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BankofMarquis (1832 KP) rated Da 5 Bloods (2020) in Movies
Jun 19, 2020
Delroy Lindo shines in a mostly good film
Over the years, I have become a fan of Spike Lee. I think he has a singular vision as a filmmaker with his films putting a spotlight on the black experience and the prejudices and injustices that prevail.
DA 5 BLOODS - Lee's Vietnam War movie - is no exception.
Set in present(ish) day and in the memories of the main characters from their time "in country", DA 5 BLOODS tells the tale of 4 Vietnam Veterans who return to find the body of their squadron leader - and the gold that they buried under his body.
Part Vietnam war flick, part gold heist (and the cost of this theft on the hearts and minds of the participants) and part reflection on the treatment of the black soldiers, Lee reaches high to combine 3 separate - and complex - films into one (any one of which could have been a film of their own) and it is here that this films succeeds - and fails. For this film is at moments riveting, at moments unflinching and hard to watch, at moments confusing and at moments...surprisingly... dull. Spike had a lot of movie to tell and he took 2 and a 1/2 hours to tell it. He would have been better suited to cut some of this down to a more palatable 2-ish hour length. The film bogs down on itself at times.
But when it crackles - it crackles. Especially when the 4 veteran soldiers interact with each other. Led by the great Delroy Lindo (TV's THE GOOD FIGHT). I hope that this film gets a theatrical release sometime (to make it eligible for the Oscars) for Lindo's portrayal of MAGA Hat wearing, PTSD suffering Paul is powerful and captivating. I was riveted by his performance and I was willing to follow him to the ends of the Earth. Also standing out is Clarke Peters as Otis - the heart and soul of this group and Norm Lewis, the pigeon-toed Eddie who has a secret that he is hiding. Both of these characters shine at moments - but are not in the spotlight nearly often enough. The same can be said for Isaih Whitlock Jr as Melvin, a character that is undeserved until the end and by then I felt myself wanting more of him. (Side Note: Lee named these characters after members of THE TEMPTATIONS).
Lee makes an interesting choice in the flashback scenes of the war. Instead of casting younger actors or spending the $$ on "de-aging" the actors (Lee would say that the de-aging was "cost prohibitive"), Lee chooses to have these old guys just play their younger versions of themselves just as they are now, claiming that these are not flashbacks, but "memories" of these soldiers - and I gotta admit that this tactic works very, very well - especially when these 4 older gentlemen are in the Vietnam War scenes with their Platoon Leader played, charismatically, by the much younger Chadwick Boseman. His character is killed in action and since these scenes are memories, it works well that he is younger (he never got a chance to grow old) while all the others are older. Boseman has a an attraction to him that helps the audience buy into the fact that all these years later these 4 men still hold him front and center in their memories. Unfortunately, the combat scenes looks to me like they were done on a shoe-string budget, so Lee has to use "tricks" to pull these scenes off and these tricks bring these scenes down a peg.
As I've stated, this film is really 3 films in one and the effects of the gold on the men is the most interesting part of this film for me, it touches on the desires of the human soul and brings some of the strongest acting and emotions.
This being a Spike Lee joint, this film is peppered with scenes from the black experience - from Martin Luther KIng to Malcom X to "Hanoi Hannah" telling the black troops that their country is abandoning them. These are important events in the lives and psyche of these men (and African Americans) and Mr. Lee is uniquely positioned to bring the attention of the public to these events, and he does it well.
DA 5 BLOODS in now streaming on Netflix.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
DA 5 BLOODS - Lee's Vietnam War movie - is no exception.
Set in present(ish) day and in the memories of the main characters from their time "in country", DA 5 BLOODS tells the tale of 4 Vietnam Veterans who return to find the body of their squadron leader - and the gold that they buried under his body.
Part Vietnam war flick, part gold heist (and the cost of this theft on the hearts and minds of the participants) and part reflection on the treatment of the black soldiers, Lee reaches high to combine 3 separate - and complex - films into one (any one of which could have been a film of their own) and it is here that this films succeeds - and fails. For this film is at moments riveting, at moments unflinching and hard to watch, at moments confusing and at moments...surprisingly... dull. Spike had a lot of movie to tell and he took 2 and a 1/2 hours to tell it. He would have been better suited to cut some of this down to a more palatable 2-ish hour length. The film bogs down on itself at times.
