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Movie Metropolis (309 KP) rated Life Of Pi (2012) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Ang Lee has directed some very artistic and emotionally charged films in his career and his new movie, Life of Pi is certainly no exception. But can his take on Yann Martel’s 2001 novel of the same name live up to his usual high standards?
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
BankofMarquis (1832 KP) rated Bombshell (2019) in Movies
Jan 31, 2020
Well acted - and important - film
The new Jay Roach film, BOMBSHELL - the Fox News sex scandal film - focuses on the struggles of 3 female protagonists - Gretchen Carlson (Nicole Kidman), Megyn Kelly (Charlize Theron) and Kayla Pospisil (Margot Robbie) - as they attempt to climb (or stay at the top of) the Corporate Ladder while battling sexism and a toxic work culture at Fox News. It is a powerful story that is a necessary tale in the "#MeToo" era that demands viewers to stand up and take notice.
And with powerhouse actresses leading this film - standing up and taking notice is an easy thing to do.
Based on factual events, BOMBSHELL portrays the sexism that female on air personalities encounter at FoxNews - a place filled with "good ol' boys" who patronize and sexualize the females in the office to the detriment of the females and the benefit and gratification of the males. Surprisingly, they are joined in this by some other females in the office who figure "better them than me". At the top of the office - and the toxic work culture - is Roger Ailes (an almost unrecognizable John Lithgow) who is hailed by Fox as the man who can create the news - and profits.
Kidman, Theron and Robbie are well cast in their roles, showing nuance, concern and strength as these negative conditions rear their ugly heads over and over again. All 3 produce powerhouse performances - certainly up there amongst the best of their careers - and Theron and Robbie are well deserved Oscar nominees for their performances. Kidman was NOT nominated for her performance, but she is just as deserving as the other two.
But, for me, the real surprise - and the best performance - of this film belongs to Lithgow's portrayal of Ailes. His characterization shows a real wolf, taking advantage of his status and position, to prey upon those in his office. It is a sly, evil performance of a sly, evil man. What impressed me the most is that this performance - and this character - could have easily gone "over the top" into "pure villain" territory and Lithgow resists this temptation - to the betterment of this film, but to the detriment of his Oscar chances.
As written by Charles Randolph (THE BIG SHORT) this film has a pacing/theming issue for the first 1/2 hour of this film. Is it a serious film? Is it sarcastic look at toxic masculinity work culture? Is it an indictment on our current society as a whole? Randolph's script uses some of the same tactics as THE BIG SHORT, having performers breaking the 4th wall and commenting and narrating the events while looking directly at the camera. While this tactic worked very well in THE BIG SHORT (if you haven't seen this film, I highly recommend you do), it works less well here and Director Jay Roach (TRUMBO) wisely drops that "gimmick" after the first 1/2 hour.
This film is filled with wonderful character actors making extended (and powerful) cameos. The likes of Kate McKinnon, Allyson Janney, Holland Taylor, Connie Britton, Stephen Root, Malcolm McDowell, Robin Weigert, Mark Duplass, Richard Kind, Mark Moses and Tricia Helfer all contribute greatly to the film while shining in the little screen time they have.
A necessary - and powerful - film filled with tremendous performances that shine a light on a problem that is pervasive today. Which makes this film a must watch - as difficult as it is to watch at times.
Letter Grade: A- (the first 1/2 hour brings it down a point)
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
And with powerhouse actresses leading this film - standing up and taking notice is an easy thing to do.
Based on factual events, BOMBSHELL portrays the sexism that female on air personalities encounter at FoxNews - a place filled with "good ol' boys" who patronize and sexualize the females in the office to the detriment of the females and the benefit and gratification of the males. Surprisingly, they are joined in this by some other females in the office who figure "better them than me". At the top of the office - and the toxic work culture - is Roger Ailes (an almost unrecognizable John Lithgow) who is hailed by Fox as the man who can create the news - and profits.
