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BankofMarquis (1832 KP) rated Long Shot (2019) in Movies
May 4, 2019 (Updated May 4, 2019)
Surprisingly Strong Chemistry Between The Leads
Quite a few people that I have spoken with don't like either Charlize Theron or Seth Rogan as performers, so the idea of a pairing of the straight-laced, uptight politician played by Theron and the shlubby, weed-smoking slacker played by Rogan was like "nails on a chalkboard" to them.
And these people would be wrong, for LONG SHOT is a very entertaining, heartfelt romantic comedy that has one big surprise - the strong chemistry between the two leads.
Kind of the "anti-AMERICAN PRESIDENT" (the 1995 Michael Douglas/Annette Benning RomCom written by Aaron Sorkin), LONG SHOT tells the tale of Secretary of State, Charlotte Field (Theron) who embarks on a Presidential bid. When she polls low in "sense of humor" she decides to add a comedy writer to her staff to punch up her speeches. A chance encounter with her childhood next door neighbor leads Field to hire Fred Flarsky (Seth Rogan). Will sparks fly? Can Fred remind Charlotte of why she chose politics in the first place?
What do you think? It's a RomCom afterall, but it's the journey and not the destination that is important.
And...his is a fun journey...mostly because of the performances of Theron and Rogan. Over the years, I have grown to really appreciate Theron - from dramas like NORTH COUNTRY and her Oscar-winning turn in MONSTER, to action flicks like MAD MAX:FURY ROAD and FATE OF THE FURIOUS, to comedies like A MILLION WAYS TO DIE IN THE WEST and this film - there is nothing (apparently) that she can't do. She is really good in all of these - even if the material is not the greatest.
The surprise to me here was the performance of Rogan - it was "wacky", "stoner-ish" and "out there", but toned down and tempered - probably the sign of a good, strong Director at the helm. I bought Flarsky's journey in this story and the relationship between these two characters was believable because Rogan was able to match Theron's energy and show real chemistry between the two.
Other fine turns are given by O'Shea Jackson, Jr (STRAIGHT OUTTA COMPTON), as Rogan's buddy, Ravi Patel (TV's MASTER OF NONE) as one of Theron's support staff and (especially) June Diane Rapheal (TV's GRACE AND FRANKIE) who really shines in the unenviable role of the Theron's Chief of Staff who doesn't approve of putting Rogan's character on the team, but she plays the role with layers - not one-note - and so we get a real person, with conflicted feelings at time, and she rises above the typical type of character in this type of role.
The only disappointment for me was Bob Odenkirk's President (who is stepping down for - he hopes - a much bigger job, MOVIE STAR) and not because of Odenkirk's performance, he was fine with what he was given, but there wasn't much nuance written in this part and (compared to the layers shown/written by others) the one-note-ness of Odenkirk's character was noticeable. As was Andy Serkis as a heavily-made up, older media mogul who is trying to use his wealth to manipulate the events from behind the scene - this character (and make-up) was a "swing and a miss" for me. But, fortunately, neither Serkis nor Odenkirk have much screen time, so it was more of a "distraction" than an "annoyance" for me.
I mention the Director - so I better give credit to Jonathan Levine (the awful SNATCHED with Amy Shumer and Goldie Hawn) - I have not really enjoyed anything else he has Directed, but I have to give him credit for this one - he brings "the funny and the crude" without going overboard, driving the story efficiently while putting in enough yuks and (surprisingly) heart in this movie along the way.
Now...don't be fooled here...there is quite a bit of "crude, lewd and rude" behavior and jokes (a crucial plot point hangs on a "sex act"), so don't expect a gentile, Cary Grant/Katherine Hepburn battle of the sexes. Expect a funny (crude), sexy (lewd) and opinionated (rude) take on the modern political system and how a person can lose their soul if they choose to play the game.
With a large amount of heart - and strong performances/chemistry between the two leads - I was pleasantly surprised by LONG SHOT - and, if you can handle the crude, lude and rude, then you will have a good time at this film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
And these people would be wrong, for LONG SHOT is a very entertaining, heartfelt romantic comedy that has one big surprise - the strong chemistry between the two leads.
Kind of the "anti-AMERICAN PRESIDENT" (the 1995 Michael Douglas/Annette Benning RomCom written by Aaron Sorkin), LONG SHOT tells the tale of Secretary of State, Charlotte Field (Theron) who embarks on a Presidential bid. When she polls low in "sense of humor" she decides to add a comedy writer to her staff to punch up her speeches. A chance encounter with her childhood next door neighbor leads Field to hire Fred Flarsky (Seth Rogan). Will sparks fly? Can Fred remind Charlotte of why she chose politics in the first place?
What do you think? It's a RomCom afterall, but it's the journey and not the destination that is important.
