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LeftSideCut (3776 KP) rated Midnight Mass in TV
Nov 11, 2021
It's a rare thing indeed that I'm left in stunned silence when the credits start to to roll. Midnight Mass was one of those occasions (actually, due to its episodic format, this happened more than once)
This limited series is pretty much perfect in every way. For starters, every single piece of dialogue feels important. There are plenty of lengthy moments of talking, and most of these scenes are completely engaging, dripping with character development. In fact, every character we see throughout the show is given just the right amount of backstory, and I found myself profusely invested in all of them. The way these characters are crafted lead to a plethora of emotional moments. By the time the final scene rolls around, I was exhausted, but in a good and wholly fulfilling way.
The narrative in wonderfully paced. The horror element is present from the start, but is subtle to begin with, focusing on the island setting and the people that live there. The mysteries of the plot are drip fed and intriguing. When the twist and turns start to hit, it gives way to an unsettling horror-thriller with religion right at the centre. I'm a sucker for religious horror, and Midnight Mass is surely the new reigning champion of this particular sub genre. The way that this small island town finds themselves in the grip of a "full blown religious revival" as one of the characters puts it, manages to feel miraculous, warming, and eventually terrifying, all at once. Spearheading said revival is Father Paul, one of the most charismatic bastards ever commited to screen, and portrayed with aplomb by Hamish Linklater. He chews up every scene he is in and delivers some staggering monologues. His right hand, Bev Keane, is another highlight. Samantha Sloyan gives us hugely contemptible antagonist. The whole cast is nothing short of excellent, but these two in particular steal the whole show.
On top of all of this, every episode is shot beautifully. It's stunning to look at from start to finish. The music score is fantastic as well, especially the hymns. The use of them leads to some overwhelmingly powerful moments (especially in the final episode), and all of these positives combined result in a bonafide masterpiece.
It's clear that this was a passion project for Mike Flanagan in the way that it's so lovingly put together. He just keeps proving himself over and over again, and I can't give enough praise to both him, and Midnight Mass, and he's one of a fair few modern directors that ensure that the future of horror is bright indeed.
This limited series is pretty much perfect in every way. For starters, every single piece of dialogue feels important. There are plenty of lengthy moments of talking, and most of these scenes are completely engaging, dripping with character development. In fact, every character we see throughout the show is given just the right amount of backstory, and I found myself profusely invested in all of them. The way these characters are crafted lead to a plethora of emotional moments. By the time the final scene rolls around, I was exhausted, but in a good and wholly fulfilling way.
The narrative in wonderfully paced. The horror element is present from the start, but is subtle to begin with, focusing on the island setting and the people that live there. The mysteries of the plot are drip fed and intriguing. When the twist and turns start to hit, it gives way to an unsettling horror-thriller with religion right at the centre. I'm a sucker for religious horror, and Midnight Mass is surely the new reigning champion of this particular sub genre. The way that this small island town finds themselves in the grip of a "full blown religious revival" as one of the characters puts it, manages to feel miraculous, warming, and eventually terrifying, all at once. Spearheading said revival is Father Paul, one of the most charismatic bastards ever commited to screen, and portrayed with aplomb by Hamish Linklater. He chews up every scene he is in and delivers some staggering monologues. His right hand, Bev Keane, is another highlight. Samantha Sloyan gives us hugely contemptible antagonist. The whole cast is nothing short of excellent, but these two in particular steal the whole show.
On top of all of this, every episode is shot beautifully. It's stunning to look at from start to finish. The music score is fantastic as well, especially the hymns. The use of them leads to some overwhelmingly powerful moments (especially in the final episode), and all of these positives combined result in a bonafide masterpiece.
It's clear that this was a passion project for Mike Flanagan in the way that it's so lovingly put together. He just keeps proving himself over and over again, and I can't give enough praise to both him, and Midnight Mass, and he's one of a fair few modern directors that ensure that the future of horror is bright indeed.