Kidman, Theron and Robbie are well cast in their roles, showing nuance, concern and strength as these negative conditions rear their ugly heads over and over again. All 3 produce powerhouse performances - certainly up there amongst the best of their careers - and Theron and Robbie are well deserved Oscar nominees for their performances. Kidman was NOT nominated for her performance, but she is just as deserving as the other two.
But, for me, the real surprise - and the best performance - of this film belongs to Lithgow's portrayal of Ailes. His characterization shows a real wolf, taking advantage of his status and position, to prey upon those in his office. It is a sly, evil performance of a sly, evil man. What impressed me the most is that this performance - and this character - could have easily gone "over the top" into "pure villain" territory and Lithgow resists this temptation - to the betterment of this film, but to the detriment of his Oscar chances.
As written by Charles Randolph (THE BIG SHORT) this film has a pacing/theming issue for the first 1/2 hour of this film. Is it a serious film? Is it sarcastic look at toxic masculinity work culture? Is it an indictment on our current society as a whole? Randolph's script uses some of the same tactics as THE BIG SHORT, having performers breaking the 4th wall and commenting and narrating the events while looking directly at the camera. While this tactic worked very well in THE BIG SHORT (if you haven't seen this film, I highly recommend you do), it works less well here and Director Jay Roach (TRUMBO) wisely drops that "gimmick" after the first 1/2 hour.
This film is filled with wonderful character actors making extended (and powerful) cameos. The likes of Kate McKinnon, Allyson Janney, Holland Taylor, Connie Britton, Stephen Root, Malcolm McDowell, Robin Weigert, Mark Duplass, Richard Kind, Mark Moses and Tricia Helfer all contribute greatly to the film while shining in the little screen time they have.
A necessary - and powerful - film filled with tremendous performances that shine a light on a problem that is pervasive today. Which makes this film a must watch - as difficult as it is to watch at times.
Letter Grade: A- (the first 1/2 hour brings it down a point)
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Darren (1599 KP) rated Tales From the Crypt (1972) in Movies
Oct 14, 2019
Characters – Where this film is an anthology we don’t get too much time with each character, Joanne is a married woman with her own desires for life, showing a darker side after killer her husband on Christmas Eve. Carl Maitland is a married man that is planning on leaving his wife and children, he is involved in an accident which brings into a new lease of horror. Grimsdyke is an older man, he has lived with his wife in one home, with her passed away he wants to die in this house and must deal with the snotty neighbours that is trying to force him out. Jason is a businessman that has spent more than he has earnt forcing him to face bankruptcy for his actions. Rogers is the final story as a manager of home, he comes in with his strict ideas struggle to connect with the people he is meant to be caring for.
Performances – By being an anthology the stars only get limited time, Joan Collins gets the ball rolling as is good in her role with us believing how calculated her actions are. Ian Hendry is solid in his role, he is behind the camera for the most part making it hard to believe everything. Peter Cushing shines as the kindly old man that is getting pushed out of town. Richard Greene is solid enough without getting too much time to show us what makes his character unique. Nigel Patrick does make this character one of the more unlikable with ease.
Story – The story here takes us down the horror anthology line, we get to see five stories of five characters deaths, this does give us something different in each side of the horror scale, we know some are shorter than others with Blind Alleys and Poetic Justice being the stand out of the five stories. There is a big twist in the connection to the stories, but if you do know the TV show you will know the outcome. For a horror anthology this is everything you need without being to the extremes they go nowadays. Each short could easily become a longer film which is always positive.
Horror – When it comes to horror we sometimes get to best moments in shorts, anthologies give us a chance to experience different types of horror which will offer something for all horror fans.
Settings – Each film takes us to the world where the character comes from which shows us how the normal lives they live have the darker secrets.
Special Effects – The effects in the film are good through the film they show us what is capable with good practical effects.
Scene of the Movie – Blind Alleys when the door opens.
That Moment That Annoyed Me – Some stories are too short.
Final Thoughts – This is a good anthology for horror, it gets the best moments correct and keeps us guessing to what will happen to the characters involved.
Overall: Simple anthology.
