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~~> Stella’s school is a fashion nightmare! Help her give a school-wide fashion makeover! ~~> From...
Daniel Boyd (1066 KP) rated 1922 (2017) in Movies
Oct 24, 2017 (Updated Oct 24, 2017)
Solid Performances (1 more)
Believable Set Design
Sometimes Your Own Demons Are The Hardest To Escape
1922 is the second Stephen King story adapted for Netflix in the last two months and it is very different to the adaption of Gerald's Game we saw back in September. The movie is set up nicely, showing an older, shaken man writing out his confession in hopes of appeasing the guilt that has plagued him since he murdered his wife Arlette. We then see a younger version of the man, Wilfred and we learn that he is very protective of the three things that he feels, 'belong,' to him; his son, his wife and his land.
Arlette professes a desire to sell the farm and move to the city, an idea that he outright refuses to go along with. The land that the farm is on belonged to Arlette's father and so it is now in her name, meaning she has the final say officially on selling the land. Wlifred tries to bargain with her, saying that he will buy the land off of her in installments, but Arlette knows that she can get a better price elsewhere and won’t have to wait years to receive the payment. This leads Wilfred to start planning his wife’s murder. Wilfred knows that his son wants to stay on the farm as well and so he manipulates him into helping him carry out and cover up the murder.
From this point on we have our ghost story. I’m actually rather hesitant to call it a ghost story, even though strictly speaking, it is one. This is more a tale of how guilt haunts a man beyond carrying out the heinous deed and how no bad deed goes unpunished. I don’t want to spoil too much here for those who haven’t yet seen the film, but what follows is a relentless and depressing tale of regret and loss.
The cast in this film are great, Thomas Jane does a great job in the lead role of a man willing to go to any morbid lengths, in order to retain what he believes belongs to him. Molly Parker and Dylan Schmid also do well in their roles as Arlette and Henry, respectively. The supporting cast is also solid. The other stand out thing in the movie for me was the set design. I found the farmhouses and barns to be extremely believable and the sets really added to the overall tone that the movie was going for and sold the era effectively as well.
My main complaint of the movie is the lack of any significant scares. The movie sets up a fairly creepy atmosphere at times, but never capitalizes on it. A Stephen King ghost story released the week before Halloween should be way scarier than this. I thought I was getting a truly chilling movie to sink my teeth into and instead I got a movie showing a desperate man’s fractured psyche and the guilt he has to deal with in the aftermath of a despicable deed, which is an interesting idea, it’s just not what I wanted out of this movie.
Overall this is a well made movie and for what it is it’s great, it just didn’t meet the expectations that I had for it and maybe that’s my own fault more than the movie’s. As with any Stephen King story, it makes for an interesting adaption and takes you on a dark journey and leaves you wondering about you own moral decisions in life. The film is no doubt successful in what it sets out to do; I just wish that it had scared me a bit more.
Arlette professes a desire to sell the farm and move to the city, an idea that he outright refuses to go along with. The land that the farm is on belonged to Arlette's father and so it is now in her name, meaning she has the final say officially on selling the land. Wlifred tries to bargain with her, saying that he will buy the land off of her in installments, but Arlette knows that she can get a better price elsewhere and won’t have to wait years to receive the payment. This leads Wilfred to start planning his wife’s murder. Wilfred knows that his son wants to stay on the farm as well and so he manipulates him into helping him carry out and cover up the murder.
From this point on we have our ghost story. I’m actually rather hesitant to call it a ghost story, even though strictly speaking, it is one. This is more a tale of how guilt haunts a man beyond carrying out the heinous deed and how no bad deed goes unpunished. I don’t want to spoil too much here for those who haven’t yet seen the film, but what follows is a relentless and depressing tale of regret and loss.
The cast in this film are great, Thomas Jane does a great job in the lead role of a man willing to go to any morbid lengths, in order to retain what he believes belongs to him. Molly Parker and Dylan Schmid also do well in their roles as Arlette and Henry, respectively. The supporting cast is also solid. The other stand out thing in the movie for me was the set design. I found the farmhouses and barns to be extremely believable and the sets really added to the overall tone that the movie was going for and sold the era effectively as well.
