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Dean (6921 KP) rated Manhattan Night (Manhattan Nocturne) (2016) in Movies
Jun 16, 2018
Decent Neo-Noir Thriller
This is an interesting film, with all the ingredients for a classic Neo-Noir Thriller. Unfortunately a few plot lines don't really add up by the end of the film. Despite a few unanswered questions the overall feel of the film is classy. If you're a fan of this style and story type, check it out.
Entertainment Editor (1988 KP) created a video about Pickings (2018) in Movies
Dec 5, 2017
The Craggus (360 KP) rated Bad Times at the El Royale (2018) in Movies
Oct 17, 2018
"The Hateful Motel 6"
“Bad Times At The El Royale” sees “Cabin In The Woods” writer/ director Drew Goddard indulging his inner Tarantino as he sets up this lurid, pulpy neo-noir tale of deceit, desperation and death in a faded motel, still trading on its glamorous past and novelty location....
FULL REVIEW: http://bit.ly/CraggusElRoyale
FULL REVIEW: http://bit.ly/CraggusElRoyale
Daniel Johnson (11 KP) rated Brick (2006) in Movies
Sep 5, 2017
Mystery (2 more)
plot
character
Excellent
Rian Johnson is a genius.
With his directorial debut he crafts an excellent story, that features some of the best young adult actors in recent history. It becomes even more impressive when you realise how few adults feature in the film.
With a mystery that puts you on the edge of your seat, a murder, a drug den and adult themes that most would refrain from showing in this context, this neo-noir is a reminder of what is great about the noir genre.
Expertly filmed, edited and scored, with some beautiful shots that leave you breathless, this film will not disappoint.
With his directorial debut he crafts an excellent story, that features some of the best young adult actors in recent history. It becomes even more impressive when you realise how few adults feature in the film.
With a mystery that puts you on the edge of your seat, a murder, a drug den and adult themes that most would refrain from showing in this context, this neo-noir is a reminder of what is great about the noir genre.
Expertly filmed, edited and scored, with some beautiful shots that leave you breathless, this film will not disappoint.
Josh Huitt (29 KP) rated Blade Runner (1982) in Movies
Jun 24, 2019
Contains spoilers, click to show
Which version do I review? The original? Directors cut? Aunt June's revised 5th edition? How bout just the basics? Decker is a Blade Runner. He hunts down replicants. Is he one too? Who knows. Wanna learn how to make origami? Sure why not. Darryl Hannah is super sexy. One of the best death monologues in a movie ever! Not her... Rutgers. And how neo-noir can you get?!? Cyberpunk baby!!! It's a slow burn though, so be prepared for a long ride.
Dean (6921 KP) rated Anon (2018) in Movies
May 12, 2018 (Updated May 12, 2018)
Ambitious Sci-Fi Thriller
A classy Neo-Noir detective Thriller. From the same director as @In Time (2011) @Gattaca (1997) This is set in the near future where Humans have a minds eye tech. They can record memories, or anything from their point of view, or even make a type of video call all through the "ether". A kind of online, cloud system for data.
The technology ideas are very impressive and clearly touch on current issues around personal data and privacy laws. Despite this it doesn't have a big blockbuster feel to the film. The Sfx are kept quite simple overall. The film does have a certain visual style to it, including some impressive sets and locations.
A very interesting film that touches on some current issues whilst also being an enjoyable thriller. Short of being excellent but possibly a future cult classic!
The technology ideas are very impressive and clearly touch on current issues around personal data and privacy laws. Despite this it doesn't have a big blockbuster feel to the film. The Sfx are kept quite simple overall. The film does have a certain visual style to it, including some impressive sets and locations.
A very interesting film that touches on some current issues whilst also being an enjoyable thriller. Short of being excellent but possibly a future cult classic!
Edgar Wright recommended Le samouraï (1967) in Movies (curated)
BankofMarquis (1832 KP) rated Nightmare Alley (2021) in Movies
Feb 4, 2022
Sum Does Not Add Up To The Total Of The Parts
If you ever want to understand the meaning of the term “the sum does not equal the total of the parts”, you need to look no further than the latest film from Guillermo Del Toro, the neo-noir thriller, NIGHTMARE ALLEY.
This film looked like it had all the right elements for a fantastic, adult film. A neo-noir thriller with a distinctive period look, helmed by a first rate director and featuring an A-List cast that are (for the most part) perfectly cast in their roles.
So why doesn’t this film rise above ordinary?