And...his is a fun journey...mostly because of the performances of Theron and Rogan. Over the years, I have grown to really appreciate Theron - from dramas like NORTH COUNTRY and her Oscar-winning turn in MONSTER, to action flicks like MAD MAX:FURY ROAD and FATE OF THE FURIOUS, to comedies like A MILLION WAYS TO DIE IN THE WEST and this film - there is nothing (apparently) that she can't do. She is really good in all of these - even if the material is not the greatest.
The surprise to me here was the performance of Rogan - it was "wacky", "stoner-ish" and "out there", but toned down and tempered - probably the sign of a good, strong Director at the helm. I bought Flarsky's journey in this story and the relationship between these two characters was believable because Rogan was able to match Theron's energy and show real chemistry between the two.
Other fine turns are given by O'Shea Jackson, Jr (STRAIGHT OUTTA COMPTON), as Rogan's buddy, Ravi Patel (TV's MASTER OF NONE) as one of Theron's support staff and (especially) June Diane Rapheal (TV's GRACE AND FRANKIE) who really shines in the unenviable role of the Theron's Chief of Staff who doesn't approve of putting Rogan's character on the team, but she plays the role with layers - not one-note - and so we get a real person, with conflicted feelings at time, and she rises above the typical type of character in this type of role.
The only disappointment for me was Bob Odenkirk's President (who is stepping down for - he hopes - a much bigger job, MOVIE STAR) and not because of Odenkirk's performance, he was fine with what he was given, but there wasn't much nuance written in this part and (compared to the layers shown/written by others) the one-note-ness of Odenkirk's character was noticeable. As was Andy Serkis as a heavily-made up, older media mogul who is trying to use his wealth to manipulate the events from behind the scene - this character (and make-up) was a "swing and a miss" for me. But, fortunately, neither Serkis nor Odenkirk have much screen time, so it was more of a "distraction" than an "annoyance" for me.
I mention the Director - so I better give credit to Jonathan Levine (the awful SNATCHED with Amy Shumer and Goldie Hawn) - I have not really enjoyed anything else he has Directed, but I have to give him credit for this one - he brings "the funny and the crude" without going overboard, driving the story efficiently while putting in enough yuks and (surprisingly) heart in this movie along the way.
Now...don't be fooled here...there is quite a bit of "crude, lewd and rude" behavior and jokes (a crucial plot point hangs on a "sex act"), so don't expect a gentile, Cary Grant/Katherine Hepburn battle of the sexes. Expect a funny (crude), sexy (lewd) and opinionated (rude) take on the modern political system and how a person can lose their soul if they choose to play the game.
With a large amount of heart - and strong performances/chemistry between the two leads - I was pleasantly surprised by LONG SHOT - and, if you can handle the crude, lude and rude, then you will have a good time at this film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Bob Mann (459 KP) rated Ant-Man and the Wasp (2018) in Movies
Sep 28, 2021
Large and Small on screen, but just ends up middling.
So, for the first time we divided last night at the cinema. I went off to watch “Ant-Man and the Wasp” and my wife – not a Marvel fan – went to see “Mamma Mia! Here We Go Again” (for the THIRD time!). Incidentally, Mamma Mia 2 seems to be the movie phenomenon of the summer, taking over from “The Greatest Showman” as the movie phenomenon of the winter. It’s been out three weeks now and the shows are still selling out, with people (mostly groups of women) being turned away at the ticket desk. I can see this one running in theatres until October, when they bring out a sing-a-long edition and it carries on running ‘til Christmas. Extraordinary.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
Movie Metropolis (309 KP) rated Alien: Covenant (2017) in Movies
Jun 11, 2019
Bigger isn't always better
Ridley Scott’s Alien prequel Prometheus wasn’t as warmly received as the veteran director had hoped for upon its release in 2012. In pitching the film for the coveted 12A market, Scott lost the majority of what made his 1979 masterpiece, rated 18, such an epic adventure.
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
BankofMarquis (1832 KP) rated Ant-Man and The Wasp: Quantumania (2023) in Movies
Mar 18, 2023
Middle of the Road Marvel
The good news for long-time, hard core Marvel Cinematic Universe fans is that the next “big bad” in the Marvel Cinematic Universe has been unleashed and we will now get to see “Kang The Conqueror” (in his permutations) battling our heroes for the foreseeable future.
The bad news is that for casual fans – and folks that are just plain tired of the MCU – things are going to get more complex and convoluted as the MCU heads deeper into the “Comic Bookiness” of their source material.
Such is the case with ANT-MAN AND THE WASP: QUANTUMANIA, the 3rd standalone Ant Man film starring Paul Ruud, Evangeline Lilly and Michael Douglas. It is a very “Comic Bookie” film in that it takes the audience to the “Quantum Realm” and all the quirky characters and locations therein.
Director Peyton Reed (who helmed the previous 2 Ant-Man films) leans into this “Comic Bookieness” in that he accents the weird and bizarre and creates comic-book-like panels on the images on the screen. Consequently, this makes the film interesting to look at, but for the most part, there is not much substance under the surface.