RəX Regent (349 KP) rated Batman Begins (2005) in Movies
Feb 19, 2019
Batman has always seemed to make great viewing and with the darker takes on him of the past to decades, great movies. This was a real treat though. It’s almost a rational take on an irrational super hero. Christopher Nolan has managed to give Batman a human face and the world he inhabits a sense of scale and realism. But that’s not to say that it is lacking in the sense of the theatrical.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didn’t look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Ra’s al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970’s.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. It’s not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesn’t seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isn’t really that important though that’s not to sell it short. It’s a highly developed and conceived story, packed from the opening frame to the 140th minute, but it’s simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesn’t feel like that when you’re watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batman’s image was forged, how the Batcave was created and where the Batmobile came from, but no-one’s suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But it’s how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how we’d expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isn’t even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isn’t always, let’s face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then there’s Hans Zimmer‘s collaboration with James Newton Howard for the score which is one of Zimmer’s best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolan’s masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, that’s right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didn’t look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Ra’s al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970’s.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. It’s not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesn’t seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isn’t really that important though that’s not to sell it short. It’s a highly developed and conceived story, packed from the opening frame to the 140th minute, but it’s simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesn’t feel like that when you’re watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batman’s image was forged, how the Batcave was created and where the Batmobile came from, but no-one’s suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But it’s how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how we’d expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isn’t even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isn’t always, let’s face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then there’s Hans Zimmer‘s collaboration with James Newton Howard for the score which is one of Zimmer’s best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolan’s masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, that’s right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
Movie Metropolis (309 KP) rated Ted 2 (2015) in Movies
Jun 11, 2019
The bear is back
The success of Ted was completely unexpected. I doubt even director Seth McFarlane knew just how popular it would go on to become.
From special DVD’s to limited edition cuddly (or not so cuddly) toys, Ted has become something of a phenomenon. A sequel was always going to be on the cards and after three years perfecting it, McFarlane returns with Ted 2. But is it as funny as its predecessor?
Ted 2 follows the titular bear as he embarks on a relationship with Tami-Lynn and continues his friendship with John, the ever-watchable Mark Wahlberg in another great performance.
Unfortunately for Ted, his rights have been challenged by the US government and he must fight to be recognised as a ‘person’, rather than just someone’s ‘property’.
What ensues is a film which whilst being as funny as its predecessor, manages to be somewhat disappointing with a serious shortage of plot. This becomes evident as McFarlane uses Family Guy-esque cut-scenes and incredibly long dance numbers.
The cast, on the whole, is fantastic. Amanda Seyfried takes over from Mila Kunis as John’s love interest and Ted’s lawyer, Samantha. As usual she is a joy to watch but her inexperience in the offensive comedy genre is evident – scenes of her taking drugs just don’t sit right.
Morgan Freeman is sorely underused as a civil rights attorney, though a quick reference to his silky-smooth voice is more than welcome. Giovanni Ribisi also makes a surprising return as Ted’s nemesis Donny.
An absolutely brilliant cameo from Liam Neeson is one of the highlights in a film packed with gags which generally hit the spot – but they’re certainly not for the feint-hearted.
Ted 2 is louder, more obnoxious and much more offensive than its predecessor with numerous scenes involving sperm banks and an endless supply of drug-related comedy.
Unfortunately, all these highs are brought crashing back down to Earth as the story continuously runs out of steam and picks up again. It’s such a shame that a film less than two hours long has such a plot problem.
Thankfully, the original Ted wasn’t a masterpiece and MacFarlane manages to shoot the film well with a real eye for the finer details. His love of movies is apparent with Star Wars references being used well.
Overall, Ted 2 is very close to the standard of its predecessor, despite the excess story-padding that occurs throughout the film. The comedic elements are cracking with Liam Neeson’s cameo being a laugh-out-loud moment – it’s worth a watch, but only if you’re a fan of the first.
https://moviemetropolis.net/2015/07/12/the-bear-is-back-ted-2-review/
From special DVD’s to limited edition cuddly (or not so cuddly) toys, Ted has become something of a phenomenon. A sequel was always going to be on the cards and after three years perfecting it, McFarlane returns with Ted 2. But is it as funny as its predecessor?
Ted 2 follows the titular bear as he embarks on a relationship with Tami-Lynn and continues his friendship with John, the ever-watchable Mark Wahlberg in another great performance.
Unfortunately for Ted, his rights have been challenged by the US government and he must fight to be recognised as a ‘person’, rather than just someone’s ‘property’.
What ensues is a film which whilst being as funny as its predecessor, manages to be somewhat disappointing with a serious shortage of plot. This becomes evident as McFarlane uses Family Guy-esque cut-scenes and incredibly long dance numbers.
