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Andy K (10821 KP) created a poll
Jan 22, 2019
Dawn Marie (22 KP) rated Anne of Green Gables (1985) in Movies
Jan 19, 2018
The best anne of green gables movie made
Contains spoilers, click to show
I remember when this movie came out on one as part of the wonderworks collection of movies. Megan follows is perfect as Anne Shirley an orphan with a great imagination and a fiery temper and spirit. She is sent to live with brother and sister Matthew and marilla Cuthbert played by colleen dewhurst and Richard Farnsworth they are also perfectly cast. Anne meets friends and foes and has scraps and trials and tribulations. Some involving her bosom friend Diana berry and school rival Gilbert blythe! Perfect for the whole family
BankofMarquis (1832 KP) rated King Richard (2021) in Movies
Nov 30, 2021
It's "Fine", but nothing special
The new bio-pic KING RICHARD, depicting the true life story of the unusual rise of the tennis playing Williams sisters, and the man who had the vision to get them there, was being billed as a film that just might have an Oscar nominated performance in it.
And this is true, but, that performance just might be Aunjanue Ellis’ performance as “Brandy” Williams (mother of Venus and Serena) and not Will Smith as the Central Character, Richard Williams.
Don’t get me wrong, Will Smith is very good in the title role of this film, filling “King Richard” Williams with swagger and a “I am not wrong” attitude throughout. The issue is that this character does not learn anything or grow during the film. He is cock-sure right at the start and he is cock-sure right at the end.
The surprise to me was Aunjanue Ellis as the put-upon wife, Brandy. Her character hangs in the background, supporting Richard and the girls until Richard pushes her buttons just one time too many and then she steps in. It is in these moments that this film crackles. Ellis has the “Oscar Speech” in this film and she fires some life into the 2 hour and 25 minute proceedings when it desperately needs it.
And that’s the problem, ultimately, with this film. The Direction by Reinaldo Marcus Green and the script by Zach Baylin is too reverential to the subject matter, shying away from the darkness and the tension that is creeping around the edges (which would have been interesting) to show us a pretty standard “if you stick to your guns, you’ll always be right” story that never really has any emotional resonance.
With the dominating (and domineering) performance of Smith, the performances of young actresses Saniyya Sidney (Venus) and Demi Singleton (Serena) are afterthoughts as are the Supporting Performances of Tony Goldwyn and Jon Bernthal as 2 tennis coaches that clash with Richard.
Ultimately, this is a “fine” film with some “fine” performances that will serve as a “fine” tribute to what the 2 Williams’ sisters have accomplished.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And this is true, but, that performance just might be Aunjanue Ellis’ performance as “Brandy” Williams (mother of Venus and Serena) and not Will Smith as the Central Character, Richard Williams.
Don’t get me wrong, Will Smith is very good in the title role of this film, filling “King Richard” Williams with swagger and a “I am not wrong” attitude throughout. The issue is that this character does not learn anything or grow during the film. He is cock-sure right at the start and he is cock-sure right at the end.
The surprise to me was Aunjanue Ellis as the put-upon wife, Brandy. Her character hangs in the background, supporting Richard and the girls until Richard pushes her buttons just one time too many and then she steps in. It is in these moments that this film crackles. Ellis has the “Oscar Speech” in this film and she fires some life into the 2 hour and 25 minute proceedings when it desperately needs it.
And that’s the problem, ultimately, with this film. The Direction by Reinaldo Marcus Green and the script by Zach Baylin is too reverential to the subject matter, shying away from the darkness and the tension that is creeping around the edges (which would have been interesting) to show us a pretty standard “if you stick to your guns, you’ll always be right” story that never really has any emotional resonance.
With the dominating (and domineering) performance of Smith, the performances of young actresses Saniyya Sidney (Venus) and Demi Singleton (Serena) are afterthoughts as are the Supporting Performances of Tony Goldwyn and Jon Bernthal as 2 tennis coaches that clash with Richard.
Ultimately, this is a “fine” film with some “fine” performances that will serve as a “fine” tribute to what the 2 Williams’ sisters have accomplished.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Little Ray Of Sunshine (41 KP) rated The Guardian in Books
Jan 11, 2019 (Updated Feb 10, 2019)
Book Review | The Guardian by Nicholas Sparks
Nicholas Sparks is a well known author as some of hes books have been made into films. If you don't know the author or what book have been turned into a film they are the following The Notebook, The Best Of Me, Dear John, The Longest Ride, The Last Song, Safe Haven, The Choice, The Lucky One, A Walk to Remember, Message In A Bottle and Nights in Rodanthe. All these films I have seen but I aint read the books yet. But I am a type where I always think back to the actors in the film and can't imagine my own imaginary character.
But when I saw this book on Amazon I thought why not read more of hes books because I've read A Bend in the Road I love how he grips me with twist and turns that what this book The Guardian is like. But the only differences its more of a love story with a thriller story entwined.