My main complaint of the movie is the lack of any significant scares. The movie sets up a fairly creepy atmosphere at times, but never capitalizes on it. A Stephen King ghost story released the week before Halloween should be way scarier than this. I thought I was getting a truly chilling movie to sink my teeth into and instead I got a movie showing a desperate man’s fractured psyche and the guilt he has to deal with in the aftermath of a despicable deed, which is an interesting idea, it’s just not what I wanted out of this movie.
Overall this is a well made movie and for what it is it’s great, it just didn’t meet the expectations that I had for it and maybe that’s my own fault more than the movie’s. As with any Stephen King story, it makes for an interesting adaption and takes you on a dark journey and leaves you wondering about you own moral decisions in life. The film is no doubt successful in what it sets out to do; I just wish that it had scared me a bit more.
A Tragedy of Errors: The Story of Grace Murray the Woman Whom John Wesley Loved and Lost
Book
The story of John Wesley's affair with Grace Murray and how Charles Wesley prevented their marriage...
Darren (1599 KP) rated 21 Jump Street (2012) in Movies
Jun 20, 2019
Story: We start by following our two very different high school students failing at something different things. We fast forward seven years to the police academy where the two become friends to help each other overcome their problems and get through. After they get through the two get partnered up but continue to fail leading them to get transferred to ’21 Jump Street’ program. They have to go undercover as high school students. They have to uncover a drug ring at the high school and get over the problems they faced before.
When it comes to buddy films cop we all know the basic formula and to be fair this follows everything together to keep the action and comedy blend flowing. It is good to see the mix with the high school film working as well as the idea of giving the two a chance to see how the other get through high school. Having never seen the original show I can’t say whether it is honest to the source material but in the end it really turns into a good action comedy in a world where the comedy films are starting to fall flat. (8/10)
Actor Review
Jonah Hill: Schmidt the high school geek who can get through all the paperwork side of the police work but lacks the physical presence Jenko has. Going undercover gives him a chance to experience the high school experiences he missed out. Jonah gives a good performance as we know he can play the teen comedy but also shows he ability to bounce of somebody else’s strengths. (8/10)
hill
Channing Tatum: Jenko after only just getting out of high school and being told he has no intelligence for a future he ends up joining the police force and until he teams up with Schmidt to help him with get through the academy. While undercover he ends up having to experience the geek in high school. Channing gives a good performance and shows that he can pull off comedy to go with his all action persona. (8/10)
channing
Brie Larson: Molly high school student who Schmidt takes a shine to who ends up leading him to push aside his responsibilities as the cop. Brie gives a solid performance in the supporting role. (7/10)
Dave Franco: Eric the drug dealer at the school who befriends Schmidt while the two try different ways to find out who the supplier is. Dave gives a solid performance as the teenage drug dealer trying to stay cool. (7/10)
franco
Support Cast: The drug dealers, other police officers, Schmidt’s parents and high school attendants all make up the support cast and all offer something for our main characters to work with to progress the story.
Director Review: Phil Lord, Christopher Miller – Good directing to balance the action and comedy perfectly. (9/10)
Action: With car chases being the main source of action they all come off very well with hints of comedy during without just being silly action. (8/10)
Comedy: The most part the comedy is all very good, but I did feel the over use of the sex jokes got boring. (8/10)
Chemistry: Hill and Tatum have brilliant chemistry together. (10/10)
Settings: The high school setting works really well for the story as we haven’t seen the undercover there before. (9/10)
Suggestion: It isn’t very often that I suggest a box office comedy but with this one I feel people should be watching. (Watch)
Best Part: Car and Motorbike Chase.
Worst Part: Slight over used of sex jokes.
Action Scene Of The Film: Car and Motorbike chase
Funniest Scene: The party
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Has one sequel and has talks of a third.