For their part, Ruud, Lilly, Douglas, Michelle Pfeiffer (returning from the 2nd Ant-Man film) and newcomer Kathryn Newton (taking over the role of Ruud’s daughter, Cassie) are game in what they are asked to work with and react to (mostly to a green screen with CGI filled in later) and they all are winning (enough) presences on screen to spend a very enjoyable time with.
Jonathan Majors is on-board as Kang the Conqueror (a version of him was seen at the end of the first season of the Disney+ series LOKI) and he brings his considerable acting chops, gravitas and weight to the proceedings. He is a force to be reckoned with which was apparent from almost the first time he commanded the screen in this film. It will be interesting to see where he takes things from here.
The problem with this film is that it is (mostly) style with very little substance. Necessarily, the plot drives a more dramatic, darker theme to this Ant-Man film than in previous outings and the film suffers because of it. One of the charms of the Ant-Man films is that Director Reed was able to lean into the inherent goofiness of Paul Ruud and the absurd idea of him being able to shrink. That quirkiness and sense of fun is gone – as are regular characters played in the past 2 films by the likes of Bobby Canavale, Judy Greer, Randall Park (who has a blink or you’ll miss him cameo) and (most egregiously) Michael Pena.
What they are replaced by are some quirky “Quantum Realm” characters – most of whom are CGI and are voiced by some very good voice performers – it just doesn’t hit the same, since the overall theme is darker. Katy M. O’Brian and William Jackson Harper (who is rounding into a very intriguing performer) bring gusto to their roles as a few members of the Quantum realm, which helps pick up the sagginess of this film, but not enough. Not even a Bill Murray appearance can elevate this film to something funner than it is.
All in all a “fine” entry in the Marvel Cinematic Universe – and one that will remind you very much that you are watching a film based on Comic Book characters – but it falls squarely in the middle of the MCU entries...a catalogue of which is becoming very deep (maybe too deep), indeed.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The bad news is that for casual fans – and folks that are just plain tired of the MCU – things are going to get more complex and convoluted as the MCU heads deeper into the “Comic Bookiness” of their source material.
Such is the case with ANT-MAN AND THE WASP: QUANTUMANIA, the 3rd standalone Ant Man film starring Paul Ruud, Evangeline Lilly and Michael Douglas. It is a very “Comic Bookie” film in that it takes the audience to the “Quantum Realm” and all the quirky characters and locations therein.
Director Peyton Reed (who helmed the previous 2 Ant-Man films) leans into this “Comic Bookieness” in that he accents the weird and bizarre and creates comic-book-like panels on the images on the screen. Consequently, this makes the film interesting to look at, but for the most part, there is not much substance under the surface.
For their part, Ruud, Lilly, Douglas, Michelle Pfeiffer (returning from the 2nd Ant-Man film) and newcomer Kathryn Newton (taking over the role of Ruud’s daughter, Cassie) are game in what they are asked to work with and react to (mostly to a green screen with CGI filled in later) and they all are winning (enough) presences on screen to spend a very enjoyable time with.
Jonathan Majors is on-board as Kang the Conqueror (a version of him was seen at the end of the first season of the Disney+ series LOKI) and he brings his considerable acting chops, gravitas and weight to the proceedings. He is a force to be reckoned with which was apparent from almost the first time he commanded the screen in this film. It will be interesting to see where he takes things from here.
The problem with this film is that it is (mostly) style with very little substance. Necessarily, the plot drives a more dramatic, darker theme to this Ant-Man film than in previous outings and the film suffers because of it. One of the charms of the Ant-Man films is that Director Reed was able to lean into the inherent goofiness of Paul Ruud and the absurd idea of him being able to shrink. That quirkiness and sense of fun is gone – as are regular characters played in the past 2 films by the likes of Bobby Canavale, Judy Greer, Randall Park (who has a blink or you’ll miss him cameo) and (most egregiously) Michael Pena.
What they are replaced by are some quirky “Quantum Realm” characters – most of whom are CGI and are voiced by some very good voice performers – it just doesn’t hit the same, since the overall theme is darker. Katy M. O’Brian and William Jackson Harper (who is rounding into a very intriguing performer) bring gusto to their roles as a few members of the Quantum realm, which helps pick up the sagginess of this film, but not enough. Not even a Bill Murray appearance can elevate this film to something funner than it is.
All in all a “fine” entry in the Marvel Cinematic Universe – and one that will remind you very much that you are watching a film based on Comic Book characters – but it falls squarely in the middle of the MCU entries...a catalogue of which is becoming very deep (maybe too deep), indeed.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
5 Minute Movie Guy (379 KP) rated Transformers: Age of Extinction (2014) in Movies
Jun 29, 2019
There's a lot of good, fun, over-the-top, explosive action! (2 more)
Age of Extinction features an incredible showcase of special effects.
Great acting from Tucci and Grammar, and a solid new star for the franchise with Mark Wahlberg.
With a 2 hour and 45 minute run-time, the movie goes on far too long and loses steam before the finale. (1 more)
The plot is completely overloaded with enough content to easily cover two films.
