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The horror genre can’t wait to splash the screen with as much blood and gore as possible, letting you know what the intentions of the film are going to be. In this Blumhouse produced thriller that isn’t the case, as Oscar winner Octavia Spencer plays quiet but dissociated veterinary assistant Sue-Ann, who befriends a group of adolescent teens.
On the outside she’s warm and friendly, only wanting to be accepted (this becomes apparent as to why later on). She secretly buys them alcohol and lets them have use of her basement to party – until she ‘becomes’ the party and local speakeasy. For the vast majority of the film there is little to class this as anything but a horror. It is relatively uneventful and offers no traditional jumpscares or shock moments.
The narrative unravels slowly allowing us to delve into Sue-Ann’s past and discover her motives, and it is these flashbacks that are most shocking of all, to the point of sympathy. The finale is frenetic, as Sue-Ann goes from likeable charmer to absolute psycho in a matter of moments – not that it hasn’t been building up to it.
Unfortunately it’s all delivered in such a short space of time that it feels rushed. Spencer’s performance is very good and there are distinct similarities to Kathy Bates and her equally psychotic character in Misery – there is even a subtle nod to the Stephen King classic.
Ma is not a total flop, but more could have been done to grip the viewer early on, instead of leaving it all to the final act.
On the outside she’s warm and friendly, only wanting to be accepted (this becomes apparent as to why later on). She secretly buys them alcohol and lets them have use of her basement to party – until she ‘becomes’ the party and local speakeasy. For the vast majority of the film there is little to class this as anything but a horror. It is relatively uneventful and offers no traditional jumpscares or shock moments.
The narrative unravels slowly allowing us to delve into Sue-Ann’s past and discover her motives, and it is these flashbacks that are most shocking of all, to the point of sympathy. The finale is frenetic, as Sue-Ann goes from likeable charmer to absolute psycho in a matter of moments – not that it hasn’t been building up to it.
Unfortunately it’s all delivered in such a short space of time that it feels rushed. Spencer’s performance is very good and there are distinct similarities to Kathy Bates and her equally psychotic character in Misery – there is even a subtle nod to the Stephen King classic.
Ma is not a total flop, but more could have been done to grip the viewer early on, instead of leaving it all to the final act.
Bob Mann (459 KP) rated Hell or High Water (2016) in Movies
Sep 29, 2021
“Sometimes a blind pig finds a truffle”.
One of the joys (and stresses) of the run up to the Oscar weekend is to try to catch all the major award films before the big event. As I bitched about in my BAFTA write-up, UK release dates do NOT make this an easy task, with some films like Paul Verhoeven’s “Elle”, featuring Best Actress nominee Isabelle Huppert, not released until mid March.
This week I have had the chance to catch up on two of the films with award potential that I missed at the cinema, and this is the write up of the first of those: “Hell or High Water”, was first released in September 2016, and what an excellent film it is.
Bank robberies have been featured in many hundreds of films since the early days of cinema: The Great Train Robbery for example dates back to 1903! More recent heist classics such as “Oceans 11”, “Die Hard”, “Run Lola Run” and “The Dark Knight Rises” tend towards the stylised end of the act. Where this film delivers interest is in aligning the protagonists’ drivers with the banking and mortgage ‘crimes’ featured in last year’s “The Big Short”. Add in to the movie Nutribullet a soupçon of the West Texan setting from Arthur Penn’s 1967 “Bonnie and Clyde”, turn it on and you have “Hell or High Water”.
Chris Pine (“Star Trek”) and Ben Foster (“Inferno“, “The Program“) play brothers Toby and Tanner Howard trying to rescue their deceased mother’s ranch from being foreclosed on by Texas Midlands bank. Rather than taking one of the “get out of debt” offers advertised on billboards – cleverly and insistently introduced in long panning highway shots – the brothers have their own financial plan: a scheme that involves early morning raids of the cash drawers of small-town Texas Midlands branches. But the meticulous planning of Toby, as the calm and intelligent one, are constantly at risk of upset by the unpredictable and violent actions of the loose-cannon Tanner.
Since the amounts of cash stolen are in the thousands rather than the millions, the FBI aren’t interested and the case is handed instead by aged and grumpy Texas Ranger Marcus Hamilton (Jeff Bridges, “True Grit”) and his partner Alberto (Gil Birmingham). The pair have a respectful relationship but one built around racial banter, with Hamilton constantly referring to Alberto’s Mexican/Comanche heritage. A cat and mouse game ensues with the lawmen staking out the most likely next hits. The sonorous cello strings of the soundtrack portend a dramatic finale, and we as viewers are not disappointed.