The story is about Julie who is widowed early into her marriage as her husband Jim had cancer and passed away. Jim left her two unexpected gifts one is a puppy Great Dane called Singer and also to tell her to find someone who she can spend her life with (her late husband's best friend Mike). Mike is a down-to-earth guy but someone else grabs her eyes called Richard hes charming he comes to her work (shes a hairdresser) but she doesn't know that hes a obsessed with her and starts stalking her and taking photos of her. But through the story Mike his there to help her remember her late husband and Singer the dog is her 'Guardian'. They also form a bond Singer and Mike and the dog only trusts him not Richard. But Julie starts getting feelings for Mike and calls off her relationship with Richard. He doesn't like this so the character gets darker and plots you will have to read the book to find out the ending.
Sorry but I don't like giving away spoilers so go and buy the copy and find out what you think.
Q. Have you read any Nicholas Sparks' books, If so which ones have you read?
P.S I have purchased another book of hes called True Believer. Can't wait to get into it after I've read Professor Green Autobiography called Lucky.
But when I saw this book on Amazon I thought why not read more of hes books because I've read A Bend in the Road I love how he grips me with twist and turns that what this book The Guardian is like. But the only differences its more of a love story with a thriller story entwined.
The story is about Julie who is widowed early into her marriage as her husband Jim had cancer and passed away. Jim left her two unexpected gifts one is a puppy Great Dane called Singer and also to tell her to find someone who she can spend her life with (her late husband's best friend Mike). Mike is a down-to-earth guy but someone else grabs her eyes called Richard hes charming he comes to her work (shes a hairdresser) but she doesn't know that hes a obsessed with her and starts stalking her and taking photos of her. But through the story Mike his there to help her remember her late husband and Singer the dog is her 'Guardian'. They also form a bond Singer and Mike and the dog only trusts him not Richard. But Julie starts getting feelings for Mike and calls off her relationship with Richard. He doesn't like this so the character gets darker and plots you will have to read the book to find out the ending.
Sorry but I don't like giving away spoilers so go and buy the copy and find out what you think.
Q. Have you read any Nicholas Sparks' books, If so which ones have you read?
P.S I have purchased another book of hes called True Believer. Can't wait to get into it after I've read Professor Green Autobiography called Lucky.
Lee (2222 KP) rated Greed (2019) in Movies
Jan 29, 2020
On the Greek island of Mykonos, preparations are well underway for the lavish Gladiator themed 60th birthday party of multi-millionaire and 'king of the high-street', Sir Richard 'Greedy' McCreadie (Steve Coogan). A journalist turned biographer (David Mitchell) is on hand to document McCreadie's life story and some of his interviews with various acquaintances and family members combine with present day events to form a mockumentary style movie which gives us a closer look at how he went from ruthless young schoolboy to ruthless self-made millionaire.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
Acanthea Grimscythe (300 KP) rated Green Darkness in Books
May 16, 2018
Having picked <i>Green Darkness</i> up from the local library bookstore sale for only a quarter, I truly had no idea what I was getting myself into. Historical fiction, in any form, is not a genre that I've spent much time with, and coupling that with paranormal romance? Well, we can safely say that I was in for a ride.
<i>Green Darkness</i> shares the harrowing tale of forbidden love in mid-1500s England between an unfortunate peasant girl and a Benedictine monk, betwixt the reigns of King Edward VI, Queen Mary I, and Queen Elizabeth - a time when Catholicism and Protestantism (depending on the ruler) were met with persecution. It doesn't begin in that era, however; rather, the story starts in the 1960s, when Celia and her newly wedded husband, Richard Marsdon, arrive at his family's ancestral estate in Sussex. A baffling illness befalls the Marsdons, leaving the unorthodox physician, Doctor Akananda, to unravel the mysterious past that haunts the pair from hundreds of years before.
The twisting tale that unravels of that love affair is only a small part of what I enjoyed about this book, as romance is not typically my cup of tea. What truly enticed me was [a:Anya Seton|18930|Anya Seton|https://d.gr-assets.com/authors/1224813438p2/18930.jpg]'s faithfulness not only to history, but to location, legend, and use of historical figures. Cowdray House and Ightham Mote are real places, and an unfounded rumor regarding the Mote suggests that a female skeleton was found within its walls - which Seton used as a basis for her story. Through Seton, I discovered an unknown love for Tudor England, and undoubtedly I will read more books set in that time period.
Despite my praise for the book, I was unable to give it a five star rating because of its conclusion: it was as if Seton ran out of fuel. The idea of reincarnation takes a more ridiculous turn when Doctor Akananda hints at more pasts that conveniently interlock the same people. As if that were not enough of an affront, the resolution itself fell flat. With the Marsdon family tragedy conveniently wrapped up, Celia and Stephen seem aloof and their interaction felt a bit too forced. It is for this reason that I gave the book four stars.
<i>Green Darkness</i> shares the harrowing tale of forbidden love in mid-1500s England between an unfortunate peasant girl and a Benedictine monk, betwixt the reigns of King Edward VI, Queen Mary I, and Queen Elizabeth - a time when Catholicism and Protestantism (depending on the ruler) were met with persecution. It doesn't begin in that era, however; rather, the story starts in the 1960s, when Celia and her newly wedded husband, Richard Marsdon, arrive at his family's ancestral estate in Sussex. A baffling illness befalls the Marsdons, leaving the unorthodox physician, Doctor Akananda, to unravel the mysterious past that haunts the pair from hundreds of years before.
