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Gareth von Kallenbach (971 KP) rated Miami Vice (2006) in Movies
Aug 14, 2019
In 1984 a show arrived on NBC that instantly became a media sensation and set new standards for television dramas, as well as for music and fashion as it soon became a cultural icon.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
Bob Mann (459 KP) rated Nocturnal Animals (2016) in Movies
Sep 29, 2021
Putting the crisis into mid-life crisis.
“Do you think your life has turned into something you never intended?” So asks Susan Morrow (Amy Adams) to her young assistant, who obviously looks baffled. “Of course, not – you’re still young”. Susan is in a mid-life crisis. While successful within the opulent Los Angeles art scene her personal life is crashing to the ground around her: her marriage (to Hutton (Armie Hammer, “The Man From Uncle”) ) appears to be cooling fast amid financial worries.
In the midst of this rudderless time a manuscript from her ex-husband, struggling writer Edward Sheffield (Jake Gyllenhaal), turns up out of the blue. As we see in flashback, Edward is a man let down on multiple levels by Susan in the past. His novel – “Nocturnal Animals”, dedicated to Susan – is a primal scream of twenty years worth of hurt, pain, regret and vengeance; a railing against a loss of love; a railing against a loss of life.
As Susan painfully turns the pages we live the book as a ‘film within a film’ – with characters casually modelled on Edward, Susan and Susan’s daughter, actually played by Gyllenhaal, Amy-Adams-lookalike Isla Fisher (“Grimsby”) and Ellie Bamber (“Pride and Prejudice and Zombies”) respectively. The insomniac Susan is seriously moved. She feels likes someone who’s fallen asleep on the train of life and doesn’t recognise any of the stations when she wakes up. How will Susan’s regrets translate into action? Should she take up Edwards offer to meet up for dinner?
This Tom Ford film – only his second after the wildly successful “A Single Man” in 2009 – is a challenging film to watch. The opening titles of naked overweight woman ‘twerkers’ is challenging enough (#wobble). After this shocking opening (that morphs into an art gallery installation) the LA scenes have a gloriously Hitchcockian/noir feel to them, being gorgeously filmed by cinematographer Seamus McGarvey (“The Accountant”, “The Avengers”) – an Oscar nomination I would suggest should be in the offing.
And then comes the start of the “book” segment: one of the most uncomfortably tense scenes I’ve seen this year. A Texan family horror film featuring a lonely highway and a trio of “deplorables” (to quote an unfortunate put-down by Hilary Clinton). As stark contrast to the sharp lines and glamour of LA, these scenes are reminiscent of “No Country for Old Men” with a searingly unpleasant performance from Aaron Taylor-Johnson (“Kick-Ass”) and an equally queasy turn by local law enforcer Bobby Andes (Michael Shannon, Zod in “Batman v Superman: Dawn of Justice”). Either or both of these gentlemen could be contenders for a Supporting Actor nomination. The tension is superbly notched up by a mesmerising cello/violin score by Polish composer Abel Korzeniowski.
Amy Adams is fantastic in the leading role (what with “Arrival” this month, this is quite a month for the actress) as is Jake Gyllenhaal, channelling so much emotion, angst and guilt at his own impotence. After “Nightcrawler” Gyllenhaal is building up a formidable reputation that must translate into an Oscar some time soon: possibly this is it. Some excellent cameos from Laura Linney (as Susan’s sad-eyed mother) and Michael Sheen (in a superb purple jacket) rounds off an excellent ensemble cast.
The concept of a “film within a film” is not new. The most memorable example (I realise with a shock – #midlifecrisis) was “The French Lieutenant’s Woman” with a young but striking Meryl Streep 35 years ago. Here the LA sequence, the book and the flashback scenes are beautifully merged into a seamless whole where you never seem to get lost or disorientated.
If there is a criticism to be made, the second half of the ‘book’ is not as satisfying as the first with some rather clunky plot points that fall a little too easily.
However, this is a nuanced film where every step and every scene feels sculpted and filled with meaning. It is a film that deserves repeat viewings, since it raises questions and thoughts that survive long after the lights have come up. Tom Ford’s output may be of a sparsity of Kubrick proportions, but like Kubrick his output is certainly worth waiting for.