But when it crackles - it crackles. Especially when the 4 veteran soldiers interact with each other. Led by the great Delroy Lindo (TV's THE GOOD FIGHT). I hope that this film gets a theatrical release sometime (to make it eligible for the Oscars) for Lindo's portrayal of MAGA Hat wearing, PTSD suffering Paul is powerful and captivating. I was riveted by his performance and I was willing to follow him to the ends of the Earth. Also standing out is Clarke Peters as Otis - the heart and soul of this group and Norm Lewis, the pigeon-toed Eddie who has a secret that he is hiding. Both of these characters shine at moments - but are not in the spotlight nearly often enough. The same can be said for Isaih Whitlock Jr as Melvin, a character that is undeserved until the end and by then I felt myself wanting more of him. (Side Note: Lee named these characters after members of THE TEMPTATIONS).
Lee makes an interesting choice in the flashback scenes of the war. Instead of casting younger actors or spending the $$ on "de-aging" the actors (Lee would say that the de-aging was "cost prohibitive"), Lee chooses to have these old guys just play their younger versions of themselves just as they are now, claiming that these are not flashbacks, but "memories" of these soldiers - and I gotta admit that this tactic works very, very well - especially when these 4 older gentlemen are in the Vietnam War scenes with their Platoon Leader played, charismatically, by the much younger Chadwick Boseman. His character is killed in action and since these scenes are memories, it works well that he is younger (he never got a chance to grow old) while all the others are older. Boseman has a an attraction to him that helps the audience buy into the fact that all these years later these 4 men still hold him front and center in their memories. Unfortunately, the combat scenes looks to me like they were done on a shoe-string budget, so Lee has to use "tricks" to pull these scenes off and these tricks bring these scenes down a peg.
As I've stated, this film is really 3 films in one and the effects of the gold on the men is the most interesting part of this film for me, it touches on the desires of the human soul and brings some of the strongest acting and emotions.
This being a Spike Lee joint, this film is peppered with scenes from the black experience - from Martin Luther KIng to Malcom X to "Hanoi Hannah" telling the black troops that their country is abandoning them. These are important events in the lives and psyche of these men (and African Americans) and Mr. Lee is uniquely positioned to bring the attention of the public to these events, and he does it well.
DA 5 BLOODS in now streaming on Netflix.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Coco (2017) in Movies
Jun 10, 2019
Has pixar got it's mojo back?
Pixar has been on something of a downward trend of late, and that’s something I never thought I’d say. As much as it hurts, films like Cars 3, Finding Dory and The Good Dinosaur just don’t cut the mustard when compared to some of the studio’s greats.
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Bob Mann (459 KP) rated The Assistant (2020) in Movies
May 24, 2020
Julia Garner's performance (1 more)
The tension that manages to be created through a portrayal of the mundane
The movie seems to have a lot of haters on IMDB (a rating at the time of writing of 5.9)... but I refuse to follow "the pack" on this one... I thought it was great. It manages to make the mundane incredibly tense. This is this first (semi-)fictional feature from documentary-maker Kitty Green.... and in my book she does a knock-out job.
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
Bob Mann (459 KP) rated Three Billboards Outside Ebbing, Missouri (2017) in Movies
Sep 29, 2021
“Anger Begets Greater Anger”.
What is it? A black-comedy drama. But my fear would be that with such an ‘art-house’ title, it’s going to put a lot of people off… (“I saw ‘Paint Drying in Jackson, Mississippi‘, and that was dull”!). But it really really shouldn’t. FOR THIS IS A GEM OF A MOVIE… and so, so entertaining that two hours just sped by.
Frances McDormand (“Hail Caesar“, “Fargo”) plays a mother – Mildred Hayes – in pain. Her daughter Angela (Kathryn Newton) has been raped, set alight and murdered (so clearly LOL territory!) After ten months and no culprit arrested, she takes things into her own hands by renting the three billboards in question and posting a message to the local police chief, Willoughby (Woody Harrelson, “War for the Planet of the Apes“).
But the popular Chief Willoughby has his own problems, setting many in the town on a collision course with the feisty Mildred as tempers flare. Stoking the flames is the racist, unstable and unpredictable Officer Jason Dixon (Sam Rockwell, “Moon”). The billboard advertiser Red Welby (Caleb Landry Jones, “Get Out“) is uncomfortably caught in the middle of the battle.