The performances of the main leads are all excellent, with Chris Pine given the chance to show more acting chops than he has had chance to with his previous Kirk/Jack Ryan characters. His chemistry with Ben Foster is just sublime. Similarly, Jeff Bridges and Gil Birmingham make for a formidable double act. It is Jeff Bridges though who has the standout performance and one that is Oscar nominated for Best Supporting Actor. (In fact with Michael Shannon also getting nominated in the same category for “Nocturnal Animals”, we can add ‘West Texan lawman’ to ‘Holocaust movies’ (a Winslet “Extras” reference there!) as the prime bait for Oscar nomination glory!)
The real winner here though is the whip-smart screenplay by Taylor Sheridan (“Sicario“) which sizzles with great lines: lines that make you grin inanely at the screen regularly through the running time.”In your last days in the nursing home, you’ll think of me and giggle” schmoozes Tanner to the pretty hotel check-in girl: a come-on clearly worth remembering as it delivers the goods, as it were.
The trick here is in building up a degree of empathy and sympathy for the characters on both sides. The ‘bad guys’ here are successfully portrayed as the banks. At the moment you can get 25/1 odds on this winning the Best Original Screenplay Oscar – but I would personally rate it right up there with “Manchester by the Sea“.
Deftly directed by Scot David Mackenzie (“Starred Up”) this is a film (the first of two!) that might well have elbowed it’s way into my Top 10 of 2016 if I’d seen it during its cinema release. Well worth catching on the small screen.
This week I have had the chance to catch up on two of the films with award potential that I missed at the cinema, and this is the write up of the first of those: “Hell or High Water”, was first released in September 2016, and what an excellent film it is.
Bank robberies have been featured in many hundreds of films since the early days of cinema: The Great Train Robbery for example dates back to 1903! More recent heist classics such as “Oceans 11”, “Die Hard”, “Run Lola Run” and “The Dark Knight Rises” tend towards the stylised end of the act. Where this film delivers interest is in aligning the protagonists’ drivers with the banking and mortgage ‘crimes’ featured in last year’s “The Big Short”. Add in to the movie Nutribullet a soupçon of the West Texan setting from Arthur Penn’s 1967 “Bonnie and Clyde”, turn it on and you have “Hell or High Water”.
Chris Pine (“Star Trek”) and Ben Foster (“Inferno“, “The Program“) play brothers Toby and Tanner Howard trying to rescue their deceased mother’s ranch from being foreclosed on by Texas Midlands bank. Rather than taking one of the “get out of debt” offers advertised on billboards – cleverly and insistently introduced in long panning highway shots – the brothers have their own financial plan: a scheme that involves early morning raids of the cash drawers of small-town Texas Midlands branches. But the meticulous planning of Toby, as the calm and intelligent one, are constantly at risk of upset by the unpredictable and violent actions of the loose-cannon Tanner.
Since the amounts of cash stolen are in the thousands rather than the millions, the FBI aren’t interested and the case is handed instead by aged and grumpy Texas Ranger Marcus Hamilton (Jeff Bridges, “True Grit”) and his partner Alberto (Gil Birmingham). The pair have a respectful relationship but one built around racial banter, with Hamilton constantly referring to Alberto’s Mexican/Comanche heritage. A cat and mouse game ensues with the lawmen staking out the most likely next hits. The sonorous cello strings of the soundtrack portend a dramatic finale, and we as viewers are not disappointed.
The performances of the main leads are all excellent, with Chris Pine given the chance to show more acting chops than he has had chance to with his previous Kirk/Jack Ryan characters. His chemistry with Ben Foster is just sublime. Similarly, Jeff Bridges and Gil Birmingham make for a formidable double act. It is Jeff Bridges though who has the standout performance and one that is Oscar nominated for Best Supporting Actor. (In fact with Michael Shannon also getting nominated in the same category for “Nocturnal Animals”, we can add ‘West Texan lawman’ to ‘Holocaust movies’ (a Winslet “Extras” reference there!) as the prime bait for Oscar nomination glory!)
The real winner here though is the whip-smart screenplay by Taylor Sheridan (“Sicario“) which sizzles with great lines: lines that make you grin inanely at the screen regularly through the running time.”In your last days in the nursing home, you’ll think of me and giggle” schmoozes Tanner to the pretty hotel check-in girl: a come-on clearly worth remembering as it delivers the goods, as it were.
The trick here is in building up a degree of empathy and sympathy for the characters on both sides. The ‘bad guys’ here are successfully portrayed as the banks. At the moment you can get 25/1 odds on this winning the Best Original Screenplay Oscar – but I would personally rate it right up there with “Manchester by the Sea“.
Deftly directed by Scot David Mackenzie (“Starred Up”) this is a film (the first of two!) that might well have elbowed it’s way into my Top 10 of 2016 if I’d seen it during its cinema release. Well worth catching on the small screen.