The cast, on the whole, is fantastic. Amanda Seyfried takes over from Mila Kunis as John’s love interest and Ted’s lawyer, Samantha. As usual she is a joy to watch but her inexperience in the offensive comedy genre is evident – scenes of her taking drugs just don’t sit right.
Morgan Freeman is sorely underused as a civil rights attorney, though a quick reference to his silky-smooth voice is more than welcome. Giovanni Ribisi also makes a surprising return as Ted’s nemesis Donny.
An absolutely brilliant cameo from Liam Neeson is one of the highlights in a film packed with gags which generally hit the spot – but they’re certainly not for the feint-hearted.
Ted 2 is louder, more obnoxious and much more offensive than its predecessor with numerous scenes involving sperm banks and an endless supply of drug-related comedy.
Unfortunately, all these highs are brought crashing back down to Earth as the story continuously runs out of steam and picks up again. It’s such a shame that a film less than two hours long has such a plot problem.
Thankfully, the original Ted wasn’t a masterpiece and MacFarlane manages to shoot the film well with a real eye for the finer details. His love of movies is apparent with Star Wars references being used well.
Overall, Ted 2 is very close to the standard of its predecessor, despite the excess story-padding that occurs throughout the film. The comedic elements are cracking with Liam Neeson’s cameo being a laugh-out-loud moment – it’s worth a watch, but only if you’re a fan of the first.
https://moviemetropolis.net/2015/07/12/the-bear-is-back-ted-2-review/
Ivana A. | Diary of Difference (1171 KP) rated Delusions in Books
Sep 14, 2018
A must-have for all the lovers of psychological thrillers and mysteries – this is a book that will show you a twisted side of a human being so well, that you will not know what happened once you reach the end! A masterpiece of a thriller – a delight for all the murder solvers out there!
''She remembered now. The deaths. They weren't just delusions planted in her mind by others. They were real.''
This book starts in an interrogation room, where two detectives are questioning Abigale about the murders that happened - and she is the main suspect. As the interrogation happens in the present, we follow the story in the past from Abigale's point of view, from the moment she moves into the new town.
The story and plot are so well set, and the past and present are so well connected that give you clues step by step, until you reach the grand ending, and nothing is as you expected. Even though I realised what is happening around the middle of the book, I still had to keep reading to find out whether it was true in the end.
This is, for certain, the best ending of a mystery book I have read so far!
The characters - some of them - are so twisted, and so psychologically unstable and scary, that it makes you wonder. Such possessiveness and anger, and twisted mind - Amy managed to perfectly such a rare condition. ( I am trying so hard here to stay away from all the spoilers.)
''Abigale wasn't the outgoing type. She'd rather sit in her room with her nose buried in a book than socialise with anyone outside her inner circle of friends, which was small to begin with.''
I wish I could connect with Abigale's character - but I just couldn't. That was the only flaw I had with this book. I didn't care enough for her, and for what was happening to her. The side characters were amazingly portrayed though - I enjoyed reading about Julia and Mike, and Damien - what an interesting character!
''There was something about him that made her feel alive and ready for anything, but there was another part that screamed danger. She wasn't sure she liked either half.''
The ending, as I already mentioned, was the best one I have read - it was so unexpected and so amazing - I can't explain that feeling of satisfaction when all the little pieces from the puzzle throughout the book finally come together - spectacular!
If you love mystery, psychological thrillers and good book that keeps you on your toes all the time - this is the book for you. I highly recommend it!
Thank you to the author, Amy Crandall, for sending me an e-copy of this book in exchange for an honest review.
''She remembered now. The deaths. They weren't just delusions planted in her mind by others. They were real.''
This book starts in an interrogation room, where two detectives are questioning Abigale about the murders that happened - and she is the main suspect. As the interrogation happens in the present, we follow the story in the past from Abigale's point of view, from the moment she moves into the new town.
The story and plot are so well set, and the past and present are so well connected that give you clues step by step, until you reach the grand ending, and nothing is as you expected. Even though I realised what is happening around the middle of the book, I still had to keep reading to find out whether it was true in the end.
This is, for certain, the best ending of a mystery book I have read so far!
The characters - some of them - are so twisted, and so psychologically unstable and scary, that it makes you wonder. Such possessiveness and anger, and twisted mind - Amy managed to perfectly such a rare condition. ( I am trying so hard here to stay away from all the spoilers.)
''Abigale wasn't the outgoing type. She'd rather sit in her room with her nose buried in a book than socialise with anyone outside her inner circle of friends, which was small to begin with.''