Recommended, but go mentally prepared: this was a UK 15 certificate, but it felt like it should be more of a UK 18.
In the midst of this rudderless time a manuscript from her ex-husband, struggling writer Edward Sheffield (Jake Gyllenhaal), turns up out of the blue. As we see in flashback, Edward is a man let down on multiple levels by Susan in the past. His novel – “Nocturnal Animals”, dedicated to Susan – is a primal scream of twenty years worth of hurt, pain, regret and vengeance; a railing against a loss of love; a railing against a loss of life.
As Susan painfully turns the pages we live the book as a ‘film within a film’ – with characters casually modelled on Edward, Susan and Susan’s daughter, actually played by Gyllenhaal, Amy-Adams-lookalike Isla Fisher (“Grimsby”) and Ellie Bamber (“Pride and Prejudice and Zombies”) respectively. The insomniac Susan is seriously moved. She feels likes someone who’s fallen asleep on the train of life and doesn’t recognise any of the stations when she wakes up. How will Susan’s regrets translate into action? Should she take up Edwards offer to meet up for dinner?
This Tom Ford film – only his second after the wildly successful “A Single Man” in 2009 – is a challenging film to watch. The opening titles of naked overweight woman ‘twerkers’ is challenging enough (#wobble). After this shocking opening (that morphs into an art gallery installation) the LA scenes have a gloriously Hitchcockian/noir feel to them, being gorgeously filmed by cinematographer Seamus McGarvey (“The Accountant”, “The Avengers”) – an Oscar nomination I would suggest should be in the offing.
And then comes the start of the “book” segment: one of the most uncomfortably tense scenes I’ve seen this year. A Texan family horror film featuring a lonely highway and a trio of “deplorables” (to quote an unfortunate put-down by Hilary Clinton). As stark contrast to the sharp lines and glamour of LA, these scenes are reminiscent of “No Country for Old Men” with a searingly unpleasant performance from Aaron Taylor-Johnson (“Kick-Ass”) and an equally queasy turn by local law enforcer Bobby Andes (Michael Shannon, Zod in “Batman v Superman: Dawn of Justice”). Either or both of these gentlemen could be contenders for a Supporting Actor nomination. The tension is superbly notched up by a mesmerising cello/violin score by Polish composer Abel Korzeniowski.
Amy Adams is fantastic in the leading role (what with “Arrival” this month, this is quite a month for the actress) as is Jake Gyllenhaal, channelling so much emotion, angst and guilt at his own impotence. After “Nightcrawler” Gyllenhaal is building up a formidable reputation that must translate into an Oscar some time soon: possibly this is it. Some excellent cameos from Laura Linney (as Susan’s sad-eyed mother) and Michael Sheen (in a superb purple jacket) rounds off an excellent ensemble cast.
The concept of a “film within a film” is not new. The most memorable example (I realise with a shock – #midlifecrisis) was “The French Lieutenant’s Woman” with a young but striking Meryl Streep 35 years ago. Here the LA sequence, the book and the flashback scenes are beautifully merged into a seamless whole where you never seem to get lost or disorientated.
If there is a criticism to be made, the second half of the ‘book’ is not as satisfying as the first with some rather clunky plot points that fall a little too easily.
However, this is a nuanced film where every step and every scene feels sculpted and filled with meaning. It is a film that deserves repeat viewings, since it raises questions and thoughts that survive long after the lights have come up. Tom Ford’s output may be of a sparsity of Kubrick proportions, but like Kubrick his output is certainly worth waiting for.
Recommended, but go mentally prepared: this was a UK 15 certificate, but it felt like it should be more of a UK 18.
BankofMarquis (1832 KP) rated Guardians of the Galaxy Vol. 2 (2017) in Movies
Jul 5, 2018
Does what a good sequel needs to do
I have to admit that I really liked, but did not LOVE the first Guardians of the Galaxy film, so when I entered the local cineplex to check out Volume 2, I had lowered my expectations, figuring I'd find a film that was filled with "sequel-itis" and be just a step down from the previous film.
Boy...was I wrong.
I LOVED GUARDIANS OF THE GALAXY, VOLUME 2. This sequel succeeded in doing what a good sequel needs to do - take the premise, feel, characters and style of the first film and build on it.