Post Credits Scene: No
Oscar Chances: No
Box Office: $202 Million
Budget: $42 Million
Runtime: 1 Hour 49 Minutes
Tagline: They’re too old for this shift
Overall: Enjoyable Buddy Cop Comedy
https://moviesreview101.com/2014/12/21/21-jump-street-2012/
When it comes to buddy films cop we all know the basic formula and to be fair this follows everything together to keep the action and comedy blend flowing. It is good to see the mix with the high school film working as well as the idea of giving the two a chance to see how the other get through high school. Having never seen the original show I can’t say whether it is honest to the source material but in the end it really turns into a good action comedy in a world where the comedy films are starting to fall flat. (8/10)
Actor Review
Jonah Hill: Schmidt the high school geek who can get through all the paperwork side of the police work but lacks the physical presence Jenko has. Going undercover gives him a chance to experience the high school experiences he missed out. Jonah gives a good performance as we know he can play the teen comedy but also shows he ability to bounce of somebody else’s strengths. (8/10)
hill
Channing Tatum: Jenko after only just getting out of high school and being told he has no intelligence for a future he ends up joining the police force and until he teams up with Schmidt to help him with get through the academy. While undercover he ends up having to experience the geek in high school. Channing gives a good performance and shows that he can pull off comedy to go with his all action persona. (8/10)
channing
Brie Larson: Molly high school student who Schmidt takes a shine to who ends up leading him to push aside his responsibilities as the cop. Brie gives a solid performance in the supporting role. (7/10)
Dave Franco: Eric the drug dealer at the school who befriends Schmidt while the two try different ways to find out who the supplier is. Dave gives a solid performance as the teenage drug dealer trying to stay cool. (7/10)
franco
Support Cast: The drug dealers, other police officers, Schmidt’s parents and high school attendants all make up the support cast and all offer something for our main characters to work with to progress the story.
Director Review: Phil Lord, Christopher Miller – Good directing to balance the action and comedy perfectly. (9/10)
Action: With car chases being the main source of action they all come off very well with hints of comedy during without just being silly action. (8/10)
Comedy: The most part the comedy is all very good, but I did feel the over use of the sex jokes got boring. (8/10)
Chemistry: Hill and Tatum have brilliant chemistry together. (10/10)
Settings: The high school setting works really well for the story as we haven’t seen the undercover there before. (9/10)
Suggestion: It isn’t very often that I suggest a box office comedy but with this one I feel people should be watching. (Watch)
Best Part: Car and Motorbike Chase.
Worst Part: Slight over used of sex jokes.
Action Scene Of The Film: Car and Motorbike chase
Funniest Scene: The party
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Has one sequel and has talks of a third.
Post Credits Scene: No
Oscar Chances: No
Box Office: $202 Million
Budget: $42 Million
Runtime: 1 Hour 49 Minutes
Tagline: They’re too old for this shift
Overall: Enjoyable Buddy Cop Comedy
https://moviesreview101.com/2014/12/21/21-jump-street-2012/
Heather Cranmer (2721 KP) rated Music Box (Dark Carousel #4) in Books
Nov 23, 2020
I've loved the Dark Carousel series by Anya Allyn. I couldn't wait to dive into Music Box, the last book in the series, but at the same time, I was saddened that it was coming to an end. Music Box was definitely a thrilling read!
Cassie has given up hope of not being Balthazar's bride. She's about to just give in to it when she finds a way to the tower where the spooky figure she has seen lives. Scared as she is of the figure, she decides to investigate and is shocked to discover who the figure is. Cassie, with the help of her friends, must find some way to defeat the serpent shadows before they take over the Earth all while battling the humans and spirits of the castle. While she and her friends put their lives in great peril, they never give up hope of returning the Earth to its former glory.
The plot of Music Box did a fantastic job of holding my attention throughout. While there are some parts of this novel that are a bit too fast paced like in previous books in the series, for the most part, the pacing is easy to follow along with. There are a few plot twists that I wasn't able to predict. There was so much action going on in Music Box, and I loved it. It wasn't overwhelming, and it was underwhelming. Anya Allyn did a fantastic job with getting the ratio of action to narrative perfect! I did have a feeling that one of the characters in the Dollhouse would make an appearance, and I wasn't wrong. I liked the way all the loose ends from the previous books in the series were all tied up nicely. While I wasn't really a fan of how the book ended, I will say that it didn't have a rushed ending feel. I just wish things would have turned out a bit differently. However, I did love how the author explains more of the ending and what she believes happened to all the other characters in the afterword, so definitely don't skip out on reading the afterword!