I wish I could connect with Abigale's character - but I just couldn't. That was the only flaw I had with this book. I didn't care enough for her, and for what was happening to her. The side characters were amazingly portrayed though - I enjoyed reading about Julia and Mike, and Damien - what an interesting character!
''There was something about him that made her feel alive and ready for anything, but there was another part that screamed danger. She wasn't sure she liked either half.''
The ending, as I already mentioned, was the best one I have read - it was so unexpected and so amazing - I can't explain that feeling of satisfaction when all the little pieces from the puzzle throughout the book finally come together - spectacular!
If you love mystery, psychological thrillers and good book that keeps you on your toes all the time - this is the book for you. I highly recommend it!
Thank you to the author, Amy Crandall, for sending me an e-copy of this book in exchange for an honest review.
Gareth von Kallenbach (980 KP) rated Rocketman (2019) in Movies
Jun 19, 2019
Elton John has had a career that has spanned decades, millions of albums sold, packed venues, awards, and more than a few headlines. In the new film “Rocketman” audiences get a look behind the man thanks to the amazing and Oscar worthy portrayal by Taron Egerton.
The film opens with a flamboyantly dressed John entering rehab in one of his stage costumes. As he opens up with his group, he shares the story of his childhood as a shy child who is desperate to have his father show him any signs of approval or affection.
When it is discovered that he has talent with the piano; his grandmother encourages him and even takes him to apply for a position at the Royal Academy of Music.
His mother (Bryce Dallas Howard) is moderately supportive but is more focused on her social life brought on by her failing marriage.
As the film unfolds; we see Elton working in a backup band and in time answering an ad that puts him with an agent. Paired with the man who would eventually change his life; Bernie Taupin (Jamie Bell), Elton and Bernie combine to write a series of songs which in turn leads him to a series of gigs in Los Angeles. The film shifts into high gear at this point as we see how their music becomes a smash and leads to a series of parties, drugs, and money.
Elton meets Manager John Reid (Richard Madden), who becomes his
As the record sales and hits mount, so does the destructive behaviors which leads Elton down a destructive path that threatens everything he has worked for.
The movie is a masterpiece of music and story and it cleverly uses musical montages and segments around the performances to outline various segments of his life and his rise to stardom.
The performances are amazing and Egerton was simply amazing as he not only captured the complexity of his character but performed all the vocals of the hit songs himself and they were spot on.
During our Press Screening I noticed many people singing along, tapping their feet, or bobbing their heads along with the music which helps to underscore just how timeless and popular his catalog of music has been as the songs have endured the test of time.
The film also evokes some unexpected emotion as there were more than a few people wiping their eyes during the film which at its core is a store of a young, shy boy desperate to be accepted and loved.
I truly hope the film is recognized come Awards season as it is a wonderful and memorable cinematic experience.
http://sknr.net/2019/05/31/rocketman/
The film opens with a flamboyantly dressed John entering rehab in one of his stage costumes. As he opens up with his group, he shares the story of his childhood as a shy child who is desperate to have his father show him any signs of approval or affection.
When it is discovered that he has talent with the piano; his grandmother encourages him and even takes him to apply for a position at the Royal Academy of Music.
His mother (Bryce Dallas Howard) is moderately supportive but is more focused on her social life brought on by her failing marriage.
As the film unfolds; we see Elton working in a backup band and in time answering an ad that puts him with an agent. Paired with the man who would eventually change his life; Bernie Taupin (Jamie Bell), Elton and Bernie combine to write a series of songs which in turn leads him to a series of gigs in Los Angeles. The film shifts into high gear at this point as we see how their music becomes a smash and leads to a series of parties, drugs, and money.
Elton meets Manager John Reid (Richard Madden), who becomes his
As the record sales and hits mount, so does the destructive behaviors which leads Elton down a destructive path that threatens everything he has worked for.
The movie is a masterpiece of music and story and it cleverly uses musical montages and segments around the performances to outline various segments of his life and his rise to stardom.
The performances are amazing and Egerton was simply amazing as he not only captured the complexity of his character but performed all the vocals of the hit songs himself and they were spot on.
During our Press Screening I noticed many people singing along, tapping their feet, or bobbing their heads along with the music which helps to underscore just how timeless and popular his catalog of music has been as the songs have endured the test of time.