BankofMarquis (1832 KP) rated Lilies of the Field (1963) in Movies
Jan 31, 2022
Strong Performances by Poitier and Skala
The film that Sidney Poitier won his Best Actor In A Leading Role Oscar for (becoming the first Black Man to do so) is the type of film that is rarely made these days - a simple film of love, faith, friendship and inspiration.
Written by James Poe from the Novel by William E. Barrett, LILIES OF THE FIELD tells the tale of a drifter who is the answer to a Nun’s prayer. Praying to the God that she believes in, she asks for help in getting a Church built in the desert in Arizona.
Simply Directed by Ralph Nelson (fresh off his success with REQUIEM FOR A HEAVYWEIGHT), Lilies of the Field is a positive life (and faith) affirming film from start to finish that will touch your heart…and your soul.
Poitier stars as handyman Homer Smith who’s car breaks down where a group of Nuns are trying to start a parish (and get a church built). Following the machinations of Mother Maria (Lilia Skala - in an Oscar nominated turn of her own), Homer never leaves and ends up being inspired - and inspiring others - to get this church built.
But it is the journey - not the destination - of this film that matters. Homer is thwarted time and time again by Mother Maria in his attempts to leave and his protestations that this is the “final job, then I’m leaving” is met with steeled determination by Mother Maria who has an unflappable belief that Homer is the answer to her prayers.
This film hangs on the relationship between Homer and Mother Maria and these 2 fine actors deliver the goods. Poitier is a deserved winner of the Best Actor Oscar (though he would fret for years that his win was a “token” win - which it is not). His Homer Smith is charming and forceful with a “lost” look in his eyes when he first arrives in the desert. This, in turns, changes to fierce determination to get that church built.
The real hero of this film is the under-rated performance of Skala (who did a series of TV Guest star appearances in the 50’s, 60’s and 70’s but never really had a movie role - before or since - that would rival this one). It would have been tempting to make Mother Maria a one-note ice queen in her dogged determination - and belief - that Homer was sent by God, but in the hands of Skala there is a warmth in her eyes that serves as a counterbalance to her resolve.
It is the relationship of these 2 characters - and the ramifications of this relationship to the parish community - that is the soul of this film, and this soul runs deep. The relationship between Homer and Mother Maria is not, exactly, a friendship, but more of a strong work bond. 2 persons united in a common goal - for the common good.
Not the fastest moving of all films you will view, but the heart and soul that is at the center of this film - along with 2 very strong central performances - will warm your heart.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written by James Poe from the Novel by William E. Barrett, LILIES OF THE FIELD tells the tale of a drifter who is the answer to a Nun’s prayer. Praying to the God that she believes in, she asks for help in getting a Church built in the desert in Arizona.
Simply Directed by Ralph Nelson (fresh off his success with REQUIEM FOR A HEAVYWEIGHT), Lilies of the Field is a positive life (and faith) affirming film from start to finish that will touch your heart…and your soul.
Poitier stars as handyman Homer Smith who’s car breaks down where a group of Nuns are trying to start a parish (and get a church built). Following the machinations of Mother Maria (Lilia Skala - in an Oscar nominated turn of her own), Homer never leaves and ends up being inspired - and inspiring others - to get this church built.
But it is the journey - not the destination - of this film that matters. Homer is thwarted time and time again by Mother Maria in his attempts to leave and his protestations that this is the “final job, then I’m leaving” is met with steeled determination by Mother Maria who has an unflappable belief that Homer is the answer to her prayers.
This film hangs on the relationship between Homer and Mother Maria and these 2 fine actors deliver the goods. Poitier is a deserved winner of the Best Actor Oscar (though he would fret for years that his win was a “token” win - which it is not). His Homer Smith is charming and forceful with a “lost” look in his eyes when he first arrives in the desert. This, in turns, changes to fierce determination to get that church built.
The real hero of this film is the under-rated performance of Skala (who did a series of TV Guest star appearances in the 50’s, 60’s and 70’s but never really had a movie role - before or since - that would rival this one). It would have been tempting to make Mother Maria a one-note ice queen in her dogged determination - and belief - that Homer was sent by God, but in the hands of Skala there is a warmth in her eyes that serves as a counterbalance to her resolve.
It is the relationship of these 2 characters - and the ramifications of this relationship to the parish community - that is the soul of this film, and this soul runs deep. The relationship between Homer and Mother Maria is not, exactly, a friendship, but more of a strong work bond. 2 persons united in a common goal - for the common good.