And build on it, it does. Director James Gunn states that the first Guardians was about "a family coming together", and the 2nd movie is about "a family staying together" - and this is a family I want around and staying together.
Starting with the "core 5" - StarLord (Chris Pratt), Gamora (Zoe Saldona), Drax (Dave Bautista), Rocket Racoon (voiced by Bradley Cooper) and Baby Groot (voiced by Vin Diesel). These are all welcome characters that grow from the first movie to the 2nd, each with a purpose in this film and with something important to do. I enjoyed seeing them all again. Special notice should be paid to Bautista, who's Drax left me somewhat cold in the first film. Here he is a delight. Add to this returning characters Yondu (Michael Rooker) and Nebula (Karen Gillan) as well as newcomers Mantis (Pom Klementieff), Ayesha (Elizabeth Debicki) and Ego (Kurt Russell) and you have an ensemble that is easy and fun to watch.
At some point in the film, I thought to myself "now, THIS is a comic book film!" and I think it is because of the action and the visuals. The action moves fast and furious all the while populating a Universe (literally) that is eye-popping and interesting to watch. Director Gunn keeps things moving along, never staying too long in one place whilst avoiding the shaky-cam action. I always knew where I was in an action scene, what the characters are working on or for and what the outcomes might be. It is a refreshing change from the disorienting "shaky-cam" that the Bourne movies have wrought.
And, of course, nothing can top the soundtrack. The first film's "Awesome Mix" was a strong, joyous part of that movie. "Awesome Mix, Vol. 2" picks right up where the first one left off. The songs picked for this film did not disappoint.
Nor did much of this film. I enjoyed myself - and the antics of this gang - from start to finish, including the 5(!) extra scenes in the credits.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Boy...was I wrong.
I LOVED GUARDIANS OF THE GALAXY, VOLUME 2. This sequel succeeded in doing what a good sequel needs to do - take the premise, feel, characters and style of the first film and build on it.
And build on it, it does. Director James Gunn states that the first Guardians was about "a family coming together", and the 2nd movie is about "a family staying together" - and this is a family I want around and staying together.
Starting with the "core 5" - StarLord (Chris Pratt), Gamora (Zoe Saldona), Drax (Dave Bautista), Rocket Racoon (voiced by Bradley Cooper) and Baby Groot (voiced by Vin Diesel). These are all welcome characters that grow from the first movie to the 2nd, each with a purpose in this film and with something important to do. I enjoyed seeing them all again. Special notice should be paid to Bautista, who's Drax left me somewhat cold in the first film. Here he is a delight. Add to this returning characters Yondu (Michael Rooker) and Nebula (Karen Gillan) as well as newcomers Mantis (Pom Klementieff), Ayesha (Elizabeth Debicki) and Ego (Kurt Russell) and you have an ensemble that is easy and fun to watch.
At some point in the film, I thought to myself "now, THIS is a comic book film!" and I think it is because of the action and the visuals. The action moves fast and furious all the while populating a Universe (literally) that is eye-popping and interesting to watch. Director Gunn keeps things moving along, never staying too long in one place whilst avoiding the shaky-cam action. I always knew where I was in an action scene, what the characters are working on or for and what the outcomes might be. It is a refreshing change from the disorienting "shaky-cam" that the Bourne movies have wrought.
And, of course, nothing can top the soundtrack. The first film's "Awesome Mix" was a strong, joyous part of that movie. "Awesome Mix, Vol. 2" picks right up where the first one left off. The songs picked for this film did not disappoint.
Nor did much of this film. I enjoyed myself - and the antics of this gang - from start to finish, including the 5(!) extra scenes in the credits.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated The Last Witch Hunter (2015) in Movies
Jun 19, 2019
Over 800 years ago, a group of warriors and Clergy set off on a journey to destroy a witch and her minions in her lair. The witch had unleashed a plague upon the human race and she was determined to wipe them from the face of the planet.
During the battle, the witch is defeated but with her dying breath, she curses the one who vanquished her to a life of eternity, destined to be alone and never know peace.
Flash forward to modern day New York, and we find that man is now an elite Witch Hunter named Kaulder (Vin Diesel), who toils his trade working for a group who along with Witches maintain the peace. The Witches promise not to practice their craft against humans and in turn they are left alone. But when one does not follow the rules or is a threat to humanity, Kaulder and his ability to heal from injury via his immortality is dispatched to dispense justice.