In terms of the story, nothing in this film goes in the direction you expect. Willoughby’s reaction to the crisis is extraordinary… in a good way. Dixon’s reaction is also extraordinary for different reasons! Red herrings are scattered throughout the script to further set you off balance.
The film reminded me greatly of “Manchester By The Sea“, and not just because Lucas Hedges (as Mildred’s grieving and uncomfortable son) is again playing a very similar role. There is gut-wrenching drama, but diffused in the blink-of-an-eye by laugh-out-loud dialogue. Whereas “Manchester” could perhaps be described as a drama with black comedy, “Three Billboards” is probably better described as a black comedy with drama. But the comedy is dark, oh, so very dark! Some of the lines are so outrageous (both in terms of language used – very extreme – and the racial/homophobic nature of it) that you are sometimes uncertain whether you should be laughing at all. But it’s been brilliantly balanced and orchestrated.
As I commented in “Battle of the Sexes” the Screen Actors Guild Award for “Best Ensemble Cast” is one of my favourite categories of award, and I thought that film should have been nominated (it wasn’t)! But the ensemble cast in “Three Billboards” is another great example, and this one IS nominated! (Hoorah!)
For this whole town just LIVES AND BREATHES, thanks to the combined efforts of the cast: as well as the lead names, the cast includes Peter Dinklage (“Game of Thrones”) as a diminutive used car salesman; Caleb Landry Jones as Red Welby; Zeljko Ivanek as the police desk sergeant; Amanda Warren (“mother!“) as Mildred’s put-upon co-worker and (particularly) Sandy Martin as Dixon’s wizened and cranky old mother. All are fed with great lines and scenes to bring the story alive.
At the helm is writer/director (and London-born!) Martin McDonagh (“In Bruges”, “Seven Psychopaths”) and he delivers genius. I recently cruelly made fun of the writers of the awful “Pitch Perfect 3” for not coming up with any sort of viable plot. Here I am at the other extreme, in awe of how someone can sit down with a blank piece of paper and come out with this story, these characters and this dialogue. It would be foolish so early in the season to predict the Oscars, but here must be a great candidate for Original Screenplay.
Elsewhere I would see Frances McDormand and Woody Harrelson both as Oscar nominees for Best Actress/Actor and Sam Rockwell is surely a shoe-in for a Best Supporting Actor nomination for this…. I wonder what odds I can get for a win? Jason Dixon (is this perhaps a pun because he always keeps crossing “the line”?!) will I think be one of the most memorable characters for me in the cinema this year: a character you can despise, pity and even strangely admire at stages throughout the two hours. Something that Rockwell balances with consummate skill.
In terms of my one criticism, the script (in my opinion) rather over-eggs the pudding in the last ten minutes, stepping over into actions I didn’t find realistic. It was a nice ending when it came, but not one I felt invested in. So I’m going to put my (rarely used) ‘5-Fad’ back in my pocket, and instead rate this one just a tad lower. But regardless of that, ignore the title and GO AND SEE THIS ONE!
(Just a final note for those severely affected by the subject matter: while there is some significant violence in the film, the rape is not shown – i.e. there are no “flashback” scenes, apart from some – very brief – corpse photos in a folder Willoughby looks through).
Frances McDormand (“Hail Caesar“, “Fargo”) plays a mother – Mildred Hayes – in pain. Her daughter Angela (Kathryn Newton) has been raped, set alight and murdered (so clearly LOL territory!) After ten months and no culprit arrested, she takes things into her own hands by renting the three billboards in question and posting a message to the local police chief, Willoughby (Woody Harrelson, “War for the Planet of the Apes“).
But the popular Chief Willoughby has his own problems, setting many in the town on a collision course with the feisty Mildred as tempers flare. Stoking the flames is the racist, unstable and unpredictable Officer Jason Dixon (Sam Rockwell, “Moon”). The billboard advertiser Red Welby (Caleb Landry Jones, “Get Out“) is uncomfortably caught in the middle of the battle.
In terms of the story, nothing in this film goes in the direction you expect. Willoughby’s reaction to the crisis is extraordinary… in a good way. Dixon’s reaction is also extraordinary for different reasons! Red herrings are scattered throughout the script to further set you off balance.