Not the fastest moving of all films you will view, but the heart and soul that is at the center of this film - along with 2 very strong central performances - will warm your heart.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Tomb Raider (2018) in Movies
Mar 17, 2018
Not a bad start to this series
I have a confession to make, I have not seen the Angelina Jolie Lara Croft films, nor am I all that familiar with the video games that have spawned these movies, so it is with a fresh perspective that I judge how good (or bad) this film is.
And you know what? It's pretty good.
Starring Alicia Vikander, TOMB RAIDER is the origin story of how Lara Croft becomes a...ahem...Tomb Raider. This is the first starring role in a big "tent pole" film for her and she holds the center of the story quite well. Best known as the Oscar winner for Best Supporting Actress in THE DANISH GIRL (which I feel was a consolation prize for her from the Academy as a way of apologizing for not even nominating her for her Oscar-worthy performance in EX MACHINA), TOMB RAIDER transforms Ms. Vikander into a viable action star. Her Lara Croft is not a "super-hero" who is impervious to pain, rather, she is a real person (a tough one, I'll admit) but when she gets hurt, she feels it.
Doing everything but twirling his mustache is Walton Goggins as Mathias Vogel a rival Tomb Raider looking to raid the same tomb.
Why are they looking for this tomb? Does it matter? Nope. The fun is in the journey - and what fun there is. Norwegian Director Roar Uthaug (THE WAVE) keeps the action moving swiftly, jumping from one clue to another and one stunt to another, rarely slowing down for the audience to think - and that's a good thing, because as I'm thinking about this film a day later, I'm beginning to punch some pretty big holes in the plot. But...that doesn't matter because watching Croft/Vikander get herself out of trouble is entertaining.
Also shining in this film is Daniel Wu as Lu Ren, who's father, Lu Ren, disappeared chasing the same tomb as Croft's father (Dominic West). Ren and Crofft team up to race Vogel to the tomb.
Along for the ride in smaller-ish roles - in what appears to be the first film of a series - are such stalwarts as Nick Frost (uncredited), Jaime Winstone, Derek Jacobi and Kristen ScottThomas. All of whom must have been promised larger roles in later films in this series.
A solid start to the series. I, for one, will look forward to the next tomb that Lara Croft raids.
Letter Grade B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
And you know what? It's pretty good.
Starring Alicia Vikander, TOMB RAIDER is the origin story of how Lara Croft becomes a...ahem...Tomb Raider. This is the first starring role in a big "tent pole" film for her and she holds the center of the story quite well. Best known as the Oscar winner for Best Supporting Actress in THE DANISH GIRL (which I feel was a consolation prize for her from the Academy as a way of apologizing for not even nominating her for her Oscar-worthy performance in EX MACHINA), TOMB RAIDER transforms Ms. Vikander into a viable action star. Her Lara Croft is not a "super-hero" who is impervious to pain, rather, she is a real person (a tough one, I'll admit) but when she gets hurt, she feels it.
Doing everything but twirling his mustache is Walton Goggins as Mathias Vogel a rival Tomb Raider looking to raid the same tomb.
Why are they looking for this tomb? Does it matter? Nope. The fun is in the journey - and what fun there is. Norwegian Director Roar Uthaug (THE WAVE) keeps the action moving swiftly, jumping from one clue to another and one stunt to another, rarely slowing down for the audience to think - and that's a good thing, because as I'm thinking about this film a day later, I'm beginning to punch some pretty big holes in the plot. But...that doesn't matter because watching Croft/Vikander get herself out of trouble is entertaining.
Also shining in this film is Daniel Wu as Lu Ren, who's father, Lu Ren, disappeared chasing the same tomb as Croft's father (Dominic West). Ren and Crofft team up to race Vogel to the tomb.
Along for the ride in smaller-ish roles - in what appears to be the first film of a series - are such stalwarts as Nick Frost (uncredited), Jaime Winstone, Derek Jacobi and Kristen ScottThomas. All of whom must have been promised larger roles in later films in this series.
A solid start to the series. I, for one, will look forward to the next tomb that Lara Croft raids.
Letter Grade B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Two Popes (2019) in Movies
Jan 29, 2020
Well Acted
In 2012, the conservative Pope Benedict - citing failing health - made the rare move of stepping down from the Papacy. He was, ultimately, replaced by the more Liberal Pope Francis. THE TWO POPES is a fictional account of a conversation that these two men had prior to Benedict's stepping down.
If you are looking for a hard-hitting expose of the issues the Catholic Church was facing at the time with the conservative Benedict facing off against the Liberal Francis, then you will be disappointed. But...if you are looking for an interesting, gentle acting exercise where 2 strong actors take Center Stage to move from enemies to frenemies to friends, then you will enjoy THE TWO POPES.
