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Gareth von Kallenbach (962 KP) rated Concussion (2015) in Movies
Aug 6, 2019
Concussion has quite a few big names starring in it, as well as a few I
had never heard of.
The main cast is as follows: Will Smith as Dr. Bennet Omalu, Gugu
Mbatha-Raw as Prema Mutiso, Alec Baldwin as Dr. Julian Bailes, Albert
Brooks as Dr. Cyril Wecht, David Morse
as Mike Webster, Matthew Willig as Justin Strezelczyk, Paul Reiser as
Dr. Elliot Pellman, Arliss Howard as Dr. Joseph Maroon, Luke Wilson as
Roger Goodell, Mike O’Malley as Daniel Sullivan, Hill Harper as Spellman
Jones, Eddie Marsan as Dr. Steven DeKosky, Stephen Moyer as Dr. Ron
Hamilton, and Adewale Akinnuoye-Agbaje as Dave Duerson.
Dr. Bennet Omalu works at the Pittsburgh coroner’s office as a forensic
pathologist along with Dr. Cyril Wecht and Daniel Sullivan. Omalu, a
highly educated Doctor hailing from Nigeria, strives to stride in the
footsteps of Dr. Wecht, and must contend with the derision thrown his
way by Sullivan.
Based on true events, the story follows Omalu in his quest to find out
the true cause of death of “Iron Mike” Webster, and subsequently team
mates and other football players that seem to go crazy for no obvious
reason.
Will Smith takes this role and immerses himself in it. His accent is
believable, his mannerisms are believable, his portrayal of the
character as a whole drew me and made me BELIEVE it.
The supporting cast are all really really great as well. Gugu Mbatha-Raw
as Smiths love interest, Prema is probably one of the quietest
characters in the movie, yet she portrays herself as Omalu’s staunch
supporter straight through the whole film.
Albert Brooks as Dr. Cyril Wecht gave a brilliant performance as a cut
and dry no-nonsense Chief Medical Examiner as well. He supports Omalu’s
research even when he must see that it may be detrimental to his own
career, and indeed, in the end, his support of Omalu does almost cost
him his entire career.
Dr. Omalus research, spending his own money to run testing in order to
find the cause of death of Mike Webster, puts him directly in the
crosshairs of the NFL. His subsequent discovery of and diagnoses of CTE
(Chronic Traumatic Encephalopathy) in Webster, and other NFL players
that died by their own hands or in tragic accidents due to basically
going crazy, threatened the NFL and its entire existence, or so they
thought.
Alec Baldwin gives a great performance as a man struggling between his
love of a sport and his guilt over sending players back into a game when
they were hurt. Early in the film he is shown to say “what am I
missing”. He has run the tests he knows to run, but cannot get to the
bottom of what is clearly affecting his players. He helps Dr. Omalu in
his quest to bring the truth before the NFL and the media and the
public.
Adewale Akinnuoye-Agbaje as Dave Duerson has only brief moments on film,
but his contribution to the movie and his final contribution to Omalus
research at the time of his death, helps bring CTE to the forefront of
the media eye, which in turn forces the NFL to address the findings, at
least ion some level.
Will Smith is up for a Golden Globe for his role in this film and I have
to say that in my opinion it is well deserved.
I loved the movie, it had my full attention from beginning to end, and I
thought that it was very well done. It showed the seedy underside of the
NFL and the extents to which big multi-million dollar companies will go
to in order to hide any truths that might threaten their way of doing
business. During the movie I murmured under my breath to my husband
“This reminds me of the crap the tobacco industry pulled when it was
trying to deny that cigarette smoking causes lung cancer”, and I was not
surprised when in some of the later clips there were voice overs heard
from a congressional hearing basically saying the same thing.
I would give this movie 5 out of 5 stars.
had never heard of.
The main cast is as follows: Will Smith as Dr. Bennet Omalu, Gugu
Mbatha-Raw as Prema Mutiso, Alec Baldwin as Dr. Julian Bailes, Albert
Brooks as Dr. Cyril Wecht, David Morse
as Mike Webster, Matthew Willig as Justin Strezelczyk, Paul Reiser as
Dr. Elliot Pellman, Arliss Howard as Dr. Joseph Maroon, Luke Wilson as
Roger Goodell, Mike O’Malley as Daniel Sullivan, Hill Harper as Spellman
Jones, Eddie Marsan as Dr. Steven DeKosky, Stephen Moyer as Dr. Ron
Hamilton, and Adewale Akinnuoye-Agbaje as Dave Duerson.
Dr. Bennet Omalu works at the Pittsburgh coroner’s office as a forensic
pathologist along with Dr. Cyril Wecht and Daniel Sullivan. Omalu, a
highly educated Doctor hailing from Nigeria, strives to stride in the
footsteps of Dr. Wecht, and must contend with the derision thrown his
way by Sullivan.
Based on true events, the story follows Omalu in his quest to find out
the true cause of death of “Iron Mike” Webster, and subsequently team
mates and other football players that seem to go crazy for no obvious
reason.
Will Smith takes this role and immerses himself in it. His accent is
believable, his mannerisms are believable, his portrayal of the
character as a whole drew me and made me BELIEVE it.
The supporting cast are all really really great as well. Gugu Mbatha-Raw
as Smiths love interest, Prema is probably one of the quietest
characters in the movie, yet she portrays herself as Omalu’s staunch
supporter straight through the whole film.
Albert Brooks as Dr. Cyril Wecht gave a brilliant performance as a cut
and dry no-nonsense Chief Medical Examiner as well. He supports Omalu’s
research even when he must see that it may be detrimental to his own
career, and indeed, in the end, his support of Omalu does almost cost
him his entire career.
Dr. Omalus research, spending his own money to run testing in order to
find the cause of death of Mike Webster, puts him directly in the
crosshairs of the NFL. His subsequent discovery of and diagnoses of CTE
(Chronic Traumatic Encephalopathy) in Webster, and other NFL players
that died by their own hands or in tragic accidents due to basically
going crazy, threatened the NFL and its entire existence, or so they
thought.
Alec Baldwin gives a great performance as a man struggling between his
love of a sport and his guilt over sending players back into a game when
they were hurt. Early in the film he is shown to say “what am I
missing”. He has run the tests he knows to run, but cannot get to the
bottom of what is clearly affecting his players. He helps Dr. Omalu in
his quest to bring the truth before the NFL and the media and the
public.
Adewale Akinnuoye-Agbaje as Dave Duerson has only brief moments on film,
but his contribution to the movie and his final contribution to Omalus
research at the time of his death, helps bring CTE to the forefront of
the media eye, which in turn forces the NFL to address the findings, at
least ion some level.
Will Smith is up for a Golden Globe for his role in this film and I have
to say that in my opinion it is well deserved.
I loved the movie, it had my full attention from beginning to end, and I
thought that it was very well done. It showed the seedy underside of the
NFL and the extents to which big multi-million dollar companies will go
to in order to hide any truths that might threaten their way of doing
business. During the movie I murmured under my breath to my husband
“This reminds me of the crap the tobacco industry pulled when it was
trying to deny that cigarette smoking causes lung cancer”, and I was not
surprised when in some of the later clips there were voice overs heard
from a congressional hearing basically saying the same thing.
I would give this movie 5 out of 5 stars.
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?