As always, Anya Allyn was amazing at making her characters come alive. It was so easy to relate to all of them (bad guys and girls aside). Cassie was even more hardcore in this book! I loved how Cassie was willing to sacrifice everything to protect her friends and others. Ethan was the same as Cassie. He tried to protect innocents from the bad guys. While I liked Molly, I still don't think her character was needed, same with Frances. Don't get me wrong, they are great characters and written really well, but they seemed a bit pointless. I was happy about Aisha in this book. (I won't go into greater detail due to minor spoilers.) I absolutely loved Zack, and I was always secretly hoping that Cassie would end up with him. Zack turned out to be such a gentlemen from the second book. I loved how he was willing to cut ties from his family to help Cassie even though he knew it was an unrequited love. Henry was another character that I really loved. I felt that he wasn't all bad and that there was some good in him. The book he was seeking in the novel was what brought out the bad. He did have a bunch of redeeming qualities though. I was overjoyed that Jessamine was finally featured a bit more in this book! Jessamine has been my favorite character throughout this series. I was thrilled with how her story ended. I always knew she'd turn out to be awesome!
Trigger warnings for Music Box include violence, death, murder, suicide, attempted rape, minor swearing, the occult, and imprisonment.
While I'm devastated that the Dark Carousel series has come to an end, I am so grateful that Music Box was a great read. All of the characters were still so amazing, the story was thrilling, and everything was so nicely explained. I would definitely recommend Music Box (and all of the Dark Carousel series) by Anya Allyn. If you want a book with lots of action and a great cast of characters, this is your book. Do be prepared to suffer from a book hangover when you're done reading it though!
Cassie has given up hope of not being Balthazar's bride. She's about to just give in to it when she finds a way to the tower where the spooky figure she has seen lives. Scared as she is of the figure, she decides to investigate and is shocked to discover who the figure is. Cassie, with the help of her friends, must find some way to defeat the serpent shadows before they take over the Earth all while battling the humans and spirits of the castle. While she and her friends put their lives in great peril, they never give up hope of returning the Earth to its former glory.
The plot of Music Box did a fantastic job of holding my attention throughout. While there are some parts of this novel that are a bit too fast paced like in previous books in the series, for the most part, the pacing is easy to follow along with. There are a few plot twists that I wasn't able to predict. There was so much action going on in Music Box, and I loved it. It wasn't overwhelming, and it was underwhelming. Anya Allyn did a fantastic job with getting the ratio of action to narrative perfect! I did have a feeling that one of the characters in the Dollhouse would make an appearance, and I wasn't wrong. I liked the way all the loose ends from the previous books in the series were all tied up nicely. While I wasn't really a fan of how the book ended, I will say that it didn't have a rushed ending feel. I just wish things would have turned out a bit differently. However, I did love how the author explains more of the ending and what she believes happened to all the other characters in the afterword, so definitely don't skip out on reading the afterword!
As always, Anya Allyn was amazing at making her characters come alive. It was so easy to relate to all of them (bad guys and girls aside). Cassie was even more hardcore in this book! I loved how Cassie was willing to sacrifice everything to protect her friends and others. Ethan was the same as Cassie. He tried to protect innocents from the bad guys. While I liked Molly, I still don't think her character was needed, same with Frances. Don't get me wrong, they are great characters and written really well, but they seemed a bit pointless. I was happy about Aisha in this book. (I won't go into greater detail due to minor spoilers.) I absolutely loved Zack, and I was always secretly hoping that Cassie would end up with him. Zack turned out to be such a gentlemen from the second book. I loved how he was willing to cut ties from his family to help Cassie even though he knew it was an unrequited love. Henry was another character that I really loved. I felt that he wasn't all bad and that there was some good in him. The book he was seeking in the novel was what brought out the bad. He did have a bunch of redeeming qualities though. I was overjoyed that Jessamine was finally featured a bit more in this book! Jessamine has been my favorite character throughout this series. I was thrilled with how her story ended. I always knew she'd turn out to be awesome!
Trigger warnings for Music Box include violence, death, murder, suicide, attempted rape, minor swearing, the occult, and imprisonment.
While I'm devastated that the Dark Carousel series has come to an end, I am so grateful that Music Box was a great read. All of the characters were still so amazing, the story was thrilling, and everything was so nicely explained. I would definitely recommend Music Box (and all of the Dark Carousel series) by Anya Allyn. If you want a book with lots of action and a great cast of characters, this is your book. Do be prepared to suffer from a book hangover when you're done reading it though!
Emma @ The Movies (1786 KP) rated Men in Black International (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
When Men In Black 3 came out 7 years ago I wasn't convinced they'd be able to follow the first two films, but it's probably become my favourite of the franchise for that ending alone. Seeing the trailers for International I was a little dubious but knowing how I felt the last time I was slightly optimistic about it.