The film also evokes some unexpected emotion as there were more than a few people wiping their eyes during the film which at its core is a store of a young, shy boy desperate to be accepted and loved.
I truly hope the film is recognized come Awards season as it is a wonderful and memorable cinematic experience.
http://sknr.net/2019/05/31/rocketman/
Gareth von Kallenbach (980 KP) rated Knives Out (2019) in Movies
Nov 28, 2019
Hoo boy. If you are a fan of “whodunit” movies, you are in for a real treat. Rian Johnson directs Knives Out, a film that that brings a great modern twist to the whodunit genre with an amazing all star cast.
Harlan Thrombey (Christopher Plummer) is an acclaimed mystery murder novelist who has committed suicide on the night of his birthday party. At least it seems so at first. A mysterious entity has hired the last of the southern gentlemen detectives, Benoit Blanc (Daniel Craig), to aid Lieutenant Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) in their investigation into what appeared to be a suicide. But soon, the stories of the party-goers starts to crumble, and you see there is something more afoot. Someone killed Mr. Thrombey, but who could it be? The list of suspects is long, and all are close to the deceased in their own way: his daughter, Linda Drysdale (Jamie Lee Curtis); her husband, Richard Drysdale (Don Johnson); or their son, Ransom Drysdale (Chris Evans)? Could it possibly be his son, Walt Thrombey (Michael Shannon); his wife Donna (Riki Lindhome); or their son Jacob (Jaeden Martell). Maybe it was Joni Thrombey (Toni Collette), his widowed daughter-in-law; or her daughter Meg (Katherine Langford). Or it could be Marta Cabrera (Ana de Armas), Mr. Thrombey’s nurse. It’s a large list of suspects who attended the party that night, and it could be any of them.
I am a huge fan of this genre of movie, and I will say that Knives Out, while predictable at some points, did have me guessing, and second-guessing, all the way to the very end. I can’t really give you a lot more without spoiling some major plot points, but the film is outstanding. It was a little slow to start, but I believe there was a purpose behind this. Each actor playing a part that is not their typical role (for the most part) ended up being the real selling point. They all did fantastic, even though it did take a little getting used to seeing James Bond with a southern accent, and Captain America as a bona fide jackass.
The movie gave us a perfect blend of humor, mystery, and even a little action in order to give us what could be a modern masterpiece in the genre. Flay me all you want if you disagree, but it’s been a while since a really good whodunit has been put out that wasn’t a period piece. There were some flaws, but the movie made you connect to these characters, as zany as they seemed. Definitely a good film to check out on a date night.
Harlan Thrombey (Christopher Plummer) is an acclaimed mystery murder novelist who has committed suicide on the night of his birthday party. At least it seems so at first. A mysterious entity has hired the last of the southern gentlemen detectives, Benoit Blanc (Daniel Craig), to aid Lieutenant Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) in their investigation into what appeared to be a suicide. But soon, the stories of the party-goers starts to crumble, and you see there is something more afoot. Someone killed Mr. Thrombey, but who could it be? The list of suspects is long, and all are close to the deceased in their own way: his daughter, Linda Drysdale (Jamie Lee Curtis); her husband, Richard Drysdale (Don Johnson); or their son, Ransom Drysdale (Chris Evans)? Could it possibly be his son, Walt Thrombey (Michael Shannon); his wife Donna (Riki Lindhome); or their son Jacob (Jaeden Martell). Maybe it was Joni Thrombey (Toni Collette), his widowed daughter-in-law; or her daughter Meg (Katherine Langford). Or it could be Marta Cabrera (Ana de Armas), Mr. Thrombey’s nurse. It’s a large list of suspects who attended the party that night, and it could be any of them.
I am a huge fan of this genre of movie, and I will say that Knives Out, while predictable at some points, did have me guessing, and second-guessing, all the way to the very end. I can’t really give you a lot more without spoiling some major plot points, but the film is outstanding. It was a little slow to start, but I believe there was a purpose behind this. Each actor playing a part that is not their typical role (for the most part) ended up being the real selling point. They all did fantastic, even though it did take a little getting used to seeing James Bond with a southern accent, and Captain America as a bona fide jackass.
The movie gave us a perfect blend of humor, mystery, and even a little action in order to give us what could be a modern masterpiece in the genre. Flay me all you want if you disagree, but it’s been a while since a really good whodunit has been put out that wasn’t a period piece. There were some flaws, but the movie made you connect to these characters, as zany as they seemed. Definitely a good film to check out on a date night.