The film reminded me greatly of “Manchester By The Sea“, and not just because Lucas Hedges (as Mildred’s grieving and uncomfortable son) is again playing a very similar role. There is gut-wrenching drama, but diffused in the blink-of-an-eye by laugh-out-loud dialogue. Whereas “Manchester” could perhaps be described as a drama with black comedy, “Three Billboards” is probably better described as a black comedy with drama. But the comedy is dark, oh, so very dark! Some of the lines are so outrageous (both in terms of language used – very extreme – and the racial/homophobic nature of it) that you are sometimes uncertain whether you should be laughing at all. But it’s been brilliantly balanced and orchestrated.
As I commented in “Battle of the Sexes” the Screen Actors Guild Award for “Best Ensemble Cast” is one of my favourite categories of award, and I thought that film should have been nominated (it wasn’t)! But the ensemble cast in “Three Billboards” is another great example, and this one IS nominated! (Hoorah!)
For this whole town just LIVES AND BREATHES, thanks to the combined efforts of the cast: as well as the lead names, the cast includes Peter Dinklage (“Game of Thrones”) as a diminutive used car salesman; Caleb Landry Jones as Red Welby; Zeljko Ivanek as the police desk sergeant; Amanda Warren (“mother!“) as Mildred’s put-upon co-worker and (particularly) Sandy Martin as Dixon’s wizened and cranky old mother. All are fed with great lines and scenes to bring the story alive.
At the helm is writer/director (and London-born!) Martin McDonagh (“In Bruges”, “Seven Psychopaths”) and he delivers genius. I recently cruelly made fun of the writers of the awful “Pitch Perfect 3” for not coming up with any sort of viable plot. Here I am at the other extreme, in awe of how someone can sit down with a blank piece of paper and come out with this story, these characters and this dialogue. It would be foolish so early in the season to predict the Oscars, but here must be a great candidate for Original Screenplay.
Elsewhere I would see Frances McDormand and Woody Harrelson both as Oscar nominees for Best Actress/Actor and Sam Rockwell is surely a shoe-in for a Best Supporting Actor nomination for this…. I wonder what odds I can get for a win? Jason Dixon (is this perhaps a pun because he always keeps crossing “the line”?!) will I think be one of the most memorable characters for me in the cinema this year: a character you can despise, pity and even strangely admire at stages throughout the two hours. Something that Rockwell balances with consummate skill.
In terms of my one criticism, the script (in my opinion) rather over-eggs the pudding in the last ten minutes, stepping over into actions I didn’t find realistic. It was a nice ending when it came, but not one I felt invested in. So I’m going to put my (rarely used) ‘5-Fad’ back in my pocket, and instead rate this one just a tad lower. But regardless of that, ignore the title and GO AND SEE THIS ONE!
(Just a final note for those severely affected by the subject matter: while there is some significant violence in the film, the rape is not shown – i.e. there are no “flashback” scenes, apart from some – very brief – corpse photos in a folder Willoughby looks through).
Bob Mann (459 KP) rated Manchester by the Sea (2016) in Movies
Sep 29, 2021
Wow! I’d heard all about the Oscar hype surrounding this film but to be honest, while I thought I would be seeing a solid and well-made indie film, I went into it without great expectations of having an ‘enjoyable’ time: the trailer had “angst” written all over it. And – sure – it is emotional and harrowing in places. However, I was completely knocked out by the depth, the intelligence and the humour of this masterpiece.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
Movie Metropolis (309 KP) rated Pacific Rim: Uprising (2018) in Movies
Jun 10, 2019
Absolutely Bonkers
2013’s Pacific Rim was one of the most underrated films of the year. Lumbered in the same category as the Transformers series for its seemingly simple premise about robots fighting giant monsters, it had a lukewarm performance at the box office.
For those movie buffs reading this, you’ll of course know the film was directed by the Oscar-winning Guillermo Del Toro and with that came his signature quirks and visual sense of style. Oh yes, Pacific Rim was much more than a mish-mash of action.
A sequel looked very unlikely given the mediocre reception it received and then Del Toro passed on the idea altogether, instead focusing on the film that earned him a Best Director award at this year’s Oscars, The Shape of Water. I’m not going to pretend that was the wrong decision because it clearly wasn’t.
Nevertheless, Universal and Legendary pictures, with help from Del Toro handpicked little-known director Steven S. DeKnight to helm this second instalment in the new series, Pacific Rim: Uprising. It’s taken five years and $150million to get here. Was it worth it?