*Eyes closed. Pinch bridge of nose. Slow, pained exhale.*
I hate it when the internet is right, it sets a very bad precedent. This film was not good, and it was fairly evident early on. Considering that at the beginning of the film we're seeing a kid discovering aliens for the first time I can't fathom how there is so little wonder and excitement in it. I found myself thinking it was cute, but cute isn't enough to kickstart a film.
I hoped for a while that it was just a slow burner, but after a third of the film had passed it was difficult to hold on to that hope. There was almost nothing that was exciting in it to make you want to ever see it again.
Somehow the effects have got both better and worse at the same time. The aliens in general look a little shoddy, apart from the main evil duo. There are some moments where they turn into a gaseous entity, their appearance changes to a galaxy like blur, and it's actually pretty beautiful to see... but then they turn back.
Tessa Thompson plays our obsessed wannabe woman in black. Relatively speaking her performance was quite good. I've only seen her in things from the last couple of years, and apart from Ragnarok I haven't been overly impressed with the roles she's played but Molly was a nice addition to her roster.
Chris Hemsworth... oh my dear boy... I'm not convinced that he should do comedy. Thor is great in Ragnarok but outside of that I'm not overly fond. There's only so far handsome and a little dumb can get you, and I think Thor and Kevin really used all of that up. When he's so good at drama I'm not sure why he keeps picking the same type of comedic pieces, as a dramatic actor in 12 Strong and Bad Times At The El Royale he was great and I really want to go back and see more of his serious roles. H in this is basically just Kevin from Ghostbusters in a black suit with a few more brain cells. It's a terribly scripted role and a massively disappointing lead in a series that has so much possibility behind it.
The standout performance for me is from Kumail Nanjiani as Pawny. Pawny is fantastically scripted, to the point that I wondered if someone else had written his part. The wonderful thing about it was that I could feel Nanjiani in everything that Pawny was doing, if you'd had him as a real-life character it would have been (almost) exactly the same performance. The only times I laughed were Pawny moments and I was genuinely annoyed when they were interrupted by the rest of the film.
Our four main supporting actors are a bit of a mix. Emma Thompson gives a repeat performance as O and ooooo is she glorious as always. Liam Neeson plays High T, the head of the London branch of MIB, it's fairly non-descript, sadly he's no Rip Torn. Rafe Spall plays Agent C who's a bit of a snitch. He has a rather slow start and when we meet him it's not a great scene for anyone involved, I found him to be terribly boring but thankfully his part does improve as we get deeper into it. Lastly we've got the surprise inclusion of Rebecca Ferguson as H's ex-girlfriend, Riza... I just... what was the point of her character?
"But the bad guy fights must have been good?"... am I the only one that felt like there wasn't really a bad guy in this? Don't get me wrong, there are plenty of options but we don't see enough of any of them to be really invested in the fact that they're bad. And when it comes to action scenes... were there really any of them either? I just... I can't even... ugh...
Considering I wasn't buzzing about this before I went in I'm amazed that I felt so disappointed by it. There was very little to enjoy beyond Nanjiani's Pawny, and hardly anything to workout as you watched because the trailers made it fairly obvious what was going to happen. You always hope that new instalments of series are going to stand up to its predecessors or at least not be so shit that they make you regret spending time watching it... yeah...
I want to like this more and I may give it a second chance after the slight success of Aladdin's second viewing, but no matter what happens, this is still going to be ranked fourth in the series.
What you should do
I really wouldn't bother watching this, spend your time rewatching the previous three instalments.
Movie thing you wish you could take home
I would like the only amazing thing from this film, one Pawny, please.
*Eyes closed. Pinch bridge of nose. Slow, pained exhale.*
I hate it when the internet is right, it sets a very bad precedent. This film was not good, and it was fairly evident early on. Considering that at the beginning of the film we're seeing a kid discovering aliens for the first time I can't fathom how there is so little wonder and excitement in it. I found myself thinking it was cute, but cute isn't enough to kickstart a film.
I hoped for a while that it was just a slow burner, but after a third of the film had passed it was difficult to hold on to that hope. There was almost nothing that was exciting in it to make you want to ever see it again.