The review of this film begins and ends with the performances of the 2 leads - Jonathan Pryce as Pope Francis (Cardinal Bergoglio in the film) and Anthony Hopkins as Pope Benedict - and they are terrific. Pryce was nominated in the Best Actor Oscar category while Hopkins sits in the Best Supporting Actor category (deservedly so - Pryce has much more screen time and focus).
As Francis, Pryce is conflicted by both what is currently happening with the Church and his own demons. His Cardinal Bergoglio is alternately strong and weak - and Pryce plays this well. It is just about the best performance I have ever seen from Pryce on film. Unfortunately for him, he pales in comparison with the withering, wilted and strong portrayal of Pope Benedict that is put on by Hopkins. This is Sir Anthony's best work in years and shows that this ol' trouper "still has it." As I stated earlier, they are both nominated (deservedly) for Oscars, for it is an actor's movie, but only Hopkins would be a deserving winner (though neither of them will win).
THE TWO POPES is Directed by Brazilian Fernando Meirelles based on a screen play by Anthony McCarten (DARKEST HOUR). McCarten's script is stronger than Meirelles Direction. I felt like I was watching a filmed stage play with both Popes sitting and talking for long stretches of time. Do not be surprised to see a stage version of this film on Broadway sometime soon. It played more like an extended episode of Masterpiece Theater than a Theatrical Film.
At just over 2 hours, this film is just a bit too long, but (of course) both Popes have their "Oscar moment" in the tail end of the movie so that helps it to cross the finish line strong.
If you are looking for strong acting, look no further than THE TWO POPES, you will not be disappointed.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
If you are looking for a hard-hitting expose of the issues the Catholic Church was facing at the time with the conservative Benedict facing off against the Liberal Francis, then you will be disappointed. But...if you are looking for an interesting, gentle acting exercise where 2 strong actors take Center Stage to move from enemies to frenemies to friends, then you will enjoy THE TWO POPES.
The review of this film begins and ends with the performances of the 2 leads - Jonathan Pryce as Pope Francis (Cardinal Bergoglio in the film) and Anthony Hopkins as Pope Benedict - and they are terrific. Pryce was nominated in the Best Actor Oscar category while Hopkins sits in the Best Supporting Actor category (deservedly so - Pryce has much more screen time and focus).
As Francis, Pryce is conflicted by both what is currently happening with the Church and his own demons. His Cardinal Bergoglio is alternately strong and weak - and Pryce plays this well. It is just about the best performance I have ever seen from Pryce on film. Unfortunately for him, he pales in comparison with the withering, wilted and strong portrayal of Pope Benedict that is put on by Hopkins. This is Sir Anthony's best work in years and shows that this ol' trouper "still has it." As I stated earlier, they are both nominated (deservedly) for Oscars, for it is an actor's movie, but only Hopkins would be a deserving winner (though neither of them will win).
THE TWO POPES is Directed by Brazilian Fernando Meirelles based on a screen play by Anthony McCarten (DARKEST HOUR). McCarten's script is stronger than Meirelles Direction. I felt like I was watching a filmed stage play with both Popes sitting and talking for long stretches of time. Do not be surprised to see a stage version of this film on Broadway sometime soon. It played more like an extended episode of Masterpiece Theater than a Theatrical Film.
At just over 2 hours, this film is just a bit too long, but (of course) both Popes have their "Oscar moment" in the tail end of the movie so that helps it to cross the finish line strong.
If you are looking for strong acting, look no further than THE TWO POPES, you will not be disappointed.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Black Widow (2021) in Movies
Jul 19, 2021
A Winning Return for the MCU
The Marvel Cinematic Universe is back!
With the much delayed premiere of BLACK WIDOW, the MCU returns with a fun romp that is part family drama, part action adventure - and all MCU.
Starring Scarlett Johansson, of course, as the titular character, BLACK WIDOW takes place after CAPTAIN AMERICA: CIVIL WAR and before AVENGERS: INFINITY WAR. Natasha Romanoff, aka Black Widow, teams up with her “other” family to stop a team of enemy assasins.
But, it’s not the plot that we care about in these types of movies, it’s the characters and the action. And this film brings both in abundance.
Let’s start with the characters - the 4 main “family” members - Johansson (Black Widow), Florence Pugh (Yelena), David Harbour (Alexei) and Rachel Weisz (Melina) are wonderful to spend time with. These are characters that I want to see on the screen and their interactions - though sometimes confrontational - is filled with friendship, respect and love. This is something that other “universes” don’t quite get as well as the MCU and it shows.
Johannson, of course, is terrific as Black Widow. She has this character down and if this is her last go around as this character, she’ll got out with her head held high. David Harbour (STRANGER THINGS) is the comic relief of this film as his (somewhat) overweight superhero RED GUARDIAN, tries to fit into his old costume (reminiscent of MR. INCREDIBLE) while Rachel Weisz (Oscar winner for THE CONSTANT GARDNER) is the grounding/realistic character.