BankofMarquis (1832 KP) rated The Two Popes (2019) in Movies
Jan 29, 2020
Well Acted
In 2012, the conservative Pope Benedict - citing failing health - made the rare move of stepping down from the Papacy. He was, ultimately, replaced by the more Liberal Pope Francis. THE TWO POPES is a fictional account of a conversation that these two men had prior to Benedict's stepping down.
If you are looking for a hard-hitting expose of the issues the Catholic Church was facing at the time with the conservative Benedict facing off against the Liberal Francis, then you will be disappointed. But...if you are looking for an interesting, gentle acting exercise where 2 strong actors take Center Stage to move from enemies to frenemies to friends, then you will enjoy THE TWO POPES.
The review of this film begins and ends with the performances of the 2 leads - Jonathan Pryce as Pope Francis (Cardinal Bergoglio in the film) and Anthony Hopkins as Pope Benedict - and they are terrific. Pryce was nominated in the Best Actor Oscar category while Hopkins sits in the Best Supporting Actor category (deservedly so - Pryce has much more screen time and focus).
As Francis, Pryce is conflicted by both what is currently happening with the Church and his own demons. His Cardinal Bergoglio is alternately strong and weak - and Pryce plays this well. It is just about the best performance I have ever seen from Pryce on film. Unfortunately for him, he pales in comparison with the withering, wilted and strong portrayal of Pope Benedict that is put on by Hopkins. This is Sir Anthony's best work in years and shows that this ol' trouper "still has it." As I stated earlier, they are both nominated (deservedly) for Oscars, for it is an actor's movie, but only Hopkins would be a deserving winner (though neither of them will win).
THE TWO POPES is Directed by Brazilian Fernando Meirelles based on a screen play by Anthony McCarten (DARKEST HOUR). McCarten's script is stronger than Meirelles Direction. I felt like I was watching a filmed stage play with both Popes sitting and talking for long stretches of time. Do not be surprised to see a stage version of this film on Broadway sometime soon. It played more like an extended episode of Masterpiece Theater than a Theatrical Film.
At just over 2 hours, this film is just a bit too long, but (of course) both Popes have their "Oscar moment" in the tail end of the movie so that helps it to cross the finish line strong.
If you are looking for strong acting, look no further than THE TWO POPES, you will not be disappointed.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
If you are looking for a hard-hitting expose of the issues the Catholic Church was facing at the time with the conservative Benedict facing off against the Liberal Francis, then you will be disappointed. But...if you are looking for an interesting, gentle acting exercise where 2 strong actors take Center Stage to move from enemies to frenemies to friends, then you will enjoy THE TWO POPES.
The review of this film begins and ends with the performances of the 2 leads - Jonathan Pryce as Pope Francis (Cardinal Bergoglio in the film) and Anthony Hopkins as Pope Benedict - and they are terrific. Pryce was nominated in the Best Actor Oscar category while Hopkins sits in the Best Supporting Actor category (deservedly so - Pryce has much more screen time and focus).
As Francis, Pryce is conflicted by both what is currently happening with the Church and his own demons. His Cardinal Bergoglio is alternately strong and weak - and Pryce plays this well. It is just about the best performance I have ever seen from Pryce on film. Unfortunately for him, he pales in comparison with the withering, wilted and strong portrayal of Pope Benedict that is put on by Hopkins. This is Sir Anthony's best work in years and shows that this ol' trouper "still has it." As I stated earlier, they are both nominated (deservedly) for Oscars, for it is an actor's movie, but only Hopkins would be a deserving winner (though neither of them will win).
THE TWO POPES is Directed by Brazilian Fernando Meirelles based on a screen play by Anthony McCarten (DARKEST HOUR). McCarten's script is stronger than Meirelles Direction. I felt like I was watching a filmed stage play with both Popes sitting and talking for long stretches of time. Do not be surprised to see a stage version of this film on Broadway sometime soon. It played more like an extended episode of Masterpiece Theater than a Theatrical Film.
At just over 2 hours, this film is just a bit too long, but (of course) both Popes have their "Oscar moment" in the tail end of the movie so that helps it to cross the finish line strong.