Somehow the effects have got both better and worse at the same time. The aliens in general look a little shoddy, apart from the main evil duo. There are some moments where they turn into a gaseous entity, their appearance changes to a galaxy like blur, and it's actually pretty beautiful to see... but then they turn back.
Tessa Thompson plays our obsessed wannabe woman in black. Relatively speaking her performance was quite good. I've only seen her in things from the last couple of years, and apart from Ragnarok I haven't been overly impressed with the roles she's played but Molly was a nice addition to her roster.
Chris Hemsworth... oh my dear boy... I'm not convinced that he should do comedy. Thor is great in Ragnarok but outside of that I'm not overly fond. There's only so far handsome and a little dumb can get you, and I think Thor and Kevin really used all of that up. When he's so good at drama I'm not sure why he keeps picking the same type of comedic pieces, as a dramatic actor in 12 Strong and Bad Times At The El Royale he was great and I really want to go back and see more of his serious roles. H in this is basically just Kevin from Ghostbusters in a black suit with a few more brain cells. It's a terribly scripted role and a massively disappointing lead in a series that has so much possibility behind it.
The standout performance for me is from Kumail Nanjiani as Pawny. Pawny is fantastically scripted, to the point that I wondered if someone else had written his part. The wonderful thing about it was that I could feel Nanjiani in everything that Pawny was doing, if you'd had him as a real-life character it would have been (almost) exactly the same performance. The only times I laughed were Pawny moments and I was genuinely annoyed when they were interrupted by the rest of the film.
Our four main supporting actors are a bit of a mix. Emma Thompson gives a repeat performance as O and ooooo is she glorious as always. Liam Neeson plays High T, the head of the London branch of MIB, it's fairly non-descript, sadly he's no Rip Torn. Rafe Spall plays Agent C who's a bit of a snitch. He has a rather slow start and when we meet him it's not a great scene for anyone involved, I found him to be terribly boring but thankfully his part does improve as we get deeper into it. Lastly we've got the surprise inclusion of Rebecca Ferguson as H's ex-girlfriend, Riza... I just... what was the point of her character?
"But the bad guy fights must have been good?"... am I the only one that felt like there wasn't really a bad guy in this? Don't get me wrong, there are plenty of options but we don't see enough of any of them to be really invested in the fact that they're bad. And when it comes to action scenes... were there really any of them either? I just... I can't even... ugh...
Considering I wasn't buzzing about this before I went in I'm amazed that I felt so disappointed by it. There was very little to enjoy beyond Nanjiani's Pawny, and hardly anything to workout as you watched because the trailers made it fairly obvious what was going to happen. You always hope that new instalments of series are going to stand up to its predecessors or at least not be so shit that they make you regret spending time watching it... yeah...
I want to like this more and I may give it a second chance after the slight success of Aladdin's second viewing, but no matter what happens, this is still going to be ranked fourth in the series.
What you should do
I really wouldn't bother watching this, spend your time rewatching the previous three instalments.
Movie thing you wish you could take home
I would like the only amazing thing from this film, one Pawny, please.
Gareth von Kallenbach (980 KP) rated 21 Jump Street (2012) in Movies
Aug 7, 2019
Back in 1987, the fledgling Fox Network debuted, offering entertainment on Saturday and Sunday evenings aimed at a younger audience. One of the network’s first breakout shows was a police drama with young cops and plenty of action, a show named 21 Jump Street. The show featured a cast of largely unknowns who quickly bolted to overnight notoriety, most notably its star Johnny Depp who, much to his chagrin, became a pinup boy and sex symbol for the show.
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
Bob Mann (459 KP) rated Eurovision Song Contest: The Story of Fire Saga (2020) in Movies
Jun 27, 2020
Rachel McAdams and Dan Stevens steal most of the scenes (1 more)
A real feelgood movie that spoofs the unspoofable pretty well
My lovely farce
Will Ferrell's output over the last few years has been decidedly patchy. I have to go back to "Get Hard" to find one of his movies that really got to my funny bone. But this latest Netflix offering hits the spot for me.
We start with the song recently voted the number one Eurovision song of all time by UK viewers: "Waterloo" by Abba. Young Lars Erickssong (LOL) (Alfie Melia) is transfixed watching the 1974 Eurovision winner with his recently bereaved father and local Lothario Erick (Pierce Brosnan). (Mental note to women: never marry Brosnan on screen... he gets through wives faster than you can murder "S.O.S."). Also present are his friends and young Sigrit ("probably not by sister") Ericksdottir (Sophia-Grace Donnelly). Lars vows to one day stand on that stage and make his father and his remote Icelandic fishing village proud.