Ultimately, it is because this type of film, a neo-noir crime thriller where none of the characters are likeable or are easy to root for, is a tricky tightrope walk and, in this instance, Director del Toro opted to play it safe, focusing on mood and atmosphere, while strapping his talented cast with characters (and, ultimately, performances) that are middle-of-the road.
Bradley Cooper is the right performer in today’s world to play Stanton Carlisle, the drifter that becomes a carney that becomes a a con-man “Mentalist” who is drawn into a sinister plot by the mysterious Dr. Lilith Ritter (Cate Blanchett - also the right performer in today’s world to play this part). These 2 have decent (but not great) chemistry with each other, for you know (they way del Toro has Directed Blanchett’s performance) that she is up to something, thus keeping us at arm’s length.
But I am getting ahead of myself, for that is the 2nd half of this film, I haven’t even touched on the first half - which is part of the issue here as well.
The first hour of this 2 1/2 hour film is all set up as we follow Cooper’s character as he is introduced into a Circus sideshow of the 1940’s - and all of the characters therein. This is an interesting - if kind of slow - setup as we are treated to some interesting character building performances by some pretty terrific actors - Toni Colette, Ron Perlman, David Strathairn and, of course, the always good Willem DaFoe.
Oh, and I haven’t even mentioned Rooney Mara who is sort of the “through-line” between the 2 halves of this film, but her character is so vanilla, that one forgets her character event exists.
But…after an hour of setting up this world and these characters - the film pivots away from this area and goes to a whole different world…and a different plot. It is like a SuperHero Origin film where the first 1/2 of the film is the Origin and the 2nd half is the first adventure of said SuperHero.
And this just doesn’t work all that well in this film (even with a callback at the end), it is jarring and creates 2 different movies, neither of which rises above the average.
I lay the blame for all of this on Director Guillermo del Toro who appeared to be more interested in the look of this film (and the look is AMAZING) and just let the actors act, but not get in the way. The direction is bland, the performances are bland and the plot just doesn’t hold together.
Which is very disappointing, considering what “could have been”.
Letter Grade: B
7 stars out of 10 and you can take that to the Bank(ofMarquis)
This film looked like it had all the right elements for a fantastic, adult film. A neo-noir thriller with a distinctive period look, helmed by a first rate director and featuring an A-List cast that are (for the most part) perfectly cast in their roles.
So why doesn’t this film rise above ordinary?
Ultimately, it is because this type of film, a neo-noir crime thriller where none of the characters are likeable or are easy to root for, is a tricky tightrope walk and, in this instance, Director del Toro opted to play it safe, focusing on mood and atmosphere, while strapping his talented cast with characters (and, ultimately, performances) that are middle-of-the road.
Bradley Cooper is the right performer in today’s world to play Stanton Carlisle, the drifter that becomes a carney that becomes a a con-man “Mentalist” who is drawn into a sinister plot by the mysterious Dr. Lilith Ritter (Cate Blanchett - also the right performer in today’s world to play this part). These 2 have decent (but not great) chemistry with each other, for you know (they way del Toro has Directed Blanchett’s performance) that she is up to something, thus keeping us at arm’s length.
But I am getting ahead of myself, for that is the 2nd half of this film, I haven’t even touched on the first half - which is part of the issue here as well.
The first hour of this 2 1/2 hour film is all set up as we follow Cooper’s character as he is introduced into a Circus sideshow of the 1940’s - and all of the characters therein. This is an interesting - if kind of slow - setup as we are treated to some interesting character building performances by some pretty terrific actors - Toni Colette, Ron Perlman, David Strathairn and, of course, the always good Willem DaFoe.
Oh, and I haven’t even mentioned Rooney Mara who is sort of the “through-line” between the 2 halves of this film, but her character is so vanilla, that one forgets her character event exists.
But…after an hour of setting up this world and these characters - the film pivots away from this area and goes to a whole different world…and a different plot. It is like a SuperHero Origin film where the first 1/2 of the film is the Origin and the 2nd half is the first adventure of said SuperHero.
And this just doesn’t work all that well in this film (even with a callback at the end), it is jarring and creates 2 different movies, neither of which rises above the average.
I lay the blame for all of this on Director Guillermo del Toro who appeared to be more interested in the look of this film (and the look is AMAZING) and just let the actors act, but not get in the way. The direction is bland, the performances are bland and the plot just doesn’t hold together.
