the audiences love and feeling towards the films, sadly devoid in most other aspects of the production.
That's not to say that technically this was well produced, because on paper, in the computers, and certainly in sound editing suites, it was perfect, with levels of audio visual detail to die for and the scope was awesome. But in the end, it is a hollow shell of what it should have been. "Episode III" though, is the most fulfilling of the three, but all of them rely of the decades of loyalty given to them, because without it, these would probably be laughed out of the auditoriums.
But having said all that, I enjoy this film, as a part of the saga, and still look forward to seeing it, and some of the sequences in this film , though far from perfectly realized, are fun and enjoyable. This is leagues below "Star Wars" and the superior "Empire Strikes Back", but still worth a watch.
Mike Wilder (20 KP) rated Rage (2009) in Movies
May 30, 2018
If you get the option to see this film you really should take the chance.
Contains spoilers, click to show
I started out making a blog for movie reviews a short while ago for the purpose of making reviews for fans. However, I didn't expect to be sent films to review so soon. I was put in touch with film maker Chris Witherspoon, he is promoting an independent film that he wrote, produced, directed and starred in called Rage. He sent me a copy and asked if I would review it for him. Happily I accepted. This is what being a film critic and reviewer is all about. Then I started to think, an independent film? There are a lot of them around and a lot of them are made by people that believe they possess the talent and ability to make a film, but in reality they fall far short of the mark. To get a good and unbiased opinion of the film I only watched the trailer for it, I left all the promotional material I received alone. The film arrived and with a fair amount of trepidation I put it on.
The film is about Dennis, a struggling writer with a loving wife Crystal (Audrey Walker) and a mistress Dana (Anna Lodej). Heading out one day he encounters a figure on a motorcycle in a car park. Pushing the encounter to one side he meets up with Dana. During the meeting he tells her that he loves his wife and breaks off the affair. She doesn't take it all that well. Once back in his car he encounters the biker again and this time the biker scratches his car and rides off. This leads to a game of cat and mouse, where at first Dennis hunts the biker down but the confrontations escalate and Dennis is soon in fear for his life. He now believes that the biker is a former boyfriend of his now ex-lover out for revenge. The biker arrives at Dennis's home and things turn deadly.
I went into this with a very open mind. I knew this was an independent film and I didn't expect too much from it. I find this is the best way to view new films. The film started off well with good introductions to the main characters but by the time the second encounter with the biker happened I found myself drawn in to the film. I forgot all about reviewing the film and got engrossed into the story. The film finished and not for a single moment did I feel bored. The pacing of the film is great, the story progresses well and the characters are well written and acted. The biker is menacing and all the more so because you don't really know his motives. The direction is professional and makes good use of lighting and colouring. The effects are very well utilised during the films climax. But the best thing about the movie was the way the story kept you guessing. I thought I had the plot figured out about 5 different times but each time I was wrong. That's what makes a good thriller/horror. There is one particular scene that was emotionally hard to watch but its place in the film drives the story and the terror forward to a new level.
You can see with this film that Chris Witherspoon is a very talented film maker. I wish him luck and hope this film has the desired effect and someone takes a chance on his abilities. I would love to see what he could to with a studio backing him. After all Spielberg started out with a movie called Duel about a truck pursuing and terrorising someone.
If you get the chance to see this film you really should take the chance. If you do you will see the start of hopefully a very successful film maker.
The film is about Dennis, a struggling writer with a loving wife Crystal (Audrey Walker) and a mistress Dana (Anna Lodej). Heading out one day he encounters a figure on a motorcycle in a car park. Pushing the encounter to one side he meets up with Dana. During the meeting he tells her that he loves his wife and breaks off the affair. She doesn't take it all that well. Once back in his car he encounters the biker again and this time the biker scratches his car and rides off. This leads to a game of cat and mouse, where at first Dennis hunts the biker down but the confrontations escalate and Dennis is soon in fear for his life. He now believes that the biker is a former boyfriend of his now ex-lover out for revenge. The biker arrives at Dennis's home and things turn deadly.
I went into this with a very open mind. I knew this was an independent film and I didn't expect too much from it. I find this is the best way to view new films. The film started off well with good introductions to the main characters but by the time the second encounter with the biker happened I found myself drawn in to the film. I forgot all about reviewing the film and got engrossed into the story. The film finished and not for a single moment did I feel bored. The pacing of the film is great, the story progresses well and the characters are well written and acted. The biker is menacing and all the more so because you don't really know his motives. The direction is professional and makes good use of lighting and colouring. The effects are very well utilised during the films climax. But the best thing about the movie was the way the story kept you guessing. I thought I had the plot figured out about 5 different times but each time I was wrong. That's what makes a good thriller/horror. There is one particular scene that was emotionally hard to watch but its place in the film drives the story and the terror forward to a new level.
You can see with this film that Chris Witherspoon is a very talented film maker. I wish him luck and hope this film has the desired effect and someone takes a chance on his abilities. I would love to see what he could to with a studio backing him. After all Spielberg started out with a movie called Duel about a truck pursuing and terrorising someone.
If you get the chance to see this film you really should take the chance. If you do you will see the start of hopefully a very successful film maker.