Now all grown up, Lars (now Will Ferrell) and Sigrit (now Rachel McAdams) are still pursuing their dream of representing Iceland in the upcoming Eurovision Song Contest. They are, of course, dreadful - - so they should fit right in! But their way is blocked by the immensely talented Katiana (Demi Lovato) and all seems hopeless. Will Sigrit's faith in the power of the Elves see them through?
There's an obvious problem here. The Eurovision Song Contest is in itself so bat-s**t bonkers that it is almost impossible to spoof. (If anyone is not on this wavelength, checkout the genuine Russian entry in this year's (cancelled) contest on Youtube). But the team here (writers Will Ferrell and Andrew Steele and director David "The Judge" Dobkin) do a really great job. I'd love to know what a US audience - who I guess will mostly be unfamiliar with Eurovision - make of this. Since Australia are now honorary Europeans in the contest.... wouldn't it be great if there was a Mexican mariachi band attending and a country and western act from the States? (Brits would love the US to be involved.... as spoofed in the film, there's only one country European's hate more than the UK.... be nice to have someone else to join us in the "nul points" club!)
Wherever you may be on the "Ferrell-funny-or-not-ometer", there's one thing I hope we can all agree on here, and that is that Rachel McAdams continues to shine as a comic lead. She was fantastic in "Game Night" - one of my favourite comedies of recent years - and here she is both gorgeous and hilarious. She knocks it out of the park playing the elf-loving Icelandic pixie with the golden voice. (McAdams "sings" but is significantly "helped" in the mix by Swedish pop star Molly Sandén (aka My Marianne)).
Here she even gets to almost reprise her wonderful "YEESSSSS! Oh no, he died!" line from "Game Night".
Almost matching her in the scene-stealing stakes though is Downton's Dan Stevens as Lemtov: a Russian 'Tom Jones'-like contestant singing "Lion of Love" ("Let's get together; I'm a lion lover; And I hunt for love!"). He's DEFINITELY not gay ("There are no gays in Russia") but are his multi-millions enough to turn Sigrit's head?
For those who love their annual Eurovision parties, there are also an impressive array of nice cameos that will delight.
But where the film-makers really score (no pun intended) is making the music so fitting. Some of the tracks make you think "Yeah, if this was the real content, this might have got my vote". Director Dobkin is quoted as saying "It's okay if it's funny, but it has to be really good music. It has to still be great and just kitschy enough to be Eurovision, because that's part of what's fun about Eurovision" (Source: Vulture). Very true. This success is down to the involvement of pop writer/producer Savan Kotecha on the project: the man behind hits by Katy Petty, Ariana Grande and Ellie Goulding.
A comedy needs to make me laugh, and this one really did - numerous times. It's not just the dialogue. Some of the cut-away scenes are priceless and perfectly executed: jumping whales; a collapsing glacier; a small slamming door!
Sure, it borrows from a number of other sources in its plot: most notably THAT episode of "Father Ted" and the rap-battle scenes from "Pitch Perfect". And sure, some of the outRAGEOUS Icelandic accents sometimes swerve into an alarming mix of Indian, Welsh and Caribbean dialects! But above all, this is movie with real heart. The plot is pretty well signposted, but the finale still packs a (surprisingly) hefty emotional punch, and it leaves you with a really nice afterglow.
As we struggle out of Covid lockdown, it may not be a vaccine, but it is a pretty good medicine for the side-effects. Did I love this? Jaja Ding Dong!
(For the full graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/27/one-manns-movies-film-review-eurovision-song-contest-the-story-of-fire-saga-2020/ ).
We start with the song recently voted the number one Eurovision song of all time by UK viewers: "Waterloo" by Abba. Young Lars Erickssong (LOL) (Alfie Melia) is transfixed watching the 1974 Eurovision winner with his recently bereaved father and local Lothario Erick (Pierce Brosnan). (Mental note to women: never marry Brosnan on screen... he gets through wives faster than you can murder "S.O.S."). Also present are his friends and young Sigrit ("probably not by sister") Ericksdottir (Sophia-Grace Donnelly). Lars vows to one day stand on that stage and make his father and his remote Icelandic fishing village proud.