Jake Pentecost (John Boyega) is a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous Kaiju. Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through cities and bring the world to its knees, Jake is given one last chance by his estranged sister, Mako Mori (Rinko Kikuchi), to live up to his father’s legacy.
Coming hot off the heels of his performance in Star Wars: The Last Jedi, John Boyega channels his franchise father, Idris Elba, reasonably well and his estranged relationship with the former jaeger pilot is discussed, albeit briefly. Boyega is still discovering himself as a leading star and it’s films like Pacific Rim and Star Wars that he continues to impress in.
Here, he plays a cocky, arrogant young man who has lost his way until he’s given a second chance by returnee Mako (Kikuchi). It’s nice to see her and both Charlie Day’s Newton Geiszler and Burn Gorman’s Hermann Gottlieb return to this new series.
The inclusion of the film’s previous stars doesn’t feel unnecessarily shoe-horned in and this is a welcome change to many other films that try the same trick. Gorman and Day in particular provide some decent comic relief throughout. The weakest link over the course of the film is Scott Eastwood’s Ranger Lambert. His forced backstory with Boyega’s Pentecost isn’t particularly engaging.
The finale is punch-the-air fun and beautifully filmed in and around Tokyo
Setting the action a decade after the events of the first film is a good way to freshen things up and Uprising feels all the better for it. The world is continuing to recover from the previous war and this change in atmosphere lends a new dynamic to the film. It certainly looks and sounds a lot like its predecessor, but Uprising is a very different beast, both in storytelling and the way it presents that story.
Where Pacific Rimwas a paint-by-numbers adventure transformed by Del Toro’s stunning visual acuity, Uprising is a well-plotted movie that lacks its previous director’s soft touch. Director Steven S. DeKnight rightly carves his own path with the visuals but sometimes this is at the cost of the charm that made the original such an unexpected delight. The plot is actually much better than that of its predecessor with numerous twists and turns that create a fun atmosphere for the audience, but with four writers working on it, you’d expect nothing less.
There are some Del-Toro-isms still present however and these remind us that this is very much more than a Michael Bay Transformers film. The special effects are excellent and with De Knight’s decision to film as much as possible during the day (a stark contrast to Del Toro) there really is nowhere to hide. The jaegers and Kaiju are all as detailed as you would expect from a movie costing $150million.
At 111 minutes, Pacific Rim: Uprising zips along briskly and rarely leaves you wanting. The finale is punch-the-air fun and beautifully filmed in and around Tokyo. It may be a cynical marketing ploy to set portions of the film in Japan and China in order to appease international audiences, but it does lend itself to some lovely scenery.
Overall, Pacific Rim: Uprising is a film that manages to build upon its predecessor’s strong foundations, yet still manages to feel very much part of its universe. Sequels, especially to films that don’t perform well are risky business as movie studios try to save as much cash as possible, but thankfully Uprising is a fully-realised and confidently filmed second instalment. It’s loud, brash and completely unashamed of what it tries to be, but sometimes that’s all you want from a visit to the cinema. Call it Classy Transformers and you won’t be far from spot on.
https://moviemetropolis.net/2018/03/24/pacific-rim-uprising-absolutely-bonkers/
For those movie buffs reading this, you’ll of course know the film was directed by the Oscar-winning Guillermo Del Toro and with that came his signature quirks and visual sense of style. Oh yes, Pacific Rim was much more than a mish-mash of action.
A sequel looked very unlikely given the mediocre reception it received and then Del Toro passed on the idea altogether, instead focusing on the film that earned him a Best Director award at this year’s Oscars, The Shape of Water. I’m not going to pretend that was the wrong decision because it clearly wasn’t.
Nevertheless, Universal and Legendary pictures, with help from Del Toro handpicked little-known director Steven S. DeKnight to helm this second instalment in the new series, Pacific Rim: Uprising. It’s taken five years and $150million to get here. Was it worth it?
Jake Pentecost (John Boyega) is a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous Kaiju. Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through cities and bring the world to its knees, Jake is given one last chance by his estranged sister, Mako Mori (Rinko Kikuchi), to live up to his father’s legacy.