Emma @ The Movies (1786 KP) rated Bombshell (2019) in Movies
Jan 19, 2020
I had been wildly swaying between wanting and not wanting to see this, but Cineworld gave us an Unlimited Screening so of course I was going to go.
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
Bob Mann (459 KP) rated The Two Popes (2019) in Movies
Jan 26, 2020 (Updated Jan 26, 2020)
Fantastic performances from two old acting pros.
Being inaugurated as a new pope in the last century must have been a source of enormous pride. But there must also have been a nagging thought... at some point you are going to be paraded, stiff as a board, around your work courtyard before being taken back inside to your place of work and buried there!
All that changed in 2013 when Pope Benedict XVI resigned, the first pope to voluntarily do so since Pope Celestine V in 1294. (Pope Gregory XII also resigned in 1415, but he was effectively forced to).
This movie tells the story of that curious situation, when Cardinal Jorge Bergoglio (played by Jonathan Pryce) ended up as Pope Francis while Benedict (Anthony Hopkins) was still alive. The official reason for the pope's resignation appears to have been his advanced age. But the film paints a rather different picture.
The movie starts back in 2005 as we enter the papal conclave. Benedict (Cardinal Ratzinger, as was) is the highly-political German cardinal who desperately wants the papacy; Bergoglio is the highly respected Argentinian cardinal who doesn't seek the office but might have it thrust upon him. (Clearly, when the white smoke clears, history has dictated the outcome).
But flash forward to 2013 and Bergoglio will get another bite of the cherry. Is he worthy of the role? Through flashbacks we return to Perón's unsettling rule over Argentina and the events that made the man.
The two stars are simply outstanding together, and it's no surprise at all that both have been nominated in the Oscar acting categories. They are almost joint leads. But - perhaps to give the film its best awards-season shot - Pryce is down for Best Actor and Hopkins is down for Best Supporting Actor.
Anthony Hopkins in particular for me shone with the brilliant quietness and subtle facial movements that are the mark of a truly confident actor. Less is more.
I was enjoying this movie enormously up until we flashed back to the Argentinian sub-plot. Set in the time of Perón's "Dirty War" when a huge number of people - estimates range from 9,000 to 30,000 - simply went "missing". There's nothing wrong with this sequence of the film. For example, a reunion of Bergoglio with a persecuted priest, Father Jalics (Lisandro Fiks) - is brilliantly and movingly done. It's just that for me it seemed so disjointed. It was jarring to switch from this Evita-era drama to the gentle drama of the papal plot.
If the movie had been 30 minutes shorter and focused on the mental struggles of Benedict I would have preferred it. Curiously - we don't really get to fully understand his divergence from the faith. Bergoglio gets no end of back-story. But Ratzinger's is probably just as interesting, but not explored.
This is still a really fine movie and will appeal to older folks who like a story rich with character acting and not heavy on the action or special effects. The director is Fernando Meirelles (who interestingly directed the Rio Olympics opening ceremony!) and it's written by Anthony McCarten, the man behind the screenplays for "The Theory of Everything", "Darkest Hour" and "Bohemian Rhapsody".
You may still be able to find this in selected cinemas (e.g. Curzon) but it is also streaming on Netflix, which is where I had to watch it.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/26/one-manns-movies-film-review-the-two-popes-2019/ ).
All that changed in 2013 when Pope Benedict XVI resigned, the first pope to voluntarily do so since Pope Celestine V in 1294. (Pope Gregory XII also resigned in 1415, but he was effectively forced to).
This movie tells the story of that curious situation, when Cardinal Jorge Bergoglio (played by Jonathan Pryce) ended up as Pope Francis while Benedict (Anthony Hopkins) was still alive. The official reason for the pope's resignation appears to have been his advanced age. But the film paints a rather different picture.
The movie starts back in 2005 as we enter the papal conclave. Benedict (Cardinal Ratzinger, as was) is the highly-political German cardinal who desperately wants the papacy; Bergoglio is the highly respected Argentinian cardinal who doesn't seek the office but might have it thrust upon him. (Clearly, when the white smoke clears, history has dictated the outcome).
But flash forward to 2013 and Bergoglio will get another bite of the cherry. Is he worthy of the role? Through flashbacks we return to Perón's unsettling rule over Argentina and the events that made the man.
The two stars are simply outstanding together, and it's no surprise at all that both have been nominated in the Oscar acting categories. They are almost joint leads. But - perhaps to give the film its best awards-season shot - Pryce is down for Best Actor and Hopkins is down for Best Supporting Actor.
Anthony Hopkins in particular for me shone with the brilliant quietness and subtle facial movements that are the mark of a truly confident actor. Less is more.
I was enjoying this movie enormously up until we flashed back to the Argentinian sub-plot. Set in the time of Perón's "Dirty War" when a huge number of people - estimates range from 9,000 to 30,000 - simply went "missing". There's nothing wrong with this sequence of the film. For example, a reunion of Bergoglio with a persecuted priest, Father Jalics (Lisandro Fiks) - is brilliantly and movingly done. It's just that for me it seemed so disjointed. It was jarring to switch from this Evita-era drama to the gentle drama of the papal plot.