Now all grown up, Lars (now Will Ferrell) and Sigrit (now Rachel McAdams) are still pursuing their dream of representing Iceland in the upcoming Eurovision Song Contest. They are, of course, dreadful - - so they should fit right in! But their way is blocked by the immensely talented Katiana (Demi Lovato) and all seems hopeless. Will Sigrit's faith in the power of the Elves see them through?
There's an obvious problem here. The Eurovision Song Contest is in itself so bat-s**t bonkers that it is almost impossible to spoof. (If anyone is not on this wavelength, checkout the genuine Russian entry in this year's (cancelled) contest on Youtube). But the team here (writers Will Ferrell and Andrew Steele and director David "The Judge" Dobkin) do a really great job. I'd love to know what a US audience - who I guess will mostly be unfamiliar with Eurovision - make of this. Since Australia are now honorary Europeans in the contest.... wouldn't it be great if there was a Mexican mariachi band attending and a country and western act from the States? (Brits would love the US to be involved.... as spoofed in the film, there's only one country European's hate more than the UK.... be nice to have someone else to join us in the "nul points" club!)
Wherever you may be on the "Ferrell-funny-or-not-ometer", there's one thing I hope we can all agree on here, and that is that Rachel McAdams continues to shine as a comic lead. She was fantastic in "Game Night" - one of my favourite comedies of recent years - and here she is both gorgeous and hilarious. She knocks it out of the park playing the elf-loving Icelandic pixie with the golden voice. (McAdams "sings" but is significantly "helped" in the mix by Swedish pop star Molly Sandén (aka My Marianne)).
Here she even gets to almost reprise her wonderful "YEESSSSS! Oh no, he died!" line from "Game Night".
Almost matching her in the scene-stealing stakes though is Downton's Dan Stevens as Lemtov: a Russian 'Tom Jones'-like contestant singing "Lion of Love" ("Let's get together; I'm a lion lover; And I hunt for love!"). He's DEFINITELY not gay ("There are no gays in Russia") but are his multi-millions enough to turn Sigrit's head?
For those who love their annual Eurovision parties, there are also an impressive array of nice cameos that will delight.
But where the film-makers really score (no pun intended) is making the music so fitting. Some of the tracks make you think "Yeah, if this was the real content, this might have got my vote". Director Dobkin is quoted as saying "It's okay if it's funny, but it has to be really good music. It has to still be great and just kitschy enough to be Eurovision, because that's part of what's fun about Eurovision" (Source: Vulture). Very true. This success is down to the involvement of pop writer/producer Savan Kotecha on the project: the man behind hits by Katy Petty, Ariana Grande and Ellie Goulding.
A comedy needs to make me laugh, and this one really did - numerous times. It's not just the dialogue. Some of the cut-away scenes are priceless and perfectly executed: jumping whales; a collapsing glacier; a small slamming door!
Sure, it borrows from a number of other sources in its plot: most notably THAT episode of "Father Ted" and the rap-battle scenes from "Pitch Perfect". And sure, some of the outRAGEOUS Icelandic accents sometimes swerve into an alarming mix of Indian, Welsh and Caribbean dialects! But above all, this is movie with real heart. The plot is pretty well signposted, but the finale still packs a (surprisingly) hefty emotional punch, and it leaves you with a really nice afterglow.
As we struggle out of Covid lockdown, it may not be a vaccine, but it is a pretty good medicine for the side-effects. Did I love this? Jaja Ding Dong!
(For the full graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/27/one-manns-movies-film-review-eurovision-song-contest-the-story-of-fire-saga-2020/ ).
BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Bob Mann (459 KP) rated The Front Runner (2018) in Movies
Sep 28, 2021
Candidate for a downfall.
We can all probably rattle off some of the classics movies with US politics as their backdrop. For me, “All the President’s Men”; “Primary Colors”; and “Frost/Nixon” might make that list. In the next tier down there are many great drama/thrillers – “Miss Sloane“; “The Post“; “The Ides of March”; “The American President”; “JFK” – and even some pretty funny comedies – “Dave” and “My Fellow Americans” for example. It’s actually quite difficult to think of many films on the subject that are outright dire, proving it remains a fertile ground for film-makers.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.