If you are looking for strong acting, look no further than THE TWO POPES, you will not be disappointed.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
JT (287 KP) rated Predators (2010) in Movies
Mar 10, 2020
Fans of the original Predator will no doubt have been excited to see the trailers for Predators, a script pulled from a filing cabinet in 1994 and given a 2010 make over by Robert Rodriguez, who produces, with Nimród Antal directing.
It was always going to be hard to top Schwarzenegger’s 1987 hit; John McTiernan had little special effects to work with but delivered an action/sci-fi masterpiece with a cast of mercenaries. When the sequel came along Schwarzenegger wanted no part of it, and so it was up to Danny Glover (I’m still getting to old for this shit) to battle on home turf, unsuccessfully in many people’s eyes.
In 2010 we’re back in the jungle only this is no ordinary jungle, this is home field advantage for the Predators. Again, a bunch of unknowns from different specially selected backgrounds are dropped in together to face a new breed of Predator, seemingly engaged in their own tribal turf war.
The story follows some similar paths to the original, macho heroes must work together to fight back, while at the same time avoid being picked off one at a time. The script is disjointed with no prior background as to why these bunch of cut throats have been pooled together, or who is behind it all.
That said those of us who can remember back as far as 1987 will enjoy a homage to the original with scenes like a spectacular waterfall jump, a Yazuka Vs Predator battle which gives us an insight as to what might have happened when Billy stayed behind on the bridge with nothing more than a huge knife for protection. All that and the immortal line “Kill me I’m here!”
Adrien Brody may not seem like your stereotypical action hero but he does do a half decent job, following along the action hero code of A) getting some serious gym time, B) lowering voice to a low growl and C) not giving a shit, then coming back and giving a shit!
The others, well they’re no Dutch, Mac, Billy or Zane but they are a new breed. There is the quiet and yet deadly Yakuza (Louis Ozawa Changchien), who is dressed for the most part in a smart grey suit and performs the sword-moves in a well choreographed human vs. Predator duel.
The rest are walking talking archetypal thugs, a Russian beef cake (Oleg Taktarov), a death row serial murderer (Walton Goggins), an African Death Squad killer (Mahershalalhashbaz Ali) and a cocaine cartel hatchet man (the legend that is Danny Trejo). There is also a rather pointless guest appearance which might lead us into a false sense of security as it is all but cut short, shame!
It was always going to be hard to top Schwarzenegger’s 1987 hit; John McTiernan had little special effects to work with but delivered an action/sci-fi masterpiece with a cast of mercenaries. When the sequel came along Schwarzenegger wanted no part of it, and so it was up to Danny Glover (I’m still getting to old for this shit) to battle on home turf, unsuccessfully in many people’s eyes.
In 2010 we’re back in the jungle only this is no ordinary jungle, this is home field advantage for the Predators. Again, a bunch of unknowns from different specially selected backgrounds are dropped in together to face a new breed of Predator, seemingly engaged in their own tribal turf war.
The story follows some similar paths to the original, macho heroes must work together to fight back, while at the same time avoid being picked off one at a time. The script is disjointed with no prior background as to why these bunch of cut throats have been pooled together, or who is behind it all.
That said those of us who can remember back as far as 1987 will enjoy a homage to the original with scenes like a spectacular waterfall jump, a Yazuka Vs Predator battle which gives us an insight as to what might have happened when Billy stayed behind on the bridge with nothing more than a huge knife for protection. All that and the immortal line “Kill me I’m here!”
Adrien Brody may not seem like your stereotypical action hero but he does do a half decent job, following along the action hero code of A) getting some serious gym time, B) lowering voice to a low growl and C) not giving a shit, then coming back and giving a shit!
The others, well they’re no Dutch, Mac, Billy or Zane but they are a new breed. There is the quiet and yet deadly Yakuza (Louis Ozawa Changchien), who is dressed for the most part in a smart grey suit and performs the sword-moves in a well choreographed human vs. Predator duel.
The rest are walking talking archetypal thugs, a Russian beef cake (Oleg Taktarov), a death row serial murderer (Walton Goggins), an African Death Squad killer (Mahershalalhashbaz Ali) and a cocaine cartel hatchet man (the legend that is Danny Trejo). There is also a rather pointless guest appearance which might lead us into a false sense of security as it is all but cut short, shame!
Gareth von Kallenbach (980 KP) rated Inherent Vice (2015) in Movies
Aug 6, 2019
“Inherent Vice” Follows Doc (Joaquin Phoenix), a private investigator, as he falls down a dark rabbit hole into a world of crime and systemic corruption.