If the movie had been 30 minutes shorter and focused on the mental struggles of Benedict I would have preferred it. Curiously - we don't really get to fully understand his divergence from the faith. Bergoglio gets no end of back-story. But Ratzinger's is probably just as interesting, but not explored.
This is still a really fine movie and will appeal to older folks who like a story rich with character acting and not heavy on the action or special effects. The director is Fernando Meirelles (who interestingly directed the Rio Olympics opening ceremony!) and it's written by Anthony McCarten, the man behind the screenplays for "The Theory of Everything", "Darkest Hour" and "Bohemian Rhapsody".
You may still be able to find this in selected cinemas (e.g. Curzon) but it is also streaming on Netflix, which is where I had to watch it.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/26/one-manns-movies-film-review-the-two-popes-2019/ ).
Ivana A. | Diary of Difference (1171 KP) rated Lord Of Shadows in Books
Feb 3, 2020
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I was lucky enough to be approached by LoveReading to review and join the blog tour for The Dark Artifices series by Cassandra Clare. Starting today, and posting every Wednesday, you will get to see what I thought about this series.
<b><i>Series: The Dark Artifices</i></b>
#1 <a href="https://www.goodreads.com/review/show/2843390110">Lady Midnight</a> - ★★★★
#2 <a href="https://www.goodreads.com/review/show/2865130437">Lord of Shadows</a> - ★★★★★
#3 <a href="https://www.goodreads.com/review/show/2865131320">Queen of Air and Darkness</a> - ★★★★★
<img src="https://i2.wp.com/diaryofdifference.com/wp-content/uploads/2019/06/Book-Review-Banner-5.png?ssl=1&w=510"/>;
Welcome back to the sequel of The Dark Artifices series. After reading the first book and getting to know all the new characters, the second book contained by far more detail and more adventures throughout.
The book starts where it left all, after the team defeats Malcolm, but now new dangers arise, as sea demons start summoning, and the Faeries, as usual, are planning some mischief.
Emma, as you might have guessed, is still my favourite. But, this time, we got to see more about the ”little children”, Kit, Ty and Livvy. As I kept reading and finding out more about them, I realised them I loved them more and more every single page.
I loved how Cassandra Clare managed to put differences aside, and teach us how it’s okay to be different and you will be accepted by the real friends in your life. While Ty is autistic and unique in his own way, he is accepted and loved by his family and friends, and his uniqueness makes him lovable character to all readers as well.
<b><i>We fear things because we value them. We fear losing people because we love them. We fear dying because we value being alive. Don’t wish you didn’t fear anything. All that would mean is that you didn’t feel anything. </i></b>
The best part of the book for me was everything that had to do with Faerie land. All the writing about how beautiful, but at the same time dangerous it is just made me want it more and more. So beautiful, and yet so cruel. A world where you get enchanted and then hurt, a world where time is irrelevant and beauty is forever.
Mark and Christina’s dance was one of the moments I will cherish forever in this book, and I don’t fall easily for romantic scenes.
Lord of Shadows was amazing, with so many adventures and different plots and character developments throughout. We have a lot of characters, and they all develop in their own way, and we get all their backgrounds and feelings, and actions that make them grow in a certain way, and each of these moments was precious to me in a different way, but all the same. We have Emma seeing her father (or an illusion of it) and having to kill him. Then there is her forbidden love to Julian. We have Kit, the lost Herondale and how he slowly fits into the academy. And most importantly, we have Magnus appearing in the book with Alec, and singing Spanish lullabies to his son.
So many amazing moments, too many bookmarks, and only one feeling of love towards everything Shadowhunter-y. I can’t wait to dive into the next book. Looking forward to it!
<img src="https://i1.wp.com/diaryofdifference.com/wp-content/uploads/2019/07/Lord-of-Shadows-1.jpg?w=1920&ssl=1"/>;
I was lucky enough to be approached by LoveReading to review and join the blog tour for The Dark Artifices series by Cassandra Clare. Starting today, and posting every Wednesday, you will get to see what I thought about this series.
<b><i>Series: The Dark Artifices</i></b>
#1 <a href="https://www.goodreads.com/review/show/2843390110">Lady Midnight</a> - ★★★★
#2 <a href="https://www.goodreads.com/review/show/2865130437">Lord of Shadows</a> - ★★★★★
#3 <a href="https://www.goodreads.com/review/show/2865131320">Queen of Air and Darkness</a> - ★★★★★
<img src="https://i2.wp.com/diaryofdifference.com/wp-content/uploads/2019/06/Book-Review-Banner-5.png?ssl=1&w=510"/>;
Welcome back to the sequel of The Dark Artifices series. After reading the first book and getting to know all the new characters, the second book contained by far more detail and more adventures throughout.
The book starts where it left all, after the team defeats Malcolm, but now new dangers arise, as sea demons start summoning, and the Faeries, as usual, are planning some mischief.
Emma, as you might have guessed, is still my favourite. But, this time, we got to see more about the ”little children”, Kit, Ty and Livvy. As I kept reading and finding out more about them, I realised them I loved them more and more every single page.