When his Dolan (Michael Caine) is found dead the day after he retires, Koulder and his new Dolan (Elijah Wood), set out to find the Witch who is responsible which in turn leads to a discovery that his former Dolan is not dead but deeply cursed. In a race against time, Koulder must find the Witch who issues the curse and make an uneasy alliance with a witch named Chloe (Rose Leslie) to get to the bottom of a mystery darker and more deadly than they could have ever imagined.
One would think with the presence of Diesel and the interesting premise of the film, “The Last Witch Hunter”, would be more than it is. The film sadly plods along and has no real tension or surprises and at times, plays out more like a direct to DVD release or something one would find on cable late at night. I think the presence of Diesel is what got the film a theatrical release but one would hope with such a fine supporting cast it would have been better.
That is not to say the film is bad, as it was better than I thought it would be, but sadly as it went along, it simply failed to deliver on the potential of the premise.
In many ways I see this like “Hansel and Gretel” in that it will likely play better to the foreign market but after the total box office, DVD, and Pay Per View are factored in, do not be shocked if a second outing for the characters arrives someday as Diesel has shown a fondness for franchise characters.
For now the film is a decent distraction and offers entertainment as long as you set your expectations accordingly.
http://sknr.net/2015/10/23/the-last-witch-hunter/
During the battle, the witch is defeated but with her dying breath, she curses the one who vanquished her to a life of eternity, destined to be alone and never know peace.
Flash forward to modern day New York, and we find that man is now an elite Witch Hunter named Kaulder (Vin Diesel), who toils his trade working for a group who along with Witches maintain the peace. The Witches promise not to practice their craft against humans and in turn they are left alone. But when one does not follow the rules or is a threat to humanity, Kaulder and his ability to heal from injury via his immortality is dispatched to dispense justice.
When his Dolan (Michael Caine) is found dead the day after he retires, Koulder and his new Dolan (Elijah Wood), set out to find the Witch who is responsible which in turn leads to a discovery that his former Dolan is not dead but deeply cursed. In a race against time, Koulder must find the Witch who issues the curse and make an uneasy alliance with a witch named Chloe (Rose Leslie) to get to the bottom of a mystery darker and more deadly than they could have ever imagined.
One would think with the presence of Diesel and the interesting premise of the film, “The Last Witch Hunter”, would be more than it is. The film sadly plods along and has no real tension or surprises and at times, plays out more like a direct to DVD release or something one would find on cable late at night. I think the presence of Diesel is what got the film a theatrical release but one would hope with such a fine supporting cast it would have been better.
That is not to say the film is bad, as it was better than I thought it would be, but sadly as it went along, it simply failed to deliver on the potential of the premise.
In many ways I see this like “Hansel and Gretel” in that it will likely play better to the foreign market but after the total box office, DVD, and Pay Per View are factored in, do not be shocked if a second outing for the characters arrives someday as Diesel has shown a fondness for franchise characters.
For now the film is a decent distraction and offers entertainment as long as you set your expectations accordingly.
http://sknr.net/2015/10/23/the-last-witch-hunter/
Gareth von Kallenbach (971 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.
Emma @ The Movies (1786 KP) rated Ant-Man and the Wasp (2018) in Movies
Sep 25, 2019
Yes Infinity War was good... but for me, Ant-Man And The Wasp was better. Yes IW was epic and devastating, but out of the two I didn't have any quibbles about this one. The CGI was what really did it for me. In IW Thanos' minions looked terrible, even when you take into consideration that they're aliens. But seeing the CGI in the flashback scenes in this one I was impressed at how real it all looked.
This is another film that makes me wish companies would think before they make their trailers. Fallout showed you a trailer that makes it look like Cavill is fighting Cruise and gives away a plot point that, at that point in the actual film, isn't certain. Fallen Kingdom shows you the shot of our giant aquatic friend playing with surfers, which in the actual movie doesn't happen until the closing scenes. In one of the Ant-Man trailers we see what amounts to the end of credits scene... yes there are things that are added to fit with the MCU timeline, but I don't feel like that really makes any difference to the situation. I also think that they should have left the shrinking building out of the trailers to give that a bigger impact in the release.