Performances – By being an anthology the stars only get limited time, Joan Collins gets the ball rolling as is good in her role with us believing how calculated her actions are. Ian Hendry is solid in his role, he is behind the camera for the most part making it hard to believe everything. Peter Cushing shines as the kindly old man that is getting pushed out of town. Richard Greene is solid enough without getting too much time to show us what makes his character unique. Nigel Patrick does make this character one of the more unlikable with ease.
Story – The story here takes us down the horror anthology line, we get to see five stories of five characters deaths, this does give us something different in each side of the horror scale, we know some are shorter than others with Blind Alleys and Poetic Justice being the stand out of the five stories. There is a big twist in the connection to the stories, but if you do know the TV show you will know the outcome. For a horror anthology this is everything you need without being to the extremes they go nowadays. Each short could easily become a longer film which is always positive.
Horror – When it comes to horror we sometimes get to best moments in shorts, anthologies give us a chance to experience different types of horror which will offer something for all horror fans.
Settings – Each film takes us to the world where the character comes from which shows us how the normal lives they live have the darker secrets.
Special Effects – The effects in the film are good through the film they show us what is capable with good practical effects.
Scene of the Movie – Blind Alleys when the door opens.
That Moment That Annoyed Me – Some stories are too short.
Final Thoughts – This is a good anthology for horror, it gets the best moments correct and keeps us guessing to what will happen to the characters involved.
Overall: Simple anthology.
TheBookMother (105 KP) rated Unravelling Oliver in Books
May 17, 2019
It's as if Richard Hillman came back from the dead, you will not put it down.
I picked this little gem up on a supermarket fundraising bookshelf.
I was abit a dubious to begin with as it was quite short for a standard crime novel that I am normally used too at just 230 pages. I did worry it would be a rushed cliche but boy, was I wrong.
I have grown up on Midsummer Murders and Agatha Christie and it felt like a fresh voice on a classic crime thriller rather than the standard norm from Liz Nugent.
To everyone they seemed a happy and successful couple until one night Oliver beats his loving wife into a coma.
We are then thrown into a sad and neglected past, tragic events and secrets that have now suddenly caught up with Oliver.
The pace of the book is exquisite. Right from the first page you are thrown in to quite a dark act being commited leaving you with only one question.
Why did he do it?
The story is told from numerous character voices and POV each sharing their experiences and opinions of Oliver including Oliver himself each recounting past events right up until after the attack on Alice.
Each account over laps and we are taken back to summer in the 1970s on a French vineyard, growing up during that time in Ireland and the views of the time.
I enjoyed the that the themes of having a baby out of wedlock, grief, race, mental health, expectations, promiscuity and homosexuality were all present which really added to you imagining what the views were at the varying time periods covered throughout the book.
Hauntingly, the only person we do not hear from is Alice which adds to the tension as the outcome of the attack isn't mentioned until quite a way through the book.
Aside from the fact that you are introduced to Oliver committing a heinous act and brutally admitting that he expected more of a reaction for the first time he beat his wife he is not a likable character. You are waiting for it all to come crashing down around him and his 'privileged life' even after you find out about his past and as the it is unravelled, so is he. Think Richard Hillman from Coronation Street villain, someone you cannot help but resent.
Clever, dark and unexpected I couldn't put this down and consumed the lot in a day or so. The pace and easy readability of the book left me wanting to keep reading to a point of keeping the kids busy with a snack and Netflix while I could consume multiple chapters in the corner of the room!
It's just want I want in a crime novel; a good villain, a clever plot and a few twists along the way and an even more surprising ending which leaves you thinking perhaps there was a little bit of good in there after all?!
I was abit a dubious to begin with as it was quite short for a standard crime novel that I am normally used too at just 230 pages. I did worry it would be a rushed cliche but boy, was I wrong.
I have grown up on Midsummer Murders and Agatha Christie and it felt like a fresh voice on a classic crime thriller rather than the standard norm from Liz Nugent.
To everyone they seemed a happy and successful couple until one night Oliver beats his loving wife into a coma.
We are then thrown into a sad and neglected past, tragic events and secrets that have now suddenly caught up with Oliver.
The pace of the book is exquisite. Right from the first page you are thrown in to quite a dark act being commited leaving you with only one question.