I loved how Cassandra Clare managed to put differences aside, and teach us how it’s okay to be different and you will be accepted by the real friends in your life. While Ty is autistic and unique in his own way, he is accepted and loved by his family and friends, and his uniqueness makes him lovable character to all readers as well.
<b><i>We fear things because we value them. We fear losing people because we love them. We fear dying because we value being alive. Don’t wish you didn’t fear anything. All that would mean is that you didn’t feel anything. </i></b>
The best part of the book for me was everything that had to do with Faerie land. All the writing about how beautiful, but at the same time dangerous it is just made me want it more and more. So beautiful, and yet so cruel. A world where you get enchanted and then hurt, a world where time is irrelevant and beauty is forever.
Mark and Christina’s dance was one of the moments I will cherish forever in this book, and I don’t fall easily for romantic scenes.
Lord of Shadows was amazing, with so many adventures and different plots and character developments throughout. We have a lot of characters, and they all develop in their own way, and we get all their backgrounds and feelings, and actions that make them grow in a certain way, and each of these moments was precious to me in a different way, but all the same. We have Emma seeing her father (or an illusion of it) and having to kill him. Then there is her forbidden love to Julian. We have Kit, the lost Herondale and how he slowly fits into the academy. And most importantly, we have Magnus appearing in the book with Alec, and singing Spanish lullabies to his son.
So many amazing moments, too many bookmarks, and only one feeling of love towards everything Shadowhunter-y. I can’t wait to dive into the next book. Looking forward to it!
Gareth von Kallenbach (971 KP) rated Seven Psychopaths (2012) in Movies
Aug 7, 2019
Unfamiliar with writer and director Martin McDonagh’s previous gangster film In Burges, I was not exactly sure what I was getting into when watching Seven Psychopaths. I had seen a few trailers and was looking forward to what looked like a quirky new movie that I hoped delivered at least a few solid one-liners but was not expecting much more. Well, I am delighted to say that McDonagh delivers a fantastic self-referential crime caper that is one part Pulp Fiction and one part a meta episode of NBC’s TV show Community.
This self-aware film has a story that is hilarious in its antics and creates a world where these characters come to life. Colin Farrell (In Burges) plays Marty, an alcoholic film writer suffering from a terrible case of writer’s block. He has the title for his next film Seven Psychopaths but little more. However in spite of what the title suggest, Marty does not want his film to be violent. He wants his main psychopath to love more than kill, whch is what appears to be giving Marty the writing block in the first place. Enter Marty’s good friend Bill played by Sam Rockwell (Iron Man 2). In an effort to help Marty find inspiration for the characters in his story, Billy encourages and informs Marty of various psychopathic stories he is aware of. He even goes so far as putting a “psycho story” want ad in the paper, asking psycho’s to come to Marty’s house and tell their story. This causes Marty to spend the length of the film trying to create the characters for his story from the crazy interactions going on around him.
While based on “real life” people, these characters are introduced through individual dramatized stories about them complete with glorified over the top cartoon like violence that hits home as visual comedy. From the Quaker psychopath who stalks his daughter’s killer, to the psychopath who spent his youth killing other psycho killers, to the Vietnamese Psychopath who just seems crazy for most of the movie. These stories give us a glimpse into the psychopathic mind of Marty and friends and help create a visual world where anything seems possible from these characters.
In addition to these characters, Marty has to deal with a “real life” shih-tzu-loving psycho gangster Charlie played by Woody Harrelson (Natural Born Killers), when Billy and friend Hans (Christopher Walken, Poolhall Junkies) “accidently” kidnap Charlie’s dog in their regular dog-napping scheme to collect a found reward from owners. This interaction with Charlie helps Marty, Billy and Hans figure out the story to Seven Psychopaths that borrows from their own in-film “real life” experience.
The ensemble cast all hit their mark in his film. Each shows us enough of their characters to fit their quirky stereotypes but gives us something memorable about each. No more is this shown through Rockwell’s performance of Billy that builds on his lunacy throughout the film until his shining moment, a scene where he is telling Marty how he would finish his story. In addition, Walken delivers his best performance in years with his traditional over the top serious but hysterical Walken Style. Any fan of his should not miss this film.
Seven Psychopaths turned out to be an enjoyable experience and thrill ride from start to finish. The ensemble cast breathes life into the crazy characters that help move along the action. It is a film that is self-aware and does not take its self too seriously. As such, we are delivered an eccentric but entertaining film experience that anyone looking for a change of pace should not miss.
This self-aware film has a story that is hilarious in its antics and creates a world where these characters come to life. Colin Farrell (In Burges) plays Marty, an alcoholic film writer suffering from a terrible case of writer’s block. He has the title for his next film Seven Psychopaths but little more. However in spite of what the title suggest, Marty does not want his film to be violent. He wants his main psychopath to love more than kill, whch is what appears to be giving Marty the writing block in the first place. Enter Marty’s good friend Bill played by Sam Rockwell (Iron Man 2). In an effort to help Marty find inspiration for the characters in his story, Billy encourages and informs Marty of various psychopathic stories he is aware of. He even goes so far as putting a “psycho story” want ad in the paper, asking psycho’s to come to Marty’s house and tell their story. This causes Marty to spend the length of the film trying to create the characters for his story from the crazy interactions going on around him.