But all 3 of these take a back seat to the terrific Florence Pugh (Oscar nominated for LITTLE WOMEN a few year’s back) as the “little sister” of Black Widow. She and Johannson have terrific chemistry together and the writers/directors give Pugh most of the good lines that will lead the audience to be won over by her character.
The only blemish I have in the performances of this film is Ray Winstone’s rather “average” performance as the main bad guy in this film. I don’t fault Winstone’s performance, I think that it is because the part is underwritten or, worst yet, an afterthought of the writers.
Director Cate Shortland (LORE) does a good job keeping the film moving while interspersing the family drama with the action and the humor at a brisk enough clip to keep your interest for the full 134 minutes of this film. It’s a good return to the MCU and one that will keep you coming back for more.
Which is EXACTLY what the MCU wishes you to do.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
With the much delayed premiere of BLACK WIDOW, the MCU returns with a fun romp that is part family drama, part action adventure - and all MCU.
Starring Scarlett Johansson, of course, as the titular character, BLACK WIDOW takes place after CAPTAIN AMERICA: CIVIL WAR and before AVENGERS: INFINITY WAR. Natasha Romanoff, aka Black Widow, teams up with her “other” family to stop a team of enemy assasins.
But, it’s not the plot that we care about in these types of movies, it’s the characters and the action. And this film brings both in abundance.
Let’s start with the characters - the 4 main “family” members - Johansson (Black Widow), Florence Pugh (Yelena), David Harbour (Alexei) and Rachel Weisz (Melina) are wonderful to spend time with. These are characters that I want to see on the screen and their interactions - though sometimes confrontational - is filled with friendship, respect and love. This is something that other “universes” don’t quite get as well as the MCU and it shows.
Johannson, of course, is terrific as Black Widow. She has this character down and if this is her last go around as this character, she’ll got out with her head held high. David Harbour (STRANGER THINGS) is the comic relief of this film as his (somewhat) overweight superhero RED GUARDIAN, tries to fit into his old costume (reminiscent of MR. INCREDIBLE) while Rachel Weisz (Oscar winner for THE CONSTANT GARDNER) is the grounding/realistic character.
But all 3 of these take a back seat to the terrific Florence Pugh (Oscar nominated for LITTLE WOMEN a few year’s back) as the “little sister” of Black Widow. She and Johannson have terrific chemistry together and the writers/directors give Pugh most of the good lines that will lead the audience to be won over by her character.
The only blemish I have in the performances of this film is Ray Winstone’s rather “average” performance as the main bad guy in this film. I don’t fault Winstone’s performance, I think that it is because the part is underwritten or, worst yet, an afterthought of the writers.
Director Cate Shortland (LORE) does a good job keeping the film moving while interspersing the family drama with the action and the humor at a brisk enough clip to keep your interest for the full 134 minutes of this film. It’s a good return to the MCU and one that will keep you coming back for more.
Which is EXACTLY what the MCU wishes you to do.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Dirty Grandpa (2016) in Movies
Jun 11, 2019
Dirty De Niro
It’s hard to imagine an acting career that has continuously impressed as much as that of Robert De Niro. The two-time Academy Award-winner has also racked up an incredible five further nominations at the Oscars, cementing him as a Hollywood great.
However, over the last few years, this acting veteran has spiralled into rather dangerous territory. Taking on thankless role after thankless role with terrible romantic comedies, his filmography makes for grim reading these days.
His latest movie sees him star alongside the hunky Zac Efron in Dirty Grandpa, a gross-out comedy following the pair on a road trip from Atlanta to Florida, but does it do enough to restore some sheen to De Niro’s CV?
De Niro stars as Richard ‘Dick’ Kelly, an army veteran mourning the loss of his late wife. To ease his grief, he and his uptight lawyer grandson Jason (Efron) take a trip together as a way of catching up. Though for Dick, there’s more than scenery on his mind.
I’ll get this off my chest before we go any further. The script is absolutely atrocious and one of the worst I have ever come across in the genre, and Dan Mazer’s inconsistent direction only highlights these major flaws.
Both Efron and De Niro look uncomfortable with the overly offensive dialogue that targets homosexuals and ethnic minorities just to try and raise a laugh. This is comedy at its laziest and Dirty Grandpa is more than happy to admit that to you – it’s definitely not ashamed of what it is.
Nevertheless, it’s such a shame to see a former Oscar winner taking on the role of a borderline perverted grandparent. The constant leering at college girls and the cringe-worthy talk of sex just don’t sit well with those who know of De Niro’s once unrivalled talent and this is why he feels sorely miscast.