Why did he do it?
The story is told from numerous character voices and POV each sharing their experiences and opinions of Oliver including Oliver himself each recounting past events right up until after the attack on Alice.
Each account over laps and we are taken back to summer in the 1970s on a French vineyard, growing up during that time in Ireland and the views of the time.
I enjoyed the that the themes of having a baby out of wedlock, grief, race, mental health, expectations, promiscuity and homosexuality were all present which really added to you imagining what the views were at the varying time periods covered throughout the book.
Hauntingly, the only person we do not hear from is Alice which adds to the tension as the outcome of the attack isn't mentioned until quite a way through the book.
Aside from the fact that you are introduced to Oliver committing a heinous act and brutally admitting that he expected more of a reaction for the first time he beat his wife he is not a likable character. You are waiting for it all to come crashing down around him and his 'privileged life' even after you find out about his past and as the it is unravelled, so is he. Think Richard Hillman from Coronation Street villain, someone you cannot help but resent.
Clever, dark and unexpected I couldn't put this down and consumed the lot in a day or so. The pace and easy readability of the book left me wanting to keep reading to a point of keeping the kids busy with a snack and Netflix while I could consume multiple chapters in the corner of the room!
It's just want I want in a crime novel; a good villain, a clever plot and a few twists along the way and an even more surprising ending which leaves you thinking perhaps there was a little bit of good in there after all?!
Bob Mann (459 KP) rated Judy (2019) in Movies
Sep 28, 2021
Neither a true biopic nor a musical, a very sad and sombre film worth seeing for a sure-fire nominee for Zellweger for the Oscars.
Decline and Fall (Part 1).
This is an extremely sombre film. I will go as far as saying that it is well-and-truly a “Father Ted” film (see glossary).
The Story.
Young Judy Garland is a starlet in the MGM studio system run by Louis B. Mayer (a villainous Richard Cordery). She doesn’t have a life outside of the movies; is fed diet pills and “pep-pills” that destroy her sleep; and she is starting to get fed up with it all. No wonder then that she grows up to be an alcoholic insomniac with a trail of failed marriages and a temperamental nature.
Thus, through flash-backs to the young Judy (the English Darci Shaw, in her movie debut) we track the older Judy (Renée Zellweger) through the last tragic years of her life. Unable to work, due to a reputation that proceeds her, she is forced to take up the offer from Bernard Delfont (Michael Gambon) of a residency at London’s “Talk of the Town”. This separates her from her older daughter (Liza Minnelli played by Gemma-Leah Devereux) and, crucially, her younger children Lorna (Bella Ramsey) and Joey (Lewin Lloyd). (Their Dad is Sidney Luft (“Victoria’s” Rufus Sewell): hence Lorna being Lorna Luft). This separation increases Judy’s mental decline.
Also in a constant state of stress is Rosalyn Wilder (Jessie Buckley) who has the unenviable job of trying to keep Garland on the straight and narrow to perform every night.
A Towering Performance.
Whatever I think about the film overall (and we’ll come to that), this is 100% the “Renée Zellweger show”. It’s an extraordinary performance, and is pitch perfect, both in terms of capturing Garland’s mannerisms and vocal style. If Zellweger doesn’t get an Oscar nomination for this then I’ll eat my favourite orange baseball hat! I’ll have to review the final short-list, but I would not be remotely surprised if she won for this.
Elsewhere is the cast, Michael Gambon gives a reliable performance as Delfont (his second depiction this year after the turn by Rufus Jones in “Stan and Ollie“!) and the rising star that is Jessie Buckley is also effective as Wilder in a much quieter role than we’re used to seeing her in.
Musical? Or biopic?
Is this a musical? Or a biopic? Or neither? Actually, I would suggest it’s neither. There’s been a curious split in the last year between films like “Bohemian Rhapsody“, which were biopics with music, to “Rocketman” which was very much a musical based around a biopic.
