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Jasmine Frank is missing. It’s a humid summer morning in Santa Ana, California, and her twin...
Suspense
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)
The Philosophy of the Coen Brothers
Book
In 2008 No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of...
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?
The Earthquake Bird: A Novel
10.0
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Book
The grisly headline leaves nothing to the imagination: "Woman's torso recovered from Tokyo Bay....
Mulholland Drive
Book
Beloved by film and art aficionados and fans of neo-noir cinema, Mulholland Drive is one of the most...
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.
Thimbleweed Park
Games and Entertainment
App
A brand new adventure game from Ron Gilbert and Gary Winnick, creators of the classics Monkey Island...
Sin City (2005)
7.5
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Sin City (also known as Frank Miller's Sin City)[3] is a 2005 American neo-noir crime anthology film...
Sin City Frank Miller Robert Rodriguez Comic book
Nick Friesen (96 KP) rated Blade Runner (1982) in Movies
Jul 13, 2017
Dark and gorgeous setting (4 more)
Harrison Ford
Thought-provoking premise
That moody Vangelis score
Rutger Hauer
Best in Class Cyberpunk Neo-Noir
Most Sci-Fi fans these days probably rank Blade Runner somewhere in their top five favorites. Its status and influence on Sci-Fi, especially in the Cyberpunk sub-genre, is undeniable. When it was first released in 1982, however, it was not so well appreciated. It was met with polarized reviews and underwhelming domestic box office figures. This was probably due to some misplaced expectations of the movie. The studio erroneously marketed Blade Runner as an action/adventure, and not to mention, Harrison Ford was riding the fame of another Sci-Fi franchise that was much more action-oriented. It's no surprise then, that audiences and critics alike were initially turned off by the slow-burn pacing of detective noir that Blade Runner pulled into a science fiction setting. Today, Blade Runner is a celebrated masterpiece of filmmaking and adored by fans around the world. However, with a sequel coming soon, those new to the franchise might be a little confused due to the existence of multiple versions of the film. Let's clear that up a bit.
Fast-forward ten years to 1992, when the world received the Director's Cut of the film. At the time, Blade Runner had picked up in popularity through video rental and the international market, and the studio was prompted to release an official Director's Cut after an unofficial version was being made available from a workprint. The Director's Cut was the first introduction to Blade Runner for a whole new generation, including myself.
Fast-forward fifteen more years to 2007, when Ridley Scott brought Blade Runner fans his definitive version of the movie, the Final Cut. Blade Runner: The Final Cut was digitally remastered and reworked by Ridley Scott with complete artistic freedom, whereas the Director's Cut was created by the studio without his involvement. This version fixes some technical problems that persisted from the theatrical version to the Director's Cut, and adds back a little story to better fulfill Ridley Scott's original vision for the film.
If you're looking to get into Blade Runner before Blade Runner 2049 hits theatres in October, the Final Cut is probably the best place to start. It offers the most cohesive viewing experience, complete with restored visuals. Believe me when I tell you there is no movie quite like Blade Runner. Watching Rick Deckard (Harrison Ford) track down and "retire" replicants on the streets of a dystopian Los Angeles awash in neon signs never ceases to fill me with awe. Rutger Hauer's performance as the main antagonist, Roy Batty, is both chilling and thought-provoking, making viewers question what being human truly means.
Blade Runner is now widely considered to be not just the first example of Cyberpunk in film, but also the best. And for good reason, as every frame is a work of art, and the philosophical questions it first posed 35 years ago are still being debated today. Us die-hard fans can only pray the upcoming sequel doesn't completely obliterate the mystery and pathos of the replicant condition.
Fast-forward ten years to 1992, when the world received the Director's Cut of the film. At the time, Blade Runner had picked up in popularity through video rental and the international market, and the studio was prompted to release an official Director's Cut after an unofficial version was being made available from a workprint. The Director's Cut was the first introduction to Blade Runner for a whole new generation, including myself.
Fast-forward fifteen more years to 2007, when Ridley Scott brought Blade Runner fans his definitive version of the movie, the Final Cut. Blade Runner: The Final Cut was digitally remastered and reworked by Ridley Scott with complete artistic freedom, whereas the Director's Cut was created by the studio without his involvement. This version fixes some technical problems that persisted from the theatrical version to the Director's Cut, and adds back a little story to better fulfill Ridley Scott's original vision for the film.
If you're looking to get into Blade Runner before Blade Runner 2049 hits theatres in October, the Final Cut is probably the best place to start. It offers the most cohesive viewing experience, complete with restored visuals. Believe me when I tell you there is no movie quite like Blade Runner. Watching Rick Deckard (Harrison Ford) track down and "retire" replicants on the streets of a dystopian Los Angeles awash in neon signs never ceases to fill me with awe. Rutger Hauer's performance as the main antagonist, Roy Batty, is both chilling and thought-provoking, making viewers question what being human truly means.
Blade Runner is now widely considered to be not just the first example of Cyberpunk in film, but also the best. And for good reason, as every frame is a work of art, and the philosophical questions it first posed 35 years ago are still being debated today. Us die-hard fans can only pray the upcoming sequel doesn't completely obliterate the mystery and pathos of the replicant condition.