Transformers: Age of Extinction is a fun summer movie that sticks to Michael Bay's usual mode of operation, but it's jam-packed and overly ambitious, stretching the run time far longer than it ever should.
After the events of Transformers: Dark of the Moon, referred to in the film as The Battle of Chicago, the surviving Autobots are being hunted to extinction. The United States government is bent on exterminating all Transformers, good and bad, believing them to be an unwelcome global threat. All the while, the hypocritical government has simultaneously partnered with a wealthy inventor who is trying to create his own superior, man-made variations of Transformers. Furthermore, they’re working with the help of the Transformer bounty hunter Lockdown to search out and annihilate Optimus Prime, the famed leader of the Autobots. Prime has been forced into hiding and has sent out a distress call encouraging his comrades to follow suit. When amateur inventor Cade Yeager inadvertently stumbles upon a disguised Optimus Prime, he helps to repair the damaged Transformer who must reunite with his remaining allies to fight for their right to live.
Before I dive into this review, I think I should inform you that I have not seen any of the previous Transformers movies. I should also note that I’m something of a Transformers hater. Despite pressure from family and friends who have praised the movie series, I have deliberately avoided every single one of the films. I never liked the cartoon as a kid, and while Transformers’ amalgamation of cars and robots may be a dream combination for most guys, I have very little interest in either. However, as a critic, I cannot let my own biases get in the way of giving fair judgment. After having watched Transformers: Age of Extinction, I can thankfully report that the film actually wasn’t half bad. While it’s not going to make a Transformers fan out of me, it was an entertaining, albeit overly-long, movie-going experience.
Age of Extinction is an action-packed ride, filled with the kind of over-the-top entertainment you would expect from a Michael Bay film. While Bay has developed something of a bad rap, there’s no denying his knack for fun and ridiculous action sequences. He’s a man who spares no expense when it comes to explosions and special effects, and this is where Bay is at his best. Love him or hate him, it’s hard to argue with his results as he’s surely one of the most successful directors of all time. However, clocking in at two hours and forty-five minutes, the high-speed action of Age of Extinction is exhausting and becomes tiresome long before the finale. Even when Bay slows things down, he keeps the camera overly busy with particle effects and constant movement. While all of that looks great in IMAX 3D, it feels like an endless visual barrage that is frankly a lot to take in. How many lens flares must a man endure in one movie? I understand the desire to make every shot exciting and visually striking, but I think Bay is trying to tackle too much on camera.
Similarly, Age of Extinction is trying to squeeze too much into its plot, which could almost be broken up into two entirely separate movies. We have the hunt for Optimus Prime and the Transformers by Lockdown and the CIA; Cade Yeager’s discovery of Prime and their ensuing alliance; the love story between Cade’s daughter and her boyfriend; the emergence of the Dinobots; as well as the man-made construction of new Transformers. The result is a fast-paced action movie that is convoluted and far too long. That’s not to say that what is there is bad, though. Awful love story aside, all of the other components of the story are solid and even pretty interesting. Kelsey Grammer puts in a good performance as the head of the CIA who is responsible for the extermination of the Transformers. Similarly, Stanley Tucci is great as Joshua Joyce, the brilliant inventor who is recreating human-controlled Transformers for military use. Yet I can’t help but think that Joyce’s plot would have been perhaps been better to save for a sequel. Sure, it offers a nice parallel between the two inventors and it also creates an opportunity for them to introduce some all-new Transformers, but aren’t the Dinobots enough? There’s so much going on in the film that the eagerly-anticipated Dinobots aren’t given much screen time at all. There is just an unreasonable amount of narratives going on in this movie, to the point where it’s hard to follow, and even harder to stay interested in. Instead of sitting on the edge of your seat during the climactic showdown, you’re probably going to be looking at your watch and wondering how much longer this movie can possibly go on.
While I’m no expert on Transformers, I think the film does an admirable job in bringing the robotic characters to life. Their appearance and animation are both impressive, and they’re typically a pretty fun bunch. I have to admit, though, that I was a bit jarred by the angry and violent demeanor of Optimus Prime. I thought he was supposed to be the good guy everyone looked up to? In Age of Extinction, he clearly has some anger management issues. While he might be the most skilled warrior out there, he sure doesn’t seem like much of a role model. Peter Cullen, the original voice of Optimus Prime, has one again returned to voice the character. John Goodman gives a stand-out voice performance as Hound, in a role he seemed to have a lot of fun with, and Ken Watanabe voices the Samurai-like Transformer known as Drift. All in all, there are a lot of Transformers in the movie, but there is hardly ample time to get to know most of them. I imagine many of them have been introduced in previous films, but for a newcomer like myself, I had a hard time distinguishing between quite a few of them. Then there are the Dinobots, which look awesome, but we’re not given a chance to know much of anything about them. It’s a shame that they’re reduced to feeling like unnecessary bookends to an already overly-crammed movie.