While based on “real life” people, these characters are introduced through individual dramatized stories about them complete with glorified over the top cartoon like violence that hits home as visual comedy. From the Quaker psychopath who stalks his daughter’s killer, to the psychopath who spent his youth killing other psycho killers, to the Vietnamese Psychopath who just seems crazy for most of the movie. These stories give us a glimpse into the psychopathic mind of Marty and friends and help create a visual world where anything seems possible from these characters.
In addition to these characters, Marty has to deal with a “real life” shih-tzu-loving psycho gangster Charlie played by Woody Harrelson (Natural Born Killers), when Billy and friend Hans (Christopher Walken, Poolhall Junkies) “accidently” kidnap Charlie’s dog in their regular dog-napping scheme to collect a found reward from owners. This interaction with Charlie helps Marty, Billy and Hans figure out the story to Seven Psychopaths that borrows from their own in-film “real life” experience.
The ensemble cast all hit their mark in his film. Each shows us enough of their characters to fit their quirky stereotypes but gives us something memorable about each. No more is this shown through Rockwell’s performance of Billy that builds on his lunacy throughout the film until his shining moment, a scene where he is telling Marty how he would finish his story. In addition, Walken delivers his best performance in years with his traditional over the top serious but hysterical Walken Style. Any fan of his should not miss this film.
Seven Psychopaths turned out to be an enjoyable experience and thrill ride from start to finish. The ensemble cast breathes life into the crazy characters that help move along the action. It is a film that is self-aware and does not take its self too seriously. As such, we are delivered an eccentric but entertaining film experience that anyone looking for a change of pace should not miss.
Bob Mann (459 KP) rated Denial (2016) in Movies
Sep 29, 2021
Jewry Trial.
It’s the mid-90’s and Deborah Lipstadt (Rachael Weisz, “The Lobster“), an American professor of Holocaust studies at a US university has written a book naming and shaming David Irving (Timothy Spall, “Mr Turner”) as a Nazi-apologist who denies that the Holocaust ever happened. Filing a law suit against Penguin Books and Lipstadt in the UK, Lipstadt chooses to fight rather than settle and takes the case to the High Courts in a much publicised trial.
Help is required and Lipstadt is assigned a hot-shot solicitor (if that’s not an oxymoron) in the form of Anthony Julius (Andrew Scott, “Sherlock”) and top barrister Richard Rampton (Tom Wilkinson, “Selma“). The stage is set for an epic legal battle that will establish not just legal precedent but also historical precedent affecting the entire Jewish people.
This film’s trailer really appealed to me, and I was looking forward to this film. And that view clearly also got through to people of my age bracket (and older) since the cinema was pretty full. But ultimately I was disappointed by the film.
But first the good points.
The cinematography by Haris Zambarloukos (“Thor”, “Mamma Mia”) is memorable, particularly for the Auschwitz tour which is done in an impressively bleak way on an astoundingly bleak winter’s day.
Andrew Scott, so woefully miscast as “C” in “Spectre“, here is a nice shoo-in for the cocksure but aloof expert. And Tom Wilkinson, who can seldom put a movie foot wrong, is also perfectly cast as the claret-swigging defence-lead: passionless and analytical even when facing the horrors of a trip to Auschwitz.
Timothy Spall’s Irving is well portrayed as the intelligent and articulate – albeit deluded – eccentric he no doubt is.
There are also some nice cameo performances, including John Sessions (“Florence Foster Jenkins“) as an Oxbridge history boffin and Mark Gatiss (“Sherlock”) as an Auschwitz expert.
However, these positives don’t outweigh the big negative that the broader ensemble cast never really gels together well. The first time this is evident is in an office meeting of the defence team where the interactions have a sheen of falseness about them that is barely hidden behind some weak script and forced nervous laughter. Tea can’t help.
In particular, attractive Kiwi actress Caren Pistorius (“The Light Between Oceans“) seems to have been given a poor hand to play with as the junior member of the team. A late night interaction with her boyfriend, who whinges at her for having to work late, seems to be taken from a more sexist age: “the 70’s called and they want their script back”.
None of this is helped by Rachel Weisz, who I’m normally a fan of, but here she is hindered by some rather dodgy lines by David Hare (“The Reader”) and an unconvincing (well, to me at least) New York accent. For me I’m afraid she just doesn’t seem to adequately convey her passion for the cause.
While the execution of the court scenes are well done, the film is hampered by its opening five words: “Based on a True Story”. This is something of a disease at the moment in the movies, and whilst in many films (the recent “Lion” for example) the story is in the journey rather than the result, with “Denial” the story is designed to build to a tense result that unfortunately lacks any sort of tension – since the result is pre-ordained.
This is all a great shame, since director Mick Jackson (“LA Story”, in his first feature for nearly 15 years) has the potential here for a great movie. Perhaps a more fictionalised version (“vaguely based on a true story”) might have provided more of a foundation for a better film?