Coming hot off the heels of his performance in Star Wars: The Last Jedi, John Boyega channels his franchise father, Idris Elba, reasonably well and his estranged relationship with the former jaeger pilot is discussed, albeit briefly. Boyega is still discovering himself as a leading star and it’s films like Pacific Rim and Star Wars that he continues to impress in.
Here, he plays a cocky, arrogant young man who has lost his way until he’s given a second chance by returnee Mako (Kikuchi). It’s nice to see her and both Charlie Day’s Newton Geiszler and Burn Gorman’s Hermann Gottlieb return to this new series.
The inclusion of the film’s previous stars doesn’t feel unnecessarily shoe-horned in and this is a welcome change to many other films that try the same trick. Gorman and Day in particular provide some decent comic relief throughout. The weakest link over the course of the film is Scott Eastwood’s Ranger Lambert. His forced backstory with Boyega’s Pentecost isn’t particularly engaging.
The finale is punch-the-air fun and beautifully filmed in and around Tokyo
Setting the action a decade after the events of the first film is a good way to freshen things up and Uprising feels all the better for it. The world is continuing to recover from the previous war and this change in atmosphere lends a new dynamic to the film. It certainly looks and sounds a lot like its predecessor, but Uprising is a very different beast, both in storytelling and the way it presents that story.
Where Pacific Rimwas a paint-by-numbers adventure transformed by Del Toro’s stunning visual acuity, Uprising is a well-plotted movie that lacks its previous director’s soft touch. Director Steven S. DeKnight rightly carves his own path with the visuals but sometimes this is at the cost of the charm that made the original such an unexpected delight. The plot is actually much better than that of its predecessor with numerous twists and turns that create a fun atmosphere for the audience, but with four writers working on it, you’d expect nothing less.
There are some Del-Toro-isms still present however and these remind us that this is very much more than a Michael Bay Transformers film. The special effects are excellent and with De Knight’s decision to film as much as possible during the day (a stark contrast to Del Toro) there really is nowhere to hide. The jaegers and Kaiju are all as detailed as you would expect from a movie costing $150million.
At 111 minutes, Pacific Rim: Uprising zips along briskly and rarely leaves you wanting. The finale is punch-the-air fun and beautifully filmed in and around Tokyo. It may be a cynical marketing ploy to set portions of the film in Japan and China in order to appease international audiences, but it does lend itself to some lovely scenery.
Overall, Pacific Rim: Uprising is a film that manages to build upon its predecessor’s strong foundations, yet still manages to feel very much part of its universe. Sequels, especially to films that don’t perform well are risky business as movie studios try to save as much cash as possible, but thankfully Uprising is a fully-realised and confidently filmed second instalment. It’s loud, brash and completely unashamed of what it tries to be, but sometimes that’s all you want from a visit to the cinema. Call it Classy Transformers and you won’t be far from spot on.
https://moviemetropolis.net/2018/03/24/pacific-rim-uprising-absolutely-bonkers/
Darren (1599 KP) rated Aliens (1986) in Movies
Jun 20, 2019
Story: Aliens starts when Ripley (Weaver) is finally rescued from her hyper sleep, only to find out that she has been sleeping for centuries, questioned for her action on the spacecraft she learns that the same planet LV-426 has been colonised with no problems from any alien species. We get to see how the colony is building on the planet which includes us watching Newt (Henn) and her family being the ones to find the alien ship.
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
Bob Mann (459 KP) rated Life (2017) in Movies
Sep 29, 2021
Life after Gravity.
Mankind is on the verge of a major milestone. The “Pilgrim” probe is returning from Mars containing soil samples that might spell the discovery of the first palpable evidence of life beyond earth. Proving that earth scientists are not completely incompetent, the probe is being returned not to earth but to a lab on the International Space Station where strict quarantine can be maintained. This key mission requirement is the responsibility of Miranda North (Rebecca Ferguson, “Mission Impossible: Rogue Nation”). Supporting her is an international crew including fellow doctor David Harris (Jake Gyllenhaal, “Source Code”), professional astronaut Rory Adams (Ryan Reynolds, “Deadpool”) and Hugh Derry (Ariyon Bakare), the lead scientist studying the samples. Needless to say, the soil samples yield more promise than Derry could have ever hoped for (or North could have feared). A crisis of growth and death ensues in a manner that fans of “Alien” will be suitably familiar with. Can the crew survive against all the odds?