The twisting tale that unravels of that love affair is only a small part of what I enjoyed about this book, as romance is not typically my cup of tea. What truly enticed me was [a:Anya Seton|18930|Anya Seton|https://d.gr-assets.com/authors/1224813438p2/18930.jpg]'s faithfulness not only to history, but to location, legend, and use of historical figures. Cowdray House and Ightham Mote are real places, and an unfounded rumor regarding the Mote suggests that a female skeleton was found within its walls - which Seton used as a basis for her story. Through Seton, I discovered an unknown love for Tudor England, and undoubtedly I will read more books set in that time period.
Despite my praise for the book, I was unable to give it a five star rating because of its conclusion: it was as if Seton ran out of fuel. The idea of reincarnation takes a more ridiculous turn when Doctor Akananda hints at more pasts that conveniently interlock the same people. As if that were not enough of an affront, the resolution itself fell flat. With the Marsdon family tragedy conveniently wrapped up, Celia and Stephen seem aloof and their interaction felt a bit too forced. It is for this reason that I gave the book four stars.
BankofMarquis (1832 KP) rated Midway (2019) in Movies
Aug 10, 2020
So bad...it's bad
There are times when you watch a film and you can just hear the conference room discussion that happened back at the studio before getting it green-lit...
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)
Studio Flunky: "Remember the 1970's WWII flick MIDWAY starring Henry Fonda, Charlton Heston, Charles Coborn, Richard Mitchum and an All Star cast"?
Studio Head: "Yeah...I loved that flick..."
Studio Flunky: "We have a fairly weak script here that pretty much rips that off, but we have the Director of Independence Day ready to Direct, so we'd just need some strong actors and top notch special effects to pull it off".
Studio Head: " I love it. Just one thing..."
Studio Flunky: "What's that?"
Studio Head: "Cut the budget to about 1/10th of what you're asking for."
And that's the issue with the Roland Emrich 2019 version of MIDWAY...what the film lacks in script quality, it makes up with by casting weak actors and crossing them with cheap special effects.
Yeah...it doesn't work very well. No wonder it came and went pretty quickly in the theaters.
Patrick Wilson is the most successful in this film in his role as Intelligence Officer Edwin Layton who figures out what the Japanese are up to in the early days of World War II. He has some fun scenes with Brennan Brown as one of this "codebreakers" and his interactions with Woody Harrelson as Admiral Nimitz are fun.
And...that's about it for the acting and interesting things in this film. Harrelson is wasted in his role (he clearly owed someone a favor to appear in what should be considered and extended cameo). Dennis Quaid overacts (as he is want to do) as "Bull" Halsey. Mandy Moore, Aaron Eckhart, Nick Jonas and Luke Evans bring no charisma to roles that were written with the hopes that an actor would bring charisma to them. They all bring "one dimension" and play the heck out of that singular character trait...but interesting characters that does not build.
And then there is the case of Ed Skrein (in the Charlton Heston role) as the "rogue fighter pilot, bucking the system, but learning through the course of this film that he would be more effective bringing his unique insights into the system than buck it". Skrein is my poster child for "warning...bad movie ahead." He has, in my opinion, "anti-charisma". He sucks a movie into his void and we, the audience, are stuck there with him. Of course, we spend most of the film with him...much to my chagrin.
At least, you say, today's special effects would rescue this film.
Nope...it looked like someone's kid slapped something together on his MAC. The depth of the EFX are slim, the color schemes don't seem to match and the actors didn't look at all like they were in the scene with the effects.
Nothing really works in this film. Avoid it at all costs. I can't even give you the "it's so bad it's good" line on this one.
It's so bad, it's bad.
Letter Grade "D"
2 Stars out of 10 and you can take that to the Bank(OfMarquis)
Bob Mann (459 KP) rated Logan (2017) in Movies
Sep 29, 2021
“When the man comes around”
At last – a superhero movie with real heart… (and not just the chunks over the knuckle blades!). Logan is a bit of a revelation. I was reluctant to go and see it, since a) I’m a lukewarm X-Men fan at best and b) I hadn’t seen either of the previous two Wolverine spin-off films. (Seeing the other Wolverine films, by the way, is not a pre-requisite for enjoying this one). After a long day at work, my choice was “Logan” or “Kong: Skull Island”. I voted for this one, and I’m so glad I did.
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
Bob Mann (459 KP) rated Book Club (2018) in Movies
Sep 29, 2021
A book club without a spine.
Let’s be clear before we start; I am NOT in the demographic that this film is aimed at. And judging from the general reactions of the cinema audience I shared this with – 90%+ of who were women aged over 50 – my views are NOT going to necessarily reflect the general view, since there seemed to be quite a few satisfied customers in the audience. But my personal view would be, if you’re going to make a light-hearted comedy aimed at the lucrative silver pound, then at least make it a good one. For this – for me – felt like 50 shades of lame.
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).