Phoenix is a transformative actor, delving deep into his role. We’ve seen him do it before in movies like “Walk the Line.” He becomes his character to the point that it is conceivable this just might be the real him.
It is set in bohemian 1970s California. Everything from the way the camera captures the scene, to the outfits that adorn the characters, exudes a hippy-grunge vibe.
The film encompasses multiple genres including crime, comedy, and drama.
Similar to movies like “The Big Lebowski,” it is filled with humorous moments as Doc, a well-meaning and laid back stoner, is constantly found in the middle of the proverbial shit.
When his ex-girlfriend Shasta Fay (Katherine Waterston) reappears one random day, telling him of a plot to kidnap her billionaire boyfriend and then disappears shortly after, Doc becomes consumed by his investigation into her whereabouts. He is led into a conspiracy-like web of drugs, crime, and corruption.
It is not a typical movie with a coherent storyline, rather it is an experience of what Doc goes through as a mind bending mystery unfolds before him.
Strange, subtle details leave a trail of breadcrumbs for the audience to follow along with Doc, as he tries to make some sense out of the connections he stumbles across.
The plot transpires in a blur, floating into the perceptions of the audience like the winding smoke of an opium den. With a few dull moments, it drags on at times, much like the reality of human experience tends to do.
The musical selection only adds to the film’s tantalizing stylistic ambiance – at times it’s a dull and prolonged high, other times it’s a seedy bluesy underground, or absolute instrumental lunacy. Interestingly, much of the music was composed by Radiohead lead guitarist Jonny Greenwood.
Adding to the intricacy and authenticity of the film, is a brief cameo by what is perhaps the most psychedelic band of our time, The Growlers. This moment will only be recognized by fans who are paying close attention, but is an absolutely fitting detail.
Director Paul Thomas Anderson adapted the film from the original novel written by Thomas Pynchon. Like reading a novel, the film is consuming. But because it goes by much quicker than reading a book, it may need to be watched several times for the viewer to grasp exactly what happened.
Audiences will leave theaters with a resonating feeling of pure delirium from the cerebral experience that is “Inherent Vice.”
A surreal masterpiece, I give “Inherent Vice” 5 out of 5 stars.
Phoenix is a transformative actor, delving deep into his role. We’ve seen him do it before in movies like “Walk the Line.” He becomes his character to the point that it is conceivable this just might be the real him.
It is set in bohemian 1970s California. Everything from the way the camera captures the scene, to the outfits that adorn the characters, exudes a hippy-grunge vibe.
The film encompasses multiple genres including crime, comedy, and drama.
Similar to movies like “The Big Lebowski,” it is filled with humorous moments as Doc, a well-meaning and laid back stoner, is constantly found in the middle of the proverbial shit.
When his ex-girlfriend Shasta Fay (Katherine Waterston) reappears one random day, telling him of a plot to kidnap her billionaire boyfriend and then disappears shortly after, Doc becomes consumed by his investigation into her whereabouts. He is led into a conspiracy-like web of drugs, crime, and corruption.
It is not a typical movie with a coherent storyline, rather it is an experience of what Doc goes through as a mind bending mystery unfolds before him.
Strange, subtle details leave a trail of breadcrumbs for the audience to follow along with Doc, as he tries to make some sense out of the connections he stumbles across.
The plot transpires in a blur, floating into the perceptions of the audience like the winding smoke of an opium den. With a few dull moments, it drags on at times, much like the reality of human experience tends to do.
The musical selection only adds to the film’s tantalizing stylistic ambiance – at times it’s a dull and prolonged high, other times it’s a seedy bluesy underground, or absolute instrumental lunacy. Interestingly, much of the music was composed by Radiohead lead guitarist Jonny Greenwood.
Adding to the intricacy and authenticity of the film, is a brief cameo by what is perhaps the most psychedelic band of our time, The Growlers. This moment will only be recognized by fans who are paying close attention, but is an absolutely fitting detail.
Director Paul Thomas Anderson adapted the film from the original novel written by Thomas Pynchon. Like reading a novel, the film is consuming. But because it goes by much quicker than reading a book, it may need to be watched several times for the viewer to grasp exactly what happened.
Audiences will leave theaters with a resonating feeling of pure delirium from the cerebral experience that is “Inherent Vice.”
A surreal masterpiece, I give “Inherent Vice” 5 out of 5 stars.