As far as the movies of the MCU go there are definitely some that are on the funnier side, and this fits that bill. Paul Rudd is obviously still a little goofy, and has an amazing montage sequence as he battles with his last few days of house arrest. But the real comedic star of this for me was Michael Peña. Lovable and an absolute gem. His face when he gets his hands on the Hot Wheels case... kid in a candy store. I truly hope that he survived the dusting of Infinity War. Pipe dreams I know, but I'm hoping he makes it through so he can Neville Longbottom Thanos.
To briefly cover the mid credit scene, which obviously left me with my jaw dropped a bit. There's one thing I'm wondering about, Scott says... "our new ghost friend"... now initially you'd think that he's talking about Ava, but she went off separately at the end of the film and it's got to take a fairly long time to make a new Quantum Tunnel, so could he be talking about someone else?
I still don't quite understand the decision to release this after IW considering the film itself is based before in the timeline, the only thing requiring it to be that way were the after credit scenes. Bit of a shame as I feel like after the epic nature of IW this has suffered as it's not on the same world ending and story completing level
This is another film that makes me wish companies would think before they make their trailers. Fallout showed you a trailer that makes it look like Cavill is fighting Cruise and gives away a plot point that, at that point in the actual film, isn't certain. Fallen Kingdom shows you the shot of our giant aquatic friend playing with surfers, which in the actual movie doesn't happen until the closing scenes. In one of the Ant-Man trailers we see what amounts to the end of credits scene... yes there are things that are added to fit with the MCU timeline, but I don't feel like that really makes any difference to the situation. I also think that they should have left the shrinking building out of the trailers to give that a bigger impact in the release.
As far as the movies of the MCU go there are definitely some that are on the funnier side, and this fits that bill. Paul Rudd is obviously still a little goofy, and has an amazing montage sequence as he battles with his last few days of house arrest. But the real comedic star of this for me was Michael Peña. Lovable and an absolute gem. His face when he gets his hands on the Hot Wheels case... kid in a candy store. I truly hope that he survived the dusting of Infinity War. Pipe dreams I know, but I'm hoping he makes it through so he can Neville Longbottom Thanos.
To briefly cover the mid credit scene, which obviously left me with my jaw dropped a bit. There's one thing I'm wondering about, Scott says... "our new ghost friend"... now initially you'd think that he's talking about Ava, but she went off separately at the end of the film and it's got to take a fairly long time to make a new Quantum Tunnel, so could he be talking about someone else?
I still don't quite understand the decision to release this after IW considering the film itself is based before in the timeline, the only thing requiring it to be that way were the after credit scenes. Bit of a shame as I feel like after the epic nature of IW this has suffered as it's not on the same world ending and story completing level
Gareth von Kallenbach (971 KP) rated The Big Sick (2017) in Movies
Jul 11, 2019
Kumail (Kumail Nanjiani) is a young Pakistani American trying to make it as a stand-up comic. He spends his free time making extra money as an Uber driver and getting set up with Pakistani women by his family, in an attempt to arrange a marriage for him. Then his life changes one night when he meets an American girl named Emily (Zoe Kazan). After hooking up the night they meet they start a whirlwind relationship. But Kumail is hiding this relationship from his family, because they would disown him if they found out, and still meeting with the young women who he could potentially marry. When Emily finds this out she confronts Kumail and they break up. Kumail is depressed but felt he had to choose his family and tradition over his feelings for Emily. Then a while later he gets a frantic call in the middle of the night from one of Emily’s friends asking him to go to the Emergency Room and wait with her. When he arrives doctors are wanting to put Emily into an induced coma. With no one else around Kumail stays with Emily. Emily’s parents (played by Ray Romano and Holly Hunter) show up and know everything that happened between Kumail and Emily. It is uncomfortable but Kumail feel like he needs to stay. He is now struggling with is feelings for Emily and his culture.