“Judy” can’t be classed as a musical since (and I checked my watch) the first musical number doesn’t come until FORTY MINUTES into the picture. Neither is it a true biopic, focusing only on a few short months of Garland’s extensive career, the ‘young Judy’ scenes being nothing but short flashbacks to set the scene. This probably makes sense, else a true biopic of the wonder that was Judy Garland would have turned into a 4 hour plus epic!
A rough ride, but could I care?
Above all, it’s a depressing watch, like seeing a sick animal in distress. But I never felt the film got to the heart of the matter to really make me CARE enough. The nearest it gets is with a moving portion where Judy makes the evening (if not the lifetime) of some super-fans – Dan (Andy Nyman) and Stan (Daniel Cerqueira). She goes home with them for omelettes and a sing-song: a strong nod towards Garland’s extensive following, even today, among the gay community. The finale, where the couple try to salvage an on-stage psychiatric session by Judy is touching but, for me, not tear-inducing.
The screenplay is by Tom Edge, from the stage play by Peter Quilter. The director is relative movie-newcomer Rupert Goold.
I liked this movie, but did I like it enough to rush and see it again? No, not really. Worth seeing though to appreciate the odds-on favourite (surely!) for the Best Actress Oscar of this year.
This is an extremely sombre film. I will go as far as saying that it is well-and-truly a “Father Ted” film (see glossary).
The Story.
Young Judy Garland is a starlet in the MGM studio system run by Louis B. Mayer (a villainous Richard Cordery). She doesn’t have a life outside of the movies; is fed diet pills and “pep-pills” that destroy her sleep; and she is starting to get fed up with it all. No wonder then that she grows up to be an alcoholic insomniac with a trail of failed marriages and a temperamental nature.
Thus, through flash-backs to the young Judy (the English Darci Shaw, in her movie debut) we track the older Judy (Renée Zellweger) through the last tragic years of her life. Unable to work, due to a reputation that proceeds her, she is forced to take up the offer from Bernard Delfont (Michael Gambon) of a residency at London’s “Talk of the Town”. This separates her from her older daughter (Liza Minnelli played by Gemma-Leah Devereux) and, crucially, her younger children Lorna (Bella Ramsey) and Joey (Lewin Lloyd). (Their Dad is Sidney Luft (“Victoria’s” Rufus Sewell): hence Lorna being Lorna Luft). This separation increases Judy’s mental decline.
Also in a constant state of stress is Rosalyn Wilder (Jessie Buckley) who has the unenviable job of trying to keep Garland on the straight and narrow to perform every night.
A Towering Performance.
Whatever I think about the film overall (and we’ll come to that), this is 100% the “Renée Zellweger show”. It’s an extraordinary performance, and is pitch perfect, both in terms of capturing Garland’s mannerisms and vocal style. If Zellweger doesn’t get an Oscar nomination for this then I’ll eat my favourite orange baseball hat! I’ll have to review the final short-list, but I would not be remotely surprised if she won for this.
Elsewhere is the cast, Michael Gambon gives a reliable performance as Delfont (his second depiction this year after the turn by Rufus Jones in “Stan and Ollie“!) and the rising star that is Jessie Buckley is also effective as Wilder in a much quieter role than we’re used to seeing her in.
Musical? Or biopic?
Is this a musical? Or a biopic? Or neither? Actually, I would suggest it’s neither. There’s been a curious split in the last year between films like “Bohemian Rhapsody“, which were biopics with music, to “Rocketman” which was very much a musical based around a biopic.
“Judy” can’t be classed as a musical since (and I checked my watch) the first musical number doesn’t come until FORTY MINUTES into the picture. Neither is it a true biopic, focusing only on a few short months of Garland’s extensive career, the ‘young Judy’ scenes being nothing but short flashbacks to set the scene. This probably makes sense, else a true biopic of the wonder that was Judy Garland would have turned into a 4 hour plus epic!
A rough ride, but could I care?
Above all, it’s a depressing watch, like seeing a sick animal in distress. But I never felt the film got to the heart of the matter to really make me CARE enough. The nearest it gets is with a moving portion where Judy makes the evening (if not the lifetime) of some super-fans – Dan (Andy Nyman) and Stan (Daniel Cerqueira). She goes home with them for omelettes and a sing-song: a strong nod towards Garland’s extensive following, even today, among the gay community. The finale, where the couple try to salvage an on-stage psychiatric session by Judy is touching but, for me, not tear-inducing.