On the human side of things, Mark Wahlberg is enjoyable as the struggling inventor who scavengers through whatever he can to try to create a breakthrough invention. He brings a charming and heroic presence to his role, making him a character we can identify with and root for as he tries to assist the highly-targeted Transformers. T.J. Miller’s Lucas makes for a mildly humorous companion to Cade, although much of the film’s attempts at comedy feel forced and aren’t very funny. Then there’s Nicola Peltz as the skimpily-dressed, rebellious but brainy and innocent, party girl daughter Tessa. She fits right into Bay’s stereotypical sexist female lead who serves as little more than a damsel in distress and eye candy. Still, I don’t know who is worse; Tessa, or her rally car racing boyfriend Shane, played by Jack Reynor. I felt just as frustrated by them as Wahlberg does playing Tessa’s disgruntled and disapproving father. These two lovebirds are an annoying and unwanted addition that only further drag out the plot. While it was at first vaguely amusing to watch Cade freak out as the over-protective father, that shtick ended up getting old real quick. While Wahlberg makes a good new face for the franchise, I hope to God that he comes alone for the next one.
Transformers: Age of Extinction is a fun summer movie. Director Michael Bay sticks to his usual mode of operation with ridiculous action sequences, top of the line special effects, and a whole lot of explosions. If you’re looking for a movie with more flash than substance, Age of Extinction should be right up your alley. It’s jam-packed and overly ambitious, stretching the run time far longer than it ever should, but if offers plenty of dumb, fun entertainment. Transformers fans should be pleased, although the series still has yet to make a fan out of me.
(This review was originally posted at 5mmg.com on 9.22.14.)
Before I dive into this review, I think I should inform you that I have not seen any of the previous Transformers movies. I should also note that I’m something of a Transformers hater. Despite pressure from family and friends who have praised the movie series, I have deliberately avoided every single one of the films. I never liked the cartoon as a kid, and while Transformers’ amalgamation of cars and robots may be a dream combination for most guys, I have very little interest in either. However, as a critic, I cannot let my own biases get in the way of giving fair judgment. After having watched Transformers: Age of Extinction, I can thankfully report that the film actually wasn’t half bad. While it’s not going to make a Transformers fan out of me, it was an entertaining, albeit overly-long, movie-going experience.
Age of Extinction is an action-packed ride, filled with the kind of over-the-top entertainment you would expect from a Michael Bay film. While Bay has developed something of a bad rap, there’s no denying his knack for fun and ridiculous action sequences. He’s a man who spares no expense when it comes to explosions and special effects, and this is where Bay is at his best. Love him or hate him, it’s hard to argue with his results as he’s surely one of the most successful directors of all time. However, clocking in at two hours and forty-five minutes, the high-speed action of Age of Extinction is exhausting and becomes tiresome long before the finale. Even when Bay slows things down, he keeps the camera overly busy with particle effects and constant movement. While all of that looks great in IMAX 3D, it feels like an endless visual barrage that is frankly a lot to take in. How many lens flares must a man endure in one movie? I understand the desire to make every shot exciting and visually striking, but I think Bay is trying to tackle too much on camera.
Similarly, Age of Extinction is trying to squeeze too much into its plot, which could almost be broken up into two entirely separate movies. We have the hunt for Optimus Prime and the Transformers by Lockdown and the CIA; Cade Yeager’s discovery of Prime and their ensuing alliance; the love story between Cade’s daughter and her boyfriend; the emergence of the Dinobots; as well as the man-made construction of new Transformers. The result is a fast-paced action movie that is convoluted and far too long. That’s not to say that what is there is bad, though. Awful love story aside, all of the other components of the story are solid and even pretty interesting. Kelsey Grammer puts in a good performance as the head of the CIA who is responsible for the extermination of the Transformers. Similarly, Stanley Tucci is great as Joshua Joyce, the brilliant inventor who is recreating human-controlled Transformers for military use. Yet I can’t help but think that Joyce’s plot would have been perhaps been better to save for a sequel. Sure, it offers a nice parallel between the two inventors and it also creates an opportunity for them to introduce some all-new Transformers, but aren’t the Dinobots enough? There’s so much going on in the film that the eagerly-anticipated Dinobots aren’t given much screen time at all. There is just an unreasonable amount of narratives going on in this movie, to the point where it’s hard to follow, and even harder to stay interested in. Instead of sitting on the edge of your seat during the climactic showdown, you’re probably going to be looking at your watch and wondering how much longer this movie can possibly go on.