The Big Sick is a film telling the real-life story of courtship of Kumail and his real life wife Emily V. Gordon, both of whom wrote screenplay. The Michael Showatler (Hello My Name is Doris) directed film is very funny and smartly paced. There is a good balance of comedy and the serious situations, including dealing with trauma and overcoming cultural differences. The cast is really good, from Hunter and Romano to comedians Aidy Bryant and Kurt Braunohler the supporting roles are really well cast and performed. Zoe Kazan was really good during her time on screen. There were times when I could tell that the dialogue was dubbed over and it was a little distracting, but only a handful of times. I also appreciated the side story of the life of a young comic. It was not a focal point of the movie but it definitely showed how Kumail struggled to become a comic and how life and his family culture sometimes got in the way of his ambition, in both good and bad ways.
Heartwarming and funny this film is original and fun to watch. It was definitely nice to be caught off guard by some really funny moments in the middle of serious situations. It has a run time of 2 hours and 4 minutes with is a little longer than average but really doesn’t feel that long.
The Big Sick is a film telling the real-life story of courtship of Kumail and his real life wife Emily V. Gordon, both of whom wrote screenplay. The Michael Showatler (Hello My Name is Doris) directed film is very funny and smartly paced. There is a good balance of comedy and the serious situations, including dealing with trauma and overcoming cultural differences. The cast is really good, from Hunter and Romano to comedians Aidy Bryant and Kurt Braunohler the supporting roles are really well cast and performed. Zoe Kazan was really good during her time on screen. There were times when I could tell that the dialogue was dubbed over and it was a little distracting, but only a handful of times. I also appreciated the side story of the life of a young comic. It was not a focal point of the movie but it definitely showed how Kumail struggled to become a comic and how life and his family culture sometimes got in the way of his ambition, in both good and bad ways.
Heartwarming and funny this film is original and fun to watch. It was definitely nice to be caught off guard by some really funny moments in the middle of serious situations. It has a run time of 2 hours and 4 minutes with is a little longer than average but really doesn’t feel that long.
Debbiereadsbook (1110 KP) rated In Safe Keeping (Heroes and Babies #2) in Books
Sep 3, 2019
excellent follow up!
Independent reviewer for Divine Magazine, I was gifted my copy of this book.
This is book two in the Heroes and Babies series, but you do NOT need to have read book one, In Safe Hands, before you read this one. There is (or I didn’t pick it up) no relation between the two books, save the Hero and the Baby! But I recommend you do read it, because its bloody brilliant!
Lucas couldn’t save his son, who died in a fire 3 years ago, but saving Owen and baby Mia goes a little way to help. But Owen in clearly running, from what Lucas doesn’t know. His protective instincts are out the roof for Owen and Mia, and Lucas will do anything to keep them safe.
Book one got me out of a bit of a book funk and blew me away, and book two did too!
Lucas’ pain isn’t immediate obvious, and it takes time for the full picture to become clear. I mean, two thirds of the book before you get it ALL laid out for you! And not everything is how you think it’s gonna be! Love being kept on my toes.
The attraction Lucas has for Owen is also slow to become clear, sort of sneaking up on him. While Lucas was married to a woman, he doesn’t question his attraction to Owen, and just runs with it.
Owen’s pain is equally slow in coming out, and it’s not easy reading, not at all. Owen’s attraction to Lucas is powerful, but Owen questions whether that is just the situation, rather than anything real. When they finally get to the “good stuff” though, Owen knows who he wants, he just hopes Lucas feels the same.
Because of the creeping up on Lucas thing, it is not especially explicit, but then again, it doesn’t need to be. It is hot though, it just takes a long time, right till nearly the end of the book!
Again, we get to hear from the bad guy, although said bad guy isn’t quite as bad as one would think, just a man in a really bad place. It is quite graphic, the level of violence that occurs but I think the IS needed, for Owen’s fright to be fully explained, for you to understand what it is he is running from.
Both have guys a say, and you know that makes me happy! I wasn’t sure if Owen would, at first, but he does. Both voices are different, and well written.
I am, currently, listening to book one, and I was hearing Michael Pauley narrate this, so I would hope he does narrate this as well as he does book one!
5 stars
**same worded review will appear elsewhere**
This is book two in the Heroes and Babies series, but you do NOT need to have read book one, In Safe Hands, before you read this one. There is (or I didn’t pick it up) no relation between the two books, save the Hero and the Baby! But I recommend you do read it, because its bloody brilliant!
Lucas couldn’t save his son, who died in a fire 3 years ago, but saving Owen and baby Mia goes a little way to help. But Owen in clearly running, from what Lucas doesn’t know. His protective instincts are out the roof for Owen and Mia, and Lucas will do anything to keep them safe.