The screenplay is by Tom Edge, from the stage play by Peter Quilter. The director is relative movie-newcomer Rupert Goold.
I liked this movie, but did I like it enough to rush and see it again? No, not really. Worth seeing though to appreciate the odds-on favourite (surely!) for the Best Actress Oscar of this year.
Lyndsey Gollogly (2893 KP) rated The Best Horror of the Year Volume 1 in Books
Apr 30, 2021
56 of 250
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
JT (287 KP) rated Real Steel (2011) in Movies
Mar 10, 2020
Michael Bay, take note, this is how to make a proper film about robots beating the living shit out of each other. Based on the Richard Matheson short story Steel, this follows the journey of former professional boxer Charlie Kenton (Jackman) who now spends his time in debt, as a promoter for the new sport of robot boxing.
When Charlie meets his 11-year old son Max (Goyo) the two must rediscover themselves and build a relationship strong enough to get them through any of life’s toughest challenges. Let’s get one thing clear right away, this is Levy’s best film to date. Which is not hard when past titles include, both Night at the Museum’s, Date Night and The Pink Panther.
Jackman is strong enough in a role which let’s him flex his muscles from time to time, he’s a rough and rugged character anyway which is why he fits the Charlie Kenton mould so well. Partnered opposite young Max, who has enough cheeky charm and wide eyed looks to seduce any adult in to letting things go his way. But its not just about the Charlie and Max relationship, there is of course ‘Atom’, the sparing robot they discover in a junkyard.
Despite being all metal and wires, there is a strong feeling that Atom has a personality of his own even if it is mirrored by the person standing in front of him. But the scenes that Atom and Max share on screen together are genuine heart felt moments.
There is enough robot smashing mayhem going on through the drama, as Atom beings the road to underdog glory moving from one metal crunching bout to the next. The fights are very well choreographed from no holes barred scrap fights to the glitz and glamour of the Robot Boxing League where the stakes and money are high.
It’s hard not to see the underlying homage to the Rocky franchise, even the final fight which pairs Atom against the mighty Zeus is a robotic version of Balboa Vs Drago, right down to the female Russian, Olga, who sits in his corner. The supporting cast are in effect just that, the chemistry between Kenton and Bailey (Lily) is good, but she’s not really given enough in the script to make her stand out, so sparks are few and far between.
Jackman is likeable and the kid less annoying than others before him, its flashy and packs a punch that produces some great action sequences throughout.
When Charlie meets his 11-year old son Max (Goyo) the two must rediscover themselves and build a relationship strong enough to get them through any of life’s toughest challenges. Let’s get one thing clear right away, this is Levy’s best film to date. Which is not hard when past titles include, both Night at the Museum’s, Date Night and The Pink Panther.
Jackman is strong enough in a role which let’s him flex his muscles from time to time, he’s a rough and rugged character anyway which is why he fits the Charlie Kenton mould so well. Partnered opposite young Max, who has enough cheeky charm and wide eyed looks to seduce any adult in to letting things go his way. But its not just about the Charlie and Max relationship, there is of course ‘Atom’, the sparing robot they discover in a junkyard.
Despite being all metal and wires, there is a strong feeling that Atom has a personality of his own even if it is mirrored by the person standing in front of him. But the scenes that Atom and Max share on screen together are genuine heart felt moments.
There is enough robot smashing mayhem going on through the drama, as Atom beings the road to underdog glory moving from one metal crunching bout to the next. The fights are very well choreographed from no holes barred scrap fights to the glitz and glamour of the Robot Boxing League where the stakes and money are high.
It’s hard not to see the underlying homage to the Rocky franchise, even the final fight which pairs Atom against the mighty Zeus is a robotic version of Balboa Vs Drago, right down to the female Russian, Olga, who sits in his corner. The supporting cast are in effect just that, the chemistry between Kenton and Bailey (Lily) is good, but she’s not really given enough in the script to make her stand out, so sparks are few and far between.