While I’m no expert on Transformers, I think the film does an admirable job in bringing the robotic characters to life. Their appearance and animation are both impressive, and they’re typically a pretty fun bunch. I have to admit, though, that I was a bit jarred by the angry and violent demeanor of Optimus Prime. I thought he was supposed to be the good guy everyone looked up to? In Age of Extinction, he clearly has some anger management issues. While he might be the most skilled warrior out there, he sure doesn’t seem like much of a role model. Peter Cullen, the original voice of Optimus Prime, has one again returned to voice the character. John Goodman gives a stand-out voice performance as Hound, in a role he seemed to have a lot of fun with, and Ken Watanabe voices the Samurai-like Transformer known as Drift. All in all, there are a lot of Transformers in the movie, but there is hardly ample time to get to know most of them. I imagine many of them have been introduced in previous films, but for a newcomer like myself, I had a hard time distinguishing between quite a few of them. Then there are the Dinobots, which look awesome, but we’re not given a chance to know much of anything about them. It’s a shame that they’re reduced to feeling like unnecessary bookends to an already overly-crammed movie.
On the human side of things, Mark Wahlberg is enjoyable as the struggling inventor who scavengers through whatever he can to try to create a breakthrough invention. He brings a charming and heroic presence to his role, making him a character we can identify with and root for as he tries to assist the highly-targeted Transformers. T.J. Miller’s Lucas makes for a mildly humorous companion to Cade, although much of the film’s attempts at comedy feel forced and aren’t very funny. Then there’s Nicola Peltz as the skimpily-dressed, rebellious but brainy and innocent, party girl daughter Tessa. She fits right into Bay’s stereotypical sexist female lead who serves as little more than a damsel in distress and eye candy. Still, I don’t know who is worse; Tessa, or her rally car racing boyfriend Shane, played by Jack Reynor. I felt just as frustrated by them as Wahlberg does playing Tessa’s disgruntled and disapproving father. These two lovebirds are an annoying and unwanted addition that only further drag out the plot. While it was at first vaguely amusing to watch Cade freak out as the over-protective father, that shtick ended up getting old real quick. While Wahlberg makes a good new face for the franchise, I hope to God that he comes alone for the next one.
Transformers: Age of Extinction is a fun summer movie. Director Michael Bay sticks to his usual mode of operation with ridiculous action sequences, top of the line special effects, and a whole lot of explosions. If you’re looking for a movie with more flash than substance, Age of Extinction should be right up your alley. It’s jam-packed and overly ambitious, stretching the run time far longer than it ever should, but if offers plenty of dumb, fun entertainment. Transformers fans should be pleased, although the series still has yet to make a fan out of me.
(This review was originally posted at 5mmg.com on 9.22.14.)
BankofMarquis (1832 KP) rated The Dark Knight (2008) in Movies
Apr 16, 2018
Not a Masterpiece, but has a Masterful performance
With the DARK KNIGHT, Christopher Nolan kicks his movie's up a notch. His previous films were critical - but not necessarily commercial - successes. With the 2nd of his Batman trilogy, Nolan swings for the seats and in more ways than one, hits a home run.
THE DARK KNIGHT continues the "dark, realistic" Batman story line (based on the Frank Miller Graphic Novels of the same name) that Nolan started with BATMAN BEGINS. This film starts off simply enough - a "James Bond" type of opening action sequence that has Batman tying up some loose ends (specifically regarding the villain Scarecrow), but Nolan (and his brother, the Screenwriter Jonathan Nolan) do a clever thing, they interweave the introduction of a new villain, The Joker, into this universe.
While The Joker commits crime after crime, his real purpose is to bring chaos and anarchy to Gotham City - and he succeeds wonderfully well, despite the attempts of Batman, Alfred, Lucious Fox and Detective Jim Gordon to stop him.
As is befitting a criminal such as The Joker - and also, as befitting a big budget summer tent pole blockbuster film - the stunts of this film are amazing, over-the-top, explosive and LOUD. There are death defying stunts, breathlessly captured, long, screeching car chases (that's a good thing) and fight scenes that are well choreographed and are, by the most part, done "practically" (not with the aid of CGI), including a wonderful stunt of flipping a semi-truck and trailer up in the air and onto it's back by the nose of the truck.
These stunts would mean nothing if there wasn't some folks to root for and get behind - and this film has those characters - and performances - in spades with continued good work from Nolan "Dark Knight Trilogy" regulars Christian Bale (Batman/Bruce Wayne), Detective Jim Gordon (Gary Oldman), Alfred the Butler (Michael Caine, really shining here) and Lucious Fox (Morgan Freeman - a nice character add to this universe for this trilogy). This core really brings the goods, which is good, for the newcomers to this series - Aaron Eckhart's District Attorney Harvey Dent and Maggie Gillenhall taking over the role of Rachel Dawes (from Katie Holmes) are pretty bland in comparison.
But...all of them pale in comparison to the once-in-a-lifetime performance and character of Heath Ledger as The Joker. Ledger, as most of you know, rightfully won the Oscar for Best Supporting Actor for this role - a rare feat for a "comic book" movie. This is not only the Best Supporting Actor turn for 2008, but I would argue it is one of the best Supporting Actor turns of all-time. Anytime that Ledger is on the screen, your eye goes to him and you lose all sense of anything else that is going on. His look, his tics, his pauses, his vocal patterns, his mannerisms, his walk, ALL convey a sense of the character and added all up, it is quite something to behold.