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Darren (1599 KP) rated American Beauty (1999) in Movies
Jun 20, 2019
Story: American Beauty starts narration from our lead Lester Burnham (Spacey) explaining his life and that he will be dead in a year. Lester lives through the same old routine and is overall tired of his life. Lester is married to Carolyn (Bening) a real estate agent and has a teenage daughter Jane (Birch) who is struggling with the typical teenage problems. Lester is being pressured by his new boss who he thinks has no experience in the field.
Lester & Carolyn decide to take more interest in their daughter’s life which includes going to watch her cheer leading performance where Lester starts getting an instant fascination with fellow cheerleader Angela Hayes (Suvari). The Burnham’s have just got new neighbours in the Fitts, Colonel (Cooper) and his son Ricky (Bentley) who has an obsession with filming his everyday life. What follows is a look into suburban life.
American Beauty manages to balance every character to end up telling a story of everyday life and how it can change because the people closest to you really don’t know what you are up too. We get to look closer are how the perception of a person can hide the reality that is going on in the life and we get to see the different things that could happen. It is hard to really discuss too much about this film because I have looked into the characters closer next and this film is very much character driven which helps the story shine through. (10/10)
Actor Review
Kevin Spacey: Lester Burnham is an average man who is tired of the same old routine and decides to break out, he gets himself fired, starts taking drugs all while obsessing over his daughters friend. Kevin gives a brilliant performance but as you would expect from him. (10/10)
lester
Annette Bening: Carolyn Burnham is a real estate agent who puts on a brave face all while struggling with her own problems leading to her having an affair as her relationship with Lester starts to get stretched. Annette shines here with mixed emotions about Lester through the film. (10/10)
caroluyn
Thora Birch: Jane Burnham is the moodiest cheerleader ever who doesn’t seem to get the attention a cheerleader gets from the guys, she is best friends most beautiful girl in school who gets all the attention, but Jane does attract the new neighbour who helps her come out of her shell. Thora gives a great performance showing that she was ready to break through in the role. (9/10)
jane
Wes Bentley: Ricky Fitts is the new neighbour that could be considered weird because of his obsession with filming everything in life, he also ends up being a drug dealer and the one that Lester uses, all while dealing with an over aggressive father. Wes shows all his talent here but it is a shame this is the highlight of his career to date. (9/10)
ricky
Mena Suvari: Angela Hayes is the beautiful girl from school that thinks all the guys want her but when Lester takes a shine to her we learn the truth about her nature. Mena comes away from her American Pie role with this much more adult role showing she didn’t need to just be a teen comedy star. (9/10)
angela
Chris Cooper: Colonel Fitts is the strict father of Ricky who hates everything that is different to his way of thinking, he is a generation behind but he really just wants to protect his son. Chris does a great job as the strict father because we just don’t know what his character will do next. (9/10)
Support Cast: American Beauty doesn’t have the biggest supporting cast with most just turning up in the odd scene while we focus on the main cast through the film.
Director Review: Sam Mendes – Sam burst onto the scene with this stunning piece of directing that will always be known as a classic. (10/10)
Drama: American Beauty shows the lives of these six people and manages to make us care about them all. (10/10)
Romance: American Beauty shows different levels of romance, we get a blossoming starting one, we have a long term one falling apart and we get to see the unavailable ones. (9/10)
Settings: American Beauty gives everything a realistic setting for the story being told through the film. (9/10)
Suggestion: American Beauty is absolute must watch for anyone, it will always go down as a classic in the history of film. (Must Watch)
Best Part: Lester getting fired.
Worst Part: While it is a brilliant drama, the casual fans will find this harder to find interesting.
Funniest Scene: Lester reacting to Angela spending the night.
Favourite Quote: Lester ‘Remember those posters that said, “Today is the first day of the rest of your life”? Well, that’s true of every day but one – the day you die.’
Believability: I do think this has plenty of realistic ideas of relationships but I do think the end wouldn’t happen. (8/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 5 Oscars including Best Picture, Best Actor, Dest Directing, Best Cinematography and Best Screenplay. It was also nominated for another 3.
Box Office: $356 Million
Budget: $15 Million
Runtime: 2 Hours 2 Minutes
Tagline: … look closer
Trivia: Both Oscar winners Kevin Spacey and Chris Cooper got their film career starts playing New York subway criminals. Spacey played an untitled mugger in Heartburn. Cooper played a pyromaniac in Money Train.