Help is required and Lipstadt is assigned a hot-shot solicitor (if that’s not an oxymoron) in the form of Anthony Julius (Andrew Scott, “Sherlock”) and top barrister Richard Rampton (Tom Wilkinson, “Selma“). The stage is set for an epic legal battle that will establish not just legal precedent but also historical precedent affecting the entire Jewish people.
This film’s trailer really appealed to me, and I was looking forward to this film. And that view clearly also got through to people of my age bracket (and older) since the cinema was pretty full. But ultimately I was disappointed by the film.
But first the good points.
The cinematography by Haris Zambarloukos (“Thor”, “Mamma Mia”) is memorable, particularly for the Auschwitz tour which is done in an impressively bleak way on an astoundingly bleak winter’s day.
Andrew Scott, so woefully miscast as “C” in “Spectre“, here is a nice shoo-in for the cocksure but aloof expert. And Tom Wilkinson, who can seldom put a movie foot wrong, is also perfectly cast as the claret-swigging defence-lead: passionless and analytical even when facing the horrors of a trip to Auschwitz.
Timothy Spall’s Irving is well portrayed as the intelligent and articulate – albeit deluded – eccentric he no doubt is.
There are also some nice cameo performances, including John Sessions (“Florence Foster Jenkins“) as an Oxbridge history boffin and Mark Gatiss (“Sherlock”) as an Auschwitz expert.
However, these positives don’t outweigh the big negative that the broader ensemble cast never really gels together well. The first time this is evident is in an office meeting of the defence team where the interactions have a sheen of falseness about them that is barely hidden behind some weak script and forced nervous laughter. Tea can’t help.
In particular, attractive Kiwi actress Caren Pistorius (“The Light Between Oceans“) seems to have been given a poor hand to play with as the junior member of the team. A late night interaction with her boyfriend, who whinges at her for having to work late, seems to be taken from a more sexist age: “the 70’s called and they want their script back”.
None of this is helped by Rachel Weisz, who I’m normally a fan of, but here she is hindered by some rather dodgy lines by David Hare (“The Reader”) and an unconvincing (well, to me at least) New York accent. For me I’m afraid she just doesn’t seem to adequately convey her passion for the cause.
While the execution of the court scenes are well done, the film is hampered by its opening five words: “Based on a True Story”. This is something of a disease at the moment in the movies, and whilst in many films (the recent “Lion” for example) the story is in the journey rather than the result, with “Denial” the story is designed to build to a tense result that unfortunately lacks any sort of tension – since the result is pre-ordained.
This is all a great shame, since director Mick Jackson (“LA Story”, in his first feature for nearly 15 years) has the potential here for a great movie. Perhaps a more fictionalised version (“vaguely based on a true story”) might have provided more of a foundation for a better film?
Gareth von Kallenbach (971 KP) rated Fantastic Four (2015) in Movies
Jun 19, 2019
If you hold the film rights to an iconic and beloved comic book series, one would think you would do everything possible to see that it flourishes under you watch. For 29th Century Fox, The Fantastic Four is an asset that should be a gem of their studio as the long-running Marvel comic series has had legions of fans for generations.
The previous two films did well enough but still had their detractors amongst the fans. So, Fox opted for a hiatus and then a radical reboot of the series complete with casting choices that were considered very questionable.
The new version features Miles Teller as Reed Richards, a young man obsessed with teleportation to the point that his teachers and other students laugh at him for his odd and obsessive ways.
His only friend is Ben Grimm (Jamie Bell), who despite a lack of scientific knowledge supports Reed in his efforts which eventually allow him to be recruited by Dr. Franklin Storm (Reg E. Cathey), who discloses that he is working on a large scale teleportation device and seeing how Reed pulled it off with a device he made in his garage, is eager to see what he can do at a fully-funded facility.
Reed meets Franklins adopted daughter Sue (Kate Mara), as well as his son Johnny (Michael B. Jordan), while they work with the mercurial Victor Von Doom (Toby Kebbell), to complete the device.
When the team finds success, they are horrified to learn that the government plans to take over control of the project so Ben, Victor, Johnny, and Reed opt to use it themselves to visit the other dimension in order to leave their mark in history.
Things at first go well but when a mysterious force envelops them, odd things start to happen when they return home. Reed is capable of stretching himself, Johnny is a living fire, Ben is covered in rocks, and Sue is phasing in and out.
Flashing forward the group is under the watch of the government and Reed has fled not wanting to be a part of whatever is going on. Ben is used for special operations and blames Reed for abandoning them as Sue and Johnny are prepped for the field.
Now one would think a setup like this has some potential at the very least for some action and great FX. Sadly the film lurches ahead fairly light on action. The threat to the film appears, and within 10 minutes has moved to a fairly underwhelming final conflict that is so obviously done in front of a Green Screen that it loses much of the intended impact.
The best I can say for the film is that it is a forgettable and flawed film that tries to launch a new franchise in a new way. But the casting choices in the film are so wrong, that it undermines it at every step. Setting aside the debate over an African American Johnny Storm, Miles Teller is so bland; he just does not scream leading man or driving force behind the team.