Book one got me out of a bit of a book funk and blew me away, and book two did too!
Lucas’ pain isn’t immediate obvious, and it takes time for the full picture to become clear. I mean, two thirds of the book before you get it ALL laid out for you! And not everything is how you think it’s gonna be! Love being kept on my toes.
The attraction Lucas has for Owen is also slow to become clear, sort of sneaking up on him. While Lucas was married to a woman, he doesn’t question his attraction to Owen, and just runs with it.
Owen’s pain is equally slow in coming out, and it’s not easy reading, not at all. Owen’s attraction to Lucas is powerful, but Owen questions whether that is just the situation, rather than anything real. When they finally get to the “good stuff” though, Owen knows who he wants, he just hopes Lucas feels the same.
Because of the creeping up on Lucas thing, it is not especially explicit, but then again, it doesn’t need to be. It is hot though, it just takes a long time, right till nearly the end of the book!
Again, we get to hear from the bad guy, although said bad guy isn’t quite as bad as one would think, just a man in a really bad place. It is quite graphic, the level of violence that occurs but I think the IS needed, for Owen’s fright to be fully explained, for you to understand what it is he is running from.
Both have guys a say, and you know that makes me happy! I wasn’t sure if Owen would, at first, but he does. Both voices are different, and well written.
I am, currently, listening to book one, and I was hearing Michael Pauley narrate this, so I would hope he does narrate this as well as he does book one!
5 stars
**same worded review will appear elsewhere**
BankofMarquis (1832 KP) rated The Dark Knight Rises (2012) in Movies
Jun 27, 2018
A "good enough" ending to the trilogy
Going into the filming of THE DARK KNIGHT RISES, Director Christopher Nolan had a problem on his hands. The previous film in this trilogy - 2008's THE DARK KNIGHT - had turned into a cultural phenomenon based, in part, on the late Heath Ledger's bravura performance as The Joker. So how does he top it?
The quick answer is - you don't, so don't even try.
THE DARK KNIGHT RISES is a satisfactory conclusion to the Dark Knight trilogy that started with 2005's BATMAN BEGINS and, again stars Christian Bale as Bruce Wayne/Batman, the "Dark Knight".
What Director Nolan wisely does is continue his dark tone with this film, but does not even mention The Joker (or Ledger) in this film. Let the memories of the past films be just that - memories - and let this film stand on it's own.
And it does, for the most part.
Taking place 8 years after the events of THE DARK KNIGHT, this film has Batman coming out of self-imposed "retirement" to, yet again, save Gotham City from the clutches of a bad guy - this time, the masked Bane. In the course of this film Batman is torn down, to be risen and reborn again as the shining light of good over evil, shedding the "Dark Knight" moniker once and for all.
Nolan - and his brother, and frequent collaborator, Jonathan - wrote the screenplay and it is...serviceable. Nothing really remarkable about the story and plot. It gives each one of our returning characters - Lucious Fox (Morgan Freeman), Alfred Pennyworth (Michael Caine) and - especially - Commissioner Gordon (Gary Oldman) room to shine along with other, new characters like Selina Kyle/Catwoman (a really good Anne Hathaway), Officer Blake (Joseph Gordon-Levitt) Miranda Tate (Marion Cotillard) and, of course, Bane (Tom Hardy).
As you might be able to see, ALL of these actors are members of Nolan's "troupe" of actors - they either have been in other Nolan films (or, in the case of Hathaway, WILL be in another Nolan film) and each of them appear on the screen with gusto and a quiet confidence in their characters and a trust in a filmmaker that comes from frequent collaborations.
In the lead, Bale, of course, gives his usual, strong performance, though I did detect a hint of weariness in the performance. Now...some will say that is because the character is becoming weary, but I think it is more to the case that Bale was growing weary of playing this character.
But that is a quibble for all of the characters/actors do a terrific/professional job pushing the plot forward, which (let's admit) is just an excuse to go from one gigantic battle/chase scene to another and...Nolan certainly knows how to do these.
From the opening to close, every one of these gigantic "set pieces" held my attention and I found myself - even though I have seen this film before - sitting on the edge of my seat as the good guys - led by Batman - raced time to thwart the machinations of the bad guys in the end.