Efron too starts off incredibly poorly. As the uptight lawyer, he spouts legalese that you know he doesn’t truly understand, though once he starts to unwind we see him at his best. The actor knows that he works well in films where he can use his cracking smile and body to full effect and it’s certainly out in force here.
Elsewhere, a supporting cast that includes Parks and Recreation’s Aubrey Plaza fares much better with Plaza being the film’s standout character. Her sex-obsessed Lenore is actually very funny indeed and provides Dirty Grandpa with what it sorely needs – genuine comedy.
Unfortunately, despite a few laughs, the film tries too hard with the tired old clichés. From fart jokes to racism and sexism, it’s all there – all the while unaware it’s adding another nail in the coffin of Robert De Niro’s acting career.
https://moviemetropolis.net/2016/02/05/dire-de-niro-dirty-grandpa-review/
However, over the last few years, this acting veteran has spiralled into rather dangerous territory. Taking on thankless role after thankless role with terrible romantic comedies, his filmography makes for grim reading these days.
His latest movie sees him star alongside the hunky Zac Efron in Dirty Grandpa, a gross-out comedy following the pair on a road trip from Atlanta to Florida, but does it do enough to restore some sheen to De Niro’s CV?
De Niro stars as Richard ‘Dick’ Kelly, an army veteran mourning the loss of his late wife. To ease his grief, he and his uptight lawyer grandson Jason (Efron) take a trip together as a way of catching up. Though for Dick, there’s more than scenery on his mind.
I’ll get this off my chest before we go any further. The script is absolutely atrocious and one of the worst I have ever come across in the genre, and Dan Mazer’s inconsistent direction only highlights these major flaws.
Both Efron and De Niro look uncomfortable with the overly offensive dialogue that targets homosexuals and ethnic minorities just to try and raise a laugh. This is comedy at its laziest and Dirty Grandpa is more than happy to admit that to you – it’s definitely not ashamed of what it is.
Nevertheless, it’s such a shame to see a former Oscar winner taking on the role of a borderline perverted grandparent. The constant leering at college girls and the cringe-worthy talk of sex just don’t sit well with those who know of De Niro’s once unrivalled talent and this is why he feels sorely miscast.
Efron too starts off incredibly poorly. As the uptight lawyer, he spouts legalese that you know he doesn’t truly understand, though once he starts to unwind we see him at his best. The actor knows that he works well in films where he can use his cracking smile and body to full effect and it’s certainly out in force here.
Elsewhere, a supporting cast that includes Parks and Recreation’s Aubrey Plaza fares much better with Plaza being the film’s standout character. Her sex-obsessed Lenore is actually very funny indeed and provides Dirty Grandpa with what it sorely needs – genuine comedy.
Unfortunately, despite a few laughs, the film tries too hard with the tired old clichés. From fart jokes to racism and sexism, it’s all there – all the while unaware it’s adding another nail in the coffin of Robert De Niro’s acting career.
https://moviemetropolis.net/2016/02/05/dire-de-niro-dirty-grandpa-review/
BankofMarquis (1832 KP) rated First Man (2018) in Movies
Oct 13, 2018
GREAT, Visceral Space Scenes - Boring, Soap-Opera-ish Earth Scenes
Get to the largest screen you can find with the best sound system and check out FIRST MAN. The visceral spectacle of space travel is expertly captured and needs to be seen on the BIG screen while your chair vibrates from the sound. You, the audience, fwill eel like you are in the spaceship with Neil Armstrong on his way to the moon.
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Jojo Rabbit (2019) in Movies
Jan 15, 2020
Inventive, funny and poignant
Writer/Director/Actor Taika Waititi is one of the most original voices working in Film/Television today. He skewered the Vampire flick (at the height of the Twilight craze) in WHAT WE DO IN THE SHADOWS. He revived the sagging Thor saga (and some would say the Marvel Cinematic Universe) with a comedic approach to the material in THOR: RAGNAROK, and now with his latest film, JOJO RABBIT, he takes his sense of humor to a subject that is difficult to satire - Adolph Hitler and life in Nazi Germany during WW II.
And, darn it all, if he doesn't pull it off.
As seen through the eyes of a zealous 10 year old Hitler Youth named JoJo, this film follows Jojo's journey from an idealistic follower of all things Nazi Germany to the harsher realities of the world - and what the 3rd Reich means to the world.
Young Roman Griffin Davis does a marvelous job as the titular character slowly changing his character from an all out innocent devotion to Hitler (his imaginary friend as played by Waititi) to a somewhat less innocent soul. His journey is at the heart of this film and he is a winning personality to follow along with. I was drawn into his struggles and was rooting for him to "come to his senses" throughout the course of this film.