The same can be said for pretty much the entire cast. The backstories hint at various things but their actions conflict several aspects of the film which to be honest are fairly forgettable.
The entire movie is like watching a Jr. College Fan Film where the cast has a Green Screen and studio funding, but not a clue on how to carry out a story, modern action sequences of character development.
Fox needs to take a serious page from Sony and work with Marvel if they are going to continue this franchise, or return the rights to Marvel so fans can finally get a film that does justice to the source material.
I am glad that Director Josh Trank is no longer associated with the pending Star Wars film as this movie is a train wreck that spits all over the history and legacy of the source material.
http://sknr.net/2015/08/07/the-fantastic-four/
The previous two films did well enough but still had their detractors amongst the fans. So, Fox opted for a hiatus and then a radical reboot of the series complete with casting choices that were considered very questionable.
The new version features Miles Teller as Reed Richards, a young man obsessed with teleportation to the point that his teachers and other students laugh at him for his odd and obsessive ways.
His only friend is Ben Grimm (Jamie Bell), who despite a lack of scientific knowledge supports Reed in his efforts which eventually allow him to be recruited by Dr. Franklin Storm (Reg E. Cathey), who discloses that he is working on a large scale teleportation device and seeing how Reed pulled it off with a device he made in his garage, is eager to see what he can do at a fully-funded facility.
Reed meets Franklins adopted daughter Sue (Kate Mara), as well as his son Johnny (Michael B. Jordan), while they work with the mercurial Victor Von Doom (Toby Kebbell), to complete the device.
When the team finds success, they are horrified to learn that the government plans to take over control of the project so Ben, Victor, Johnny, and Reed opt to use it themselves to visit the other dimension in order to leave their mark in history.
Things at first go well but when a mysterious force envelops them, odd things start to happen when they return home. Reed is capable of stretching himself, Johnny is a living fire, Ben is covered in rocks, and Sue is phasing in and out.
Flashing forward the group is under the watch of the government and Reed has fled not wanting to be a part of whatever is going on. Ben is used for special operations and blames Reed for abandoning them as Sue and Johnny are prepped for the field.
Now one would think a setup like this has some potential at the very least for some action and great FX. Sadly the film lurches ahead fairly light on action. The threat to the film appears, and within 10 minutes has moved to a fairly underwhelming final conflict that is so obviously done in front of a Green Screen that it loses much of the intended impact.
The best I can say for the film is that it is a forgettable and flawed film that tries to launch a new franchise in a new way. But the casting choices in the film are so wrong, that it undermines it at every step. Setting aside the debate over an African American Johnny Storm, Miles Teller is so bland; he just does not scream leading man or driving force behind the team.
The same can be said for pretty much the entire cast. The backstories hint at various things but their actions conflict several aspects of the film which to be honest are fairly forgettable.
The entire movie is like watching a Jr. College Fan Film where the cast has a Green Screen and studio funding, but not a clue on how to carry out a story, modern action sequences of character development.
Fox needs to take a serious page from Sony and work with Marvel if they are going to continue this franchise, or return the rights to Marvel so fans can finally get a film that does justice to the source material.
I am glad that Director Josh Trank is no longer associated with the pending Star Wars film as this movie is a train wreck that spits all over the history and legacy of the source material.
http://sknr.net/2015/08/07/the-fantastic-four/
Bob Mann (459 KP) rated Lucy in the Sky (2019) in Movies
Mar 9, 2020
Natalie Portman and Jon Hamm together (1 more)
Interesting premise
Mind. Blown - A thoughtful film that's hard to like.
Natalie Portman plays the eponymous Lucy Cola, a NASA astronaut who has achieved her ambition of reaching space and experienced the enormity of the universe first hand. Her mind is officially blown. Such that, on returning to earth, nothing seems ‘enough’ any more. Her family; her comfortable home; her life.
She becomes desperate to be selected for the next program… to get that literal) ‘high’ all over again. So desperate that her mind and morals burn up on trying to re-enter.
You look at the career choices of Natalie Portman, and they have often revolved around cool and detached woman: “Black Swan” and “Jackie” for example. Here, looking incredibly fit and strong (as you would expect from an astronaut at the peak of her powers) , she again plays something of an ice queen. She is – of course – brilliant at it.
Starring with her here is the ever-watchable Jon Hamm as fellow astronaut Mark Goodwin, the omni-present – at the moment – Zazie Beetz as a fellow program competitor and Dan Stevens (from “Downton”) as her exasperated colleague and husband Drew. (Stevens was COMPLETELY UNRECOGNISABLE to me in this movie…. just like in “Beauty and the Beast“! To the extent that I had to wind back the film from the end-titles after seeing his name to check!).
This was always a film that was going to struggle to identify its audience. Yes, it starts in space, but it is in NO WAY a “Sci-Fi” movie (which is one of its tags on IMDB. Shameful!). This is a drama about a woman progressively losing her grip on reality: almost a PTSD movie, but without the “S” being “T” in the normal sense of things.