Jackman is likeable and the kid less annoying than others before him, its flashy and packs a punch that produces some great action sequences throughout.
Gareth von Kallenbach (965 KP) rated Inside Out (2015) in Movies
Aug 6, 2019
Have you ever wondered what goes on inside that noggin of yours when your feeling angry, scared, sad or happy even? The producers and directors of Up and Toy Story have delved inside these emotions with their new film Inside Out. It is the latest and greatest film from Disney’s Pixar to open this summer. The film brought in some of the best comedic actors together and strategically placed them in the mind of an eleven year old girl.
Riley is an eleven year old girl from Minnesota. Her parents have made the difficult decision to uproot her and move to San Francisco for her fathers new job. Riley’s life is flipped upside down and inside out. She is guided only by her emotions as most of us are. Her thoughts are being manned by a control room of sorts. Joy (Amy Poehler) keeps everything at bay. As it is her soul purpose to keep Riley happy and all the other emotions away from the controls as much as possible. Although other emotions like Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) tend to creep in from time to time.
Her memories are color-coded specific to each emotion. Core memories are glowing. Sadness has become quite enamored with these glowing core memories and can’t help herself from touching the orbs turning all of the happy core memories into sad memories. As her mind short circuits it paves the path for fear, disgust and anger to take over. Joy must stop this from happening and retrieve core memories that are almost lost. Guiding them along the way is Bing Bong (Richard Kind), Riley’s imaginary friend who was thought to be forgotten.
Inside Out will literally give you a seat on the train of thought and will wind through all the twists and turns of the mind. With such an ambitious idea Pixar has proved once again that they can make a film that can relate to both young and old. It will definitely tug at the heartstrings. It did for me as I was about Riley’s age when I was uprooted to Costa Rica so I hold this film close to my heart. Lots of surprises, laughs and maybe even a few sniffles await you with this film and really shouldn’t be missed. A few hidden surprises also await the true Disney fan. Skip the 3D version not worth the extra couple dollars.
Riley is an eleven year old girl from Minnesota. Her parents have made the difficult decision to uproot her and move to San Francisco for her fathers new job. Riley’s life is flipped upside down and inside out. She is guided only by her emotions as most of us are. Her thoughts are being manned by a control room of sorts. Joy (Amy Poehler) keeps everything at bay. As it is her soul purpose to keep Riley happy and all the other emotions away from the controls as much as possible. Although other emotions like Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) tend to creep in from time to time.
Her memories are color-coded specific to each emotion. Core memories are glowing. Sadness has become quite enamored with these glowing core memories and can’t help herself from touching the orbs turning all of the happy core memories into sad memories. As her mind short circuits it paves the path for fear, disgust and anger to take over. Joy must stop this from happening and retrieve core memories that are almost lost. Guiding them along the way is Bing Bong (Richard Kind), Riley’s imaginary friend who was thought to be forgotten.
Inside Out will literally give you a seat on the train of thought and will wind through all the twists and turns of the mind. With such an ambitious idea Pixar has proved once again that they can make a film that can relate to both young and old. It will definitely tug at the heartstrings. It did for me as I was about Riley’s age when I was uprooted to Costa Rica so I hold this film close to my heart. Lots of surprises, laughs and maybe even a few sniffles await you with this film and really shouldn’t be missed. A few hidden surprises also await the true Disney fan. Skip the 3D version not worth the extra couple dollars.
Emma @ The Movies (1786 KP) rated Color Out of Space (2019) in Movies
Feb 8, 2020
You had me at Nicolas Cage.
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html
The Gardners are settling into the secluded family home nicely, no city hustle and bustle to bother them. That peaceful life is shattered when a curious meteorite crashes into their garden. Far from a normal bit of space debris, the rock seems to be changing everything around it. It's taking over, the plants, pace and time, even the family themselves.
Briefly hearing Richard Stanley before this screening made me feel this adaptation of Lovecraft's work of the same name was in good hands, he clearly has an appreciation for what he's was working on and the imagery he creates makes for incredible viewing.