Overall: American Beauty is a classic that will always be remembered once you have seen it.
https://moviesreview101.com/2015/08/01/american-beauty-1999/
Lester & Carolyn decide to take more interest in their daughter’s life which includes going to watch her cheer leading performance where Lester starts getting an instant fascination with fellow cheerleader Angela Hayes (Suvari). The Burnham’s have just got new neighbours in the Fitts, Colonel (Cooper) and his son Ricky (Bentley) who has an obsession with filming his everyday life. What follows is a look into suburban life.
American Beauty manages to balance every character to end up telling a story of everyday life and how it can change because the people closest to you really don’t know what you are up too. We get to look closer are how the perception of a person can hide the reality that is going on in the life and we get to see the different things that could happen. It is hard to really discuss too much about this film because I have looked into the characters closer next and this film is very much character driven which helps the story shine through. (10/10)
Actor Review
Kevin Spacey: Lester Burnham is an average man who is tired of the same old routine and decides to break out, he gets himself fired, starts taking drugs all while obsessing over his daughters friend. Kevin gives a brilliant performance but as you would expect from him. (10/10)
lester
Annette Bening: Carolyn Burnham is a real estate agent who puts on a brave face all while struggling with her own problems leading to her having an affair as her relationship with Lester starts to get stretched. Annette shines here with mixed emotions about Lester through the film. (10/10)
caroluyn
Thora Birch: Jane Burnham is the moodiest cheerleader ever who doesn’t seem to get the attention a cheerleader gets from the guys, she is best friends most beautiful girl in school who gets all the attention, but Jane does attract the new neighbour who helps her come out of her shell. Thora gives a great performance showing that she was ready to break through in the role. (9/10)
jane
Wes Bentley: Ricky Fitts is the new neighbour that could be considered weird because of his obsession with filming everything in life, he also ends up being a drug dealer and the one that Lester uses, all while dealing with an over aggressive father. Wes shows all his talent here but it is a shame this is the highlight of his career to date. (9/10)
ricky
Mena Suvari: Angela Hayes is the beautiful girl from school that thinks all the guys want her but when Lester takes a shine to her we learn the truth about her nature. Mena comes away from her American Pie role with this much more adult role showing she didn’t need to just be a teen comedy star. (9/10)
angela
Chris Cooper: Colonel Fitts is the strict father of Ricky who hates everything that is different to his way of thinking, he is a generation behind but he really just wants to protect his son. Chris does a great job as the strict father because we just don’t know what his character will do next. (9/10)
Support Cast: American Beauty doesn’t have the biggest supporting cast with most just turning up in the odd scene while we focus on the main cast through the film.
Director Review: Sam Mendes – Sam burst onto the scene with this stunning piece of directing that will always be known as a classic. (10/10)
Drama: American Beauty shows the lives of these six people and manages to make us care about them all. (10/10)
Romance: American Beauty shows different levels of romance, we get a blossoming starting one, we have a long term one falling apart and we get to see the unavailable ones. (9/10)
Settings: American Beauty gives everything a realistic setting for the story being told through the film. (9/10)
Suggestion: American Beauty is absolute must watch for anyone, it will always go down as a classic in the history of film. (Must Watch)
Best Part: Lester getting fired.
Worst Part: While it is a brilliant drama, the casual fans will find this harder to find interesting.
Funniest Scene: Lester reacting to Angela spending the night.
Favourite Quote: Lester ‘Remember those posters that said, “Today is the first day of the rest of your life”? Well, that’s true of every day but one – the day you die.’
Believability: I do think this has plenty of realistic ideas of relationships but I do think the end wouldn’t happen. (8/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 5 Oscars including Best Picture, Best Actor, Dest Directing, Best Cinematography and Best Screenplay. It was also nominated for another 3.
Box Office: $356 Million
Budget: $15 Million
Runtime: 2 Hours 2 Minutes
Tagline: … look closer
Trivia: Both Oscar winners Kevin Spacey and Chris Cooper got their film career starts playing New York subway criminals. Spacey played an untitled mugger in Heartburn. Cooper played a pyromaniac in Money Train.
Overall: American Beauty is a classic that will always be remembered once you have seen it.
https://moviesreview101.com/2015/08/01/american-beauty-1999/