Many, many have called this their favorite "comic book" film of all time, but I don't think I share that idea. While Nolan spent much of his time on the characters, the "look" of the film and the effects and stunts, he left the story a little too thin and the length of this film is a bit too long, for my tastes. I was most certainly looking at my watch during the "thrilling conclusion" of this film waiting for it to be done.
Now...to be fair...most of the reason for that is that I was exhausted watching Ledger's performance. He wore me out. But...that's a compliment, not a complaint.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
THE DARK KNIGHT continues the "dark, realistic" Batman story line (based on the Frank Miller Graphic Novels of the same name) that Nolan started with BATMAN BEGINS. This film starts off simply enough - a "James Bond" type of opening action sequence that has Batman tying up some loose ends (specifically regarding the villain Scarecrow), but Nolan (and his brother, the Screenwriter Jonathan Nolan) do a clever thing, they interweave the introduction of a new villain, The Joker, into this universe.
While The Joker commits crime after crime, his real purpose is to bring chaos and anarchy to Gotham City - and he succeeds wonderfully well, despite the attempts of Batman, Alfred, Lucious Fox and Detective Jim Gordon to stop him.
As is befitting a criminal such as The Joker - and also, as befitting a big budget summer tent pole blockbuster film - the stunts of this film are amazing, over-the-top, explosive and LOUD. There are death defying stunts, breathlessly captured, long, screeching car chases (that's a good thing) and fight scenes that are well choreographed and are, by the most part, done "practically" (not with the aid of CGI), including a wonderful stunt of flipping a semi-truck and trailer up in the air and onto it's back by the nose of the truck.
These stunts would mean nothing if there wasn't some folks to root for and get behind - and this film has those characters - and performances - in spades with continued good work from Nolan "Dark Knight Trilogy" regulars Christian Bale (Batman/Bruce Wayne), Detective Jim Gordon (Gary Oldman), Alfred the Butler (Michael Caine, really shining here) and Lucious Fox (Morgan Freeman - a nice character add to this universe for this trilogy). This core really brings the goods, which is good, for the newcomers to this series - Aaron Eckhart's District Attorney Harvey Dent and Maggie Gillenhall taking over the role of Rachel Dawes (from Katie Holmes) are pretty bland in comparison.
But...all of them pale in comparison to the once-in-a-lifetime performance and character of Heath Ledger as The Joker. Ledger, as most of you know, rightfully won the Oscar for Best Supporting Actor for this role - a rare feat for a "comic book" movie. This is not only the Best Supporting Actor turn for 2008, but I would argue it is one of the best Supporting Actor turns of all-time. Anytime that Ledger is on the screen, your eye goes to him and you lose all sense of anything else that is going on. His look, his tics, his pauses, his vocal patterns, his mannerisms, his walk, ALL convey a sense of the character and added all up, it is quite something to behold.
Many, many have called this their favorite "comic book" film of all time, but I don't think I share that idea. While Nolan spent much of his time on the characters, the "look" of the film and the effects and stunts, he left the story a little too thin and the length of this film is a bit too long, for my tastes. I was most certainly looking at my watch during the "thrilling conclusion" of this film waiting for it to be done.
Now...to be fair...most of the reason for that is that I was exhausted watching Ledger's performance. He wore me out. But...that's a compliment, not a complaint.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Andy K (10821 KP) rated The Man Who Killed Don Quixote (2018) in Movies
Jul 1, 2019
25+ years in the making!
Up until its release, "The Man Who Killed Don Quixote" would have been at the top of any movie list featuring movies in development hell never to actually make it to the big screen. Those who are interested should read the lengthy details of the various derailed productions of the film including its original incarnation starring Johnny Depp and the late Jean Rochefort. The film chronicles can even be viewed on their own in the 2002 documentary film "Lost in La Mancha".
To say director Terry Gilliam has had a hard time getting some of his quirky films made, financed and released is an understatement for sure. Films like "Brazil", "The Adventures of Baron Munchausen" or "Tideland" had their difficulties making it to the big screen. How about having the main star of your film die in the middle of production? He had that issue as well during filming of "The Imaginarium of Doctor Parnassus" when Heath Ledger passed away. Thanks to the help of Johnny Depp, Collin Farrell and Jude Law stepping in, the film was able to be released eventually.
Over the years I had kept up with Gilliam's repeated attempts to get the film financed and made including another time where he had cast fellow Python vet Michael Palin in the lead or even Robert Duvall was attached at one point.
The movie itself is a marvel of tenacity for Gilliam and I am very glad he was finally able to make it.
This final version of the film stars Adam Driver as troubled film director, Toby, and Jonathan Pryce as Don Quixote.