Lucy’s ‘other-worldliness’ is reflected in the aspect ratio of the movie, which varies from a claustrophobic ‘old-TV’ format 4:3 ratio to a ratio bordering on ‘Cinemascope’. (This makes for a very challenging watch on a small airline TV screen, as I was doing!). It’s a motif that’s obviously meant to reflect Lucy’s drifting grip on reality. But it eventually gets irritating…. I had the sense that first-time feature director Noah Hawley was ‘trying too hard’ for something quirky and different.
Far more successful is a ‘green-screened’ trippy sequence seeing Lucy being transported to a hospital bedside to the rendition of The Beatles iconic song, performed by Lucy Hannigan (listen here). It’s dreamlike and unsettling. In fact, one of the high-spots of the movie for me was Jeff Russo‘s score, which I have made a mental note to make sure to listen to again on Spotify. It’s more electronica than orchestral but matches the mood of the film really well.
But, here’s the thing. I didn’t enjoy it. The problem is (and no spoilers here) that Portman’s Lucy is such a downright BITCH that it is impossible to warm to her as the movie’s star. There is, in fact, only one of the characters that you really side with, and she’s the one doing the most damage to them.
This shouldn’t be a problem to the story, since the film is reflecting (loosely) true events: the astronauts in question were Lisa Nowak and William Oefelein. And there are lots of ‘feel-bad’ films about mental illness (“One Flew over the Cuckoo’s Nest”, for example) that stand on their own merits. But this one just seemed to be a fairly miserable and destructive story that didn’t have enough of a payoff – either positive or negative – to merit the journey.
This was disappointing, since after hearing the premise, I’d been looking forward to this one.
For those who love movies, and the way movies are structured, it is an interesting watch. But it is not by any stretch an entertaining mainstream movie. The director Noah Hawley will need to do better in the “commercially-appealing” stakes for his next film: since he’s been (rather surprisingly) given the helm for the sequel to “Star Trek: Beyond“.
(For the full graphical review, check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/03/09/one-manns-movies-dvd-review-lucy-in-the-sky-2019/ ).
She becomes desperate to be selected for the next program… to get that literal) ‘high’ all over again. So desperate that her mind and morals burn up on trying to re-enter.
You look at the career choices of Natalie Portman, and they have often revolved around cool and detached woman: “Black Swan” and “Jackie” for example. Here, looking incredibly fit and strong (as you would expect from an astronaut at the peak of her powers) , she again plays something of an ice queen. She is – of course – brilliant at it.
Starring with her here is the ever-watchable Jon Hamm as fellow astronaut Mark Goodwin, the omni-present – at the moment – Zazie Beetz as a fellow program competitor and Dan Stevens (from “Downton”) as her exasperated colleague and husband Drew. (Stevens was COMPLETELY UNRECOGNISABLE to me in this movie…. just like in “Beauty and the Beast“! To the extent that I had to wind back the film from the end-titles after seeing his name to check!).
This was always a film that was going to struggle to identify its audience. Yes, it starts in space, but it is in NO WAY a “Sci-Fi” movie (which is one of its tags on IMDB. Shameful!). This is a drama about a woman progressively losing her grip on reality: almost a PTSD movie, but without the “S” being “T” in the normal sense of things.
Lucy’s ‘other-worldliness’ is reflected in the aspect ratio of the movie, which varies from a claustrophobic ‘old-TV’ format 4:3 ratio to a ratio bordering on ‘Cinemascope’. (This makes for a very challenging watch on a small airline TV screen, as I was doing!). It’s a motif that’s obviously meant to reflect Lucy’s drifting grip on reality. But it eventually gets irritating…. I had the sense that first-time feature director Noah Hawley was ‘trying too hard’ for something quirky and different.
Far more successful is a ‘green-screened’ trippy sequence seeing Lucy being transported to a hospital bedside to the rendition of The Beatles iconic song, performed by Lucy Hannigan (listen here). It’s dreamlike and unsettling. In fact, one of the high-spots of the movie for me was Jeff Russo‘s score, which I have made a mental note to make sure to listen to again on Spotify. It’s more electronica than orchestral but matches the mood of the film really well.
But, here’s the thing. I didn’t enjoy it. The problem is (and no spoilers here) that Portman’s Lucy is such a downright BITCH that it is impossible to warm to her as the movie’s star. There is, in fact, only one of the characters that you really side with, and she’s the one doing the most damage to them.
This shouldn’t be a problem to the story, since the film is reflecting (loosely) true events: the astronauts in question were Lisa Nowak and William Oefelein. And there are lots of ‘feel-bad’ films about mental illness (“One Flew over the Cuckoo’s Nest”, for example) that stand on their own merits. But this one just seemed to be a fairly miserable and destructive story that didn’t have enough of a payoff – either positive or negative – to merit the journey.
This was disappointing, since after hearing the premise, I’d been looking forward to this one.
For those who love movies, and the way movies are structured, it is an interesting watch. But it is not by any stretch an entertaining mainstream movie. The director Noah Hawley will need to do better in the “commercially-appealing” stakes for his next film: since he’s been (rather surprisingly) given the helm for the sequel to “Star Trek: Beyond“.
(For the full graphical review, check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/03/09/one-manns-movies-dvd-review-lucy-in-the-sky-2019/ ).