So, straight to Nic Cage... he doesn't quite go full Cage, but he's pretty close. It's the usual insanity we've all come to love.
This film is a little crazy on many levels, the family as a whole are very off before we even get to the magical meteorite. Each member seemingly has their own little corner of crazy town mapped out, and yet when you look at them as a whole you'd wouldn't put them in the same family.
As the film progresses and things get even more bizarre the family feel even less connected than at the beginning. The alien influence is pushing them further apart, but on top of that the script falls away in the middle and chaotic devolving of sanity replaces it. Each member of the family has their own experience with the meteorite, apart from chaos and the underlying cause none of it feels connected.
To say it plainly, there's some really messed up stuff. I would love to see how some of it was achieved because if Richardson is doing half the things it appears she is then she deserves some kind of award. I've got the short story to read so I can compare the two because honestly I can't visualise the written version of this story.
The creatures that evolve are made to be terrifying, and they do scare, but the comedy moments that come through from the performances (mostly unintentionally I guess) detract from it being all that shocking.
Our meteorite has a great influence over the sets for most of the movie, the colours and the growth are used to good effect. The progression is clear and well balanced, it might not always look realistic but the fact that that's the point helps.
When you look at Color Out Of Space as a whole it's all over the place, interesting but ambling, understandable and confusing. Despite that, it's an experience that I enjoyed having.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/color-out-of-space-movie-review.html
Bob Mann (459 KP) rated The Trial of the Chicago 7 (2020) in Movies
Oct 24, 2020
The epic ensemble cast (1 more)
The direction from Aaron Sorkin
“Trial” is a less wordy triumph for Sorkin
So, "The Trial of the Chicago 7" is one which I was unfortunately unable to catch on its short "Oscar-nom" cinema release, but is now on Netflix. And boy, for older viewers who prefer historical drama over wham-bam action, this is definitely worth the watch.
I know a decent bit of 20th century history, but this is a story I knew nothing about. At the 1968 Democratic Convention in Chicago, anti-Vietnam protests resulted in a violent and brutal confrontation with the police. Eight of the ring-leaders were rounded up and charged with inciting the violence. What happens in the court with the eight convicted men, in front of an old and partisan judge (the wonderful Frank Langella), is simply amazing.
There's a nice wiki article on the history you can look up. But its worth watching the movie blind, since it's a great rollercoaster ride.
If you read my blog regularly, you'll know that one of my favourite of the awards in award season is the "Ensemble Cast" award from the Screen Actor's Guild (SAG). I think a good measure of which movies might be good candidates for this award is when you find it difficult to single out particular actors for an individual award when they all work so well together. For this is a cast to die for:
- Sacha Baron Cohen, as Abbie Hoffman: an intelligent 'straight' role, poles apart from Borat and Bruno, that he delivers on 100%;
- Jeremy Strong as Hoffman's buddy Jerry Rubin, doing an enormously entertaining turn;
- Eddie Redmayne as the apparently 'sensible one' Tom Hayden. A bit similar to his role in "Les Miserables", but diving off in a different direction at a key point;
- John Carroll Lynch as the genuine 'boy scout' David Dellinger, so good in "The Founder" and here as the only family man under the judgmental stare of his wife and son;
- Yahya Abdul-Mateen II as Black Panther member Bobby Seale - the "minus 1" from the title - in an astonishingly powerful performance;
- Joseph Gordon-Levitt as the prosecutor Richard Schultz - always quietly dependable;
- And the fantastic Mark Rylance as the defense attorney William Kunstler. I appreciate I am having a tendency to gush in this review, but Rylance expresses such a range of frustration and disgust here that his performance is nothing short of electrifying.
There's also a cracking cameo from Michael Keaton playing the former US Attorney General, Ramsey Clark.
I would think that any of these performances might be Oscar-worthy (somewhere in the Actor/Supporting Actor categories) but my personal choices would be Rylance for Best Actor and Baron Cohen and Langella for Best Supporting Actor nods.
One of my issues with the scripts of Aaron Sorkin is that they tend to be overly dense and wordy. In epic