Toby is not thrilled about his current production and wanders back to the small Spanish town where he had met some of the locals and made a student film about Quixote 10 years earlier. He finds his "Quixote" living out a sideshow fantasy having lost his grip on reality thinking he is still Quixote today. Toby decides to launch an adventure with him through the Spanish countryside as his "Sancho Panza". Through their quests they encounter a multitude of interesting, wacky and outlandish characters who feed into the Quixote fantasy.
I have to say the film's look left me breathless. As with Gilliam's entire library of films, the production design, art direction and cinematography were astonishing really delving you into this larger than life world and helped move along some of the weaker elements.
Gilliam's goal with the screenplay was to adapt the classic Quixote story to be told under up to date circumstances and I'm not sure he completely succeeded. Some of the scenes and dialogue were boring and the movie's plot dragged at times. The mixing of world's was a little confusing and not sure the payoff entirely wrapped the story to conclusion.
Besides playing Kylo Wren, I am not sure Adam Driver will end up having a long career in film as I thought he was flat and not entertaining to watch as I am sure Depp would have been in the role. Jonathan Pryce was a joy to watch and every scene he was in he really stole the show.
It was fun to watch some elements from some of Gilliam's other work on display including the red knight from "The Fisher King", the sprawling landscapes from "Baron Munchausen" or "Time Bandits" and even the sideshow from "Parnassus".
Overall, I am glad I finally got to watch it as I am sure Gilliam was to finally film and release his long-awaited project. I guess I would say I was entertained, but felt like it fell short of being a true classic.
To say director Terry Gilliam has had a hard time getting some of his quirky films made, financed and released is an understatement for sure. Films like "Brazil", "The Adventures of Baron Munchausen" or "Tideland" had their difficulties making it to the big screen. How about having the main star of your film die in the middle of production? He had that issue as well during filming of "The Imaginarium of Doctor Parnassus" when Heath Ledger passed away. Thanks to the help of Johnny Depp, Collin Farrell and Jude Law stepping in, the film was able to be released eventually.
Over the years I had kept up with Gilliam's repeated attempts to get the film financed and made including another time where he had cast fellow Python vet Michael Palin in the lead or even Robert Duvall was attached at one point.
The movie itself is a marvel of tenacity for Gilliam and I am very glad he was finally able to make it.
This final version of the film stars Adam Driver as troubled film director, Toby, and Jonathan Pryce as Don Quixote.
Toby is not thrilled about his current production and wanders back to the small Spanish town where he had met some of the locals and made a student film about Quixote 10 years earlier. He finds his "Quixote" living out a sideshow fantasy having lost his grip on reality thinking he is still Quixote today. Toby decides to launch an adventure with him through the Spanish countryside as his "Sancho Panza". Through their quests they encounter a multitude of interesting, wacky and outlandish characters who feed into the Quixote fantasy.
I have to say the film's look left me breathless. As with Gilliam's entire library of films, the production design, art direction and cinematography were astonishing really delving you into this larger than life world and helped move along some of the weaker elements.
Gilliam's goal with the screenplay was to adapt the classic Quixote story to be told under up to date circumstances and I'm not sure he completely succeeded. Some of the scenes and dialogue were boring and the movie's plot dragged at times. The mixing of world's was a little confusing and not sure the payoff entirely wrapped the story to conclusion.
Besides playing Kylo Wren, I am not sure Adam Driver will end up having a long career in film as I thought he was flat and not entertaining to watch as I am sure Depp would have been in the role. Jonathan Pryce was a joy to watch and every scene he was in he really stole the show.
It was fun to watch some elements from some of Gilliam's other work on display including the red knight from "The Fisher King", the sprawling landscapes from "Baron Munchausen" or "Time Bandits" and even the sideshow from "Parnassus".
Overall, I am glad I finally got to watch it as I am sure Gilliam was to finally film and release his long-awaited project. I guess I would say I was entertained, but felt like it fell short of being a true classic.
Kirk Bage (1775 KP) rated Call Me by Your Name (2017) in Movies
Mar 3, 2020
There are a swathe of European film-makers like Luca Guadagnino and Paolo Sorrentino that have the skill to make every image they print to film look like a work of art, giving you the feeling you are on the most idyllic holiday you ever had. Watching a largely silent image of a beautiful lake or a tree in the breeze, or an al fresco dinner where family and friends talk freely whilst the wine and olive oil flow is a treat I am not immune to.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Kirk Bage (1775 KP) rated Fruitvale Station (2013) in Movies
Aug 6, 2020
Here is another movie that was put up for consideration for my upcoming book 21st Century Cinema: 200 Essential Films. It didn’t quite make the final cut, but is part of the long list of honourable mentions – movies that are easy to like and recommend, but aren’t quite of the very highest quality in their respective genres.
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Bob Mann (459 KP) rated Guardians of the Galaxy Vol. 2 (2017) in Movies
Sep 29, 2021
Groot Expectations.
James Gunn is back writing and directing the sequel to his surprise 2014 summer hit. And it might be a fresh mix tape slammed into the Walkman, but it’s much of the same again. Not that that’s necessarily a bad thing.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.