Which is very disappointing, considering what “could have been”.
Letter Grade: B
7 stars out of 10 and you can take that to the Bank(ofMarquis)
LoganCrews (2861 KP) rated Mulholland Drive (2001) in Movies
Oct 16, 2020 (Updated Nov 26, 2020)
Much prefer the manic, more grimy and hieroglyphic musings on the indiscriminate dark side(s) of Hollywood in 𝘐𝘯𝘭𝘢𝘯𝘥 𝘌𝘮𝘱𝘪𝘳𝘦 as opposed to this one's version which is much more coherent, more calculated - but nonetheless brilliant and audacious. It's funny how at once you never know what to expect with Lynch, but you also know exactly what to expect: the unnerving alien-esque performances, reliably stunning Badalamenti score, haunting photography, dialogue that makes you feel like you're having an out-of-body-experience, etc. The way in which elements of the neo-noir at first feel totally disjointed and out-of-place with one another then eventually slide right into place is mesmerizing especially when even after the big reveal you never know where it's going to go. Even the smaller moments are parsed over with a fine-toothed comb, such as the nametag significance in the diner. Naomi Watts is galvanizing, totally aces rangy work which commands the screen every scene she's in. Second-place goes to - you guessed it - Billy Ray Cyrus! Remember when highly intelligent, daring projects like this used to get recognized by the Academy without pressure from the public?
LeftSideCut (3778 KP) rated Sin City (2005) in Movies
Jan 7, 2021 (Updated Jan 11, 2021)
I absolutely adored Sin City when it first released way back in 2005, and I still do to a point, albeit a little less than I used to.
The main positives are of course the cast, and the style.
The cast is stacked - Bruce Willis, Rosario Dawson, Benicio Del Toro, Brittany Murphy, Michael Madsen, Clive Owen, Micky Rourke, Jessica Alba, Elijah Wood, Powers Boothe, Devon Aoki, Rutger Hauer, Michael Clarke Duncan, Carla Gugino, Jaime King... that's a fair ensemble if you ask me.
The style is of course a huge part of Sin City. It's neo noir black and white with splashes of colour translate perfectly from page to screen. 15 years later, the effects still look pretty decent and the overall look of the film is practically watching the graphic novels come to life, a strength that is bolstered by the cast involved.
It has a cheesy yet engaging screenplay - the runtime clocks in at over two hours, but never gets boring (just about), and the constant growly voiceovers and on the nose script beats could have potentially been laughable in anyone else's hands, but Robert Rodriguez somehow gets away with it.
The comics ultraviolence is well realised - the movie doesn't shy away from the grimness of proceedings. Some of the content however feels a little problematic in this day and age. The whole thing is plagued by a steady stream of misogyny, which would have probably been toned down if released today, but in my opinion, it's never glamorised. 95% of the male characters are grim shitbags, and the audience know it well.
I understand why a fair few people have an issue with Sin City and it's content, but personally, I find it to be a unique film with plenty of positives, a project that respects it's source material, and just about manages to avoid falling inside of its own arse.
The main positives are of course the cast, and the style.
The cast is stacked - Bruce Willis, Rosario Dawson, Benicio Del Toro, Brittany Murphy, Michael Madsen, Clive Owen, Micky Rourke, Jessica Alba, Elijah Wood, Powers Boothe, Devon Aoki, Rutger Hauer, Michael Clarke Duncan, Carla Gugino, Jaime King... that's a fair ensemble if you ask me.
The style is of course a huge part of Sin City. It's neo noir black and white with splashes of colour translate perfectly from page to screen. 15 years later, the effects still look pretty decent and the overall look of the film is practically watching the graphic novels come to life, a strength that is bolstered by the cast involved.
It has a cheesy yet engaging screenplay - the runtime clocks in at over two hours, but never gets boring (just about), and the constant growly voiceovers and on the nose script beats could have potentially been laughable in anyone else's hands, but Robert Rodriguez somehow gets away with it.
The comics ultraviolence is well realised - the movie doesn't shy away from the grimness of proceedings. Some of the content however feels a little problematic in this day and age. The whole thing is plagued by a steady stream of misogyny, which would have probably been toned down if released today, but in my opinion, it's never glamorised. 95% of the male characters are grim shitbags, and the audience know it well.
I understand why a fair few people have an issue with Sin City and it's content, but personally, I find it to be a unique film with plenty of positives, a project that respects it's source material, and just about manages to avoid falling inside of its own arse.