Helping him in this journey is his Mother, played in an Oscar nominated turn by Scarlett Johannson. This character has an idealism all of her own and is willing to let her child "get there in his own time". It is a strong turn by Johannson...but Oscar nominated worthy? I'm not sure.
Also joining in for fun, frolic and (by turns) seriousness is the always great Sam Rockwell (Oscar winner for 3 BILLBOARDS...)as a disillusioned German Officer, comedian Stephen Merchant (LOGAN) in an unlikely mostly serious turn as a Nazi who likes to say "Heil Hitler" and Alfie Allen (GAME OF THRONES) as a devoted German soldier (at least devoted to Rockwell's character). Waititi also uses Rebel Wilson sparingly - as she should be used - as another devouted-to-the-cause German citizen.
Adding heft and pathos to this film is Thomasin MacKenzie (THE KING) in a role that would be a spoiler to say what she is playing, but...I WILL say that she needs to succeed in this role for the film to succeed (and she does).
Also, special notice needs to be made of the performance of cherubic Archie Yates (soon to be Kevin in the reboot of the HOME ALONE franchise) as JoJo's friend Yorki - who keeps getting knocked down and steps back up over and over again. I would LOVE to see the film that would have focused on this character (in addition to this film).
And, finally, there is the Writer/Director himself, Taika Waititi as JoJo's imaginary friend, Adolph Hitler. He is all fun loving and gay at the beginning becoming more and more frantic as the film progresses - mimicking the real life events that are happening around him.
Waititi's style in this film is reminiscent of Wes Anderson in such films as THE GRAND BUDAPEST HOTEL and MOONRISE KINGDOM and this works well here, giving this film more of a "fable" than a "realistic" look - and that is important to help set the tone for the events that follow. Waititi has a sure hand on the material (that he wrote) as the Director. He knows the tone he wants to strike and knows how to get there. He is nominated for Adapted Screenplay for his script (deservedly so) and was NOT nominated for Best Director - but his work in this area is just as good.
I did not know what to expect from this film when I walked into it, and I was more than pleasantly surprised. Give this little comedy/drama a try - I think you will be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
And, darn it all, if he doesn't pull it off.
As seen through the eyes of a zealous 10 year old Hitler Youth named JoJo, this film follows Jojo's journey from an idealistic follower of all things Nazi Germany to the harsher realities of the world - and what the 3rd Reich means to the world.
Young Roman Griffin Davis does a marvelous job as the titular character slowly changing his character from an all out innocent devotion to Hitler (his imaginary friend as played by Waititi) to a somewhat less innocent soul. His journey is at the heart of this film and he is a winning personality to follow along with. I was drawn into his struggles and was rooting for him to "come to his senses" throughout the course of this film.
Helping him in this journey is his Mother, played in an Oscar nominated turn by Scarlett Johannson. This character has an idealism all of her own and is willing to let her child "get there in his own time". It is a strong turn by Johannson...but Oscar nominated worthy? I'm not sure.
Also joining in for fun, frolic and (by turns) seriousness is the always great Sam Rockwell (Oscar winner for 3 BILLBOARDS...)as a disillusioned German Officer, comedian Stephen Merchant (LOGAN) in an unlikely mostly serious turn as a Nazi who likes to say "Heil Hitler" and Alfie Allen (GAME OF THRONES) as a devoted German soldier (at least devoted to Rockwell's character). Waititi also uses Rebel Wilson sparingly - as she should be used - as another devouted-to-the-cause German citizen.
Adding heft and pathos to this film is Thomasin MacKenzie (THE KING) in a role that would be a spoiler to say what she is playing, but...I WILL say that she needs to succeed in this role for the film to succeed (and she does).
Also, special notice needs to be made of the performance of cherubic Archie Yates (soon to be Kevin in the reboot of the HOME ALONE franchise) as JoJo's friend Yorki - who keeps getting knocked down and steps back up over and over again. I would LOVE to see the film that would have focused on this character (in addition to this film).
And, finally, there is the Writer/Director himself, Taika Waititi as JoJo's imaginary friend, Adolph Hitler. He is all fun loving and gay at the beginning becoming more and more frantic as the film progresses - mimicking the real life events that are happening around him.
Waititi's style in this film is reminiscent of Wes Anderson in such films as THE GRAND BUDAPEST HOTEL and MOONRISE KINGDOM and this works well here, giving this film more of a "fable" than a "realistic" look - and that is important to help set the tone for the events that follow. Waititi has a sure hand on the material (that he wrote) as the Director. He knows the tone he wants to strike and knows how to get there. He is nominated for Adapted Screenplay for his script (deservedly so) and was NOT nominated for Best Director - but his work in this area is just as good.
I did not know what to expect from this film when I walked into it, and I was more than pleasantly surprised. Give this little comedy/drama a try - I think you will be glad you did.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)