I'm glad these action sequences held my attention, for there are, inexplicably, looooong sections of this film where there is no action, but "character development" and "growth from strong internal retrospection." This sort of thing might have looked good on the page, but it is rather dull and boring when put on the screen. This film is almost 3 hours long, and - if Mr. Nolan would like to contact me - I can suggest a few spots where we can trim about 20-30 minutes out of this film, starting with the long stretch where Bruce Wayne is imprisoned.
But...these stretches are tolerable when you know it will lead you to some really fine action sequences featuring character/actors that you care about and are actually rooting for them to succeed. As I stated before, this is an "agreeable" conclusion to the trilogy. One who's journey I was glad to be one, but - to be honest - one that I was glad was over as well.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)
The quick answer is - you don't, so don't even try.
THE DARK KNIGHT RISES is a satisfactory conclusion to the Dark Knight trilogy that started with 2005's BATMAN BEGINS and, again stars Christian Bale as Bruce Wayne/Batman, the "Dark Knight".
What Director Nolan wisely does is continue his dark tone with this film, but does not even mention The Joker (or Ledger) in this film. Let the memories of the past films be just that - memories - and let this film stand on it's own.
And it does, for the most part.
Taking place 8 years after the events of THE DARK KNIGHT, this film has Batman coming out of self-imposed "retirement" to, yet again, save Gotham City from the clutches of a bad guy - this time, the masked Bane. In the course of this film Batman is torn down, to be risen and reborn again as the shining light of good over evil, shedding the "Dark Knight" moniker once and for all.
Nolan - and his brother, and frequent collaborator, Jonathan - wrote the screenplay and it is...serviceable. Nothing really remarkable about the story and plot. It gives each one of our returning characters - Lucious Fox (Morgan Freeman), Alfred Pennyworth (Michael Caine) and - especially - Commissioner Gordon (Gary Oldman) room to shine along with other, new characters like Selina Kyle/Catwoman (a really good Anne Hathaway), Officer Blake (Joseph Gordon-Levitt) Miranda Tate (Marion Cotillard) and, of course, Bane (Tom Hardy).
As you might be able to see, ALL of these actors are members of Nolan's "troupe" of actors - they either have been in other Nolan films (or, in the case of Hathaway, WILL be in another Nolan film) and each of them appear on the screen with gusto and a quiet confidence in their characters and a trust in a filmmaker that comes from frequent collaborations.
In the lead, Bale, of course, gives his usual, strong performance, though I did detect a hint of weariness in the performance. Now...some will say that is because the character is becoming weary, but I think it is more to the case that Bale was growing weary of playing this character.
But that is a quibble for all of the characters/actors do a terrific/professional job pushing the plot forward, which (let's admit) is just an excuse to go from one gigantic battle/chase scene to another and...Nolan certainly knows how to do these.
From the opening to close, every one of these gigantic "set pieces" held my attention and I found myself - even though I have seen this film before - sitting on the edge of my seat as the good guys - led by Batman - raced time to thwart the machinations of the bad guys in the end.
I'm glad these action sequences held my attention, for there are, inexplicably, looooong sections of this film where there is no action, but "character development" and "growth from strong internal retrospection." This sort of thing might have looked good on the page, but it is rather dull and boring when put on the screen. This film is almost 3 hours long, and - if Mr. Nolan would like to contact me - I can suggest a few spots where we can trim about 20-30 minutes out of this film, starting with the long stretch where Bruce Wayne is imprisoned.
But...these stretches are tolerable when you know it will lead you to some really fine action sequences featuring character/actors that you care about and are actually rooting for them to succeed. As I stated before, this is an "agreeable" conclusion to the trilogy. One who's journey I was glad to be one, but - to be honest - one that I was glad was over as well.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)
Bob Mann (459 KP) rated Black Widow (2021) in Movies
Jul 8, 2021
An entertaining pose-struck by Johansson and Pugh
A long time in the waiting (again) but "Black Widow" is an excellent addition to the Marvel canon: almost a "Rogue One" in the series, taking us back to fill in some gaps after "Captain America: Civil War". It's just great to have ANY Marvel back in the cinema.... that Michael Giacchino Marvel tune set the hairs going on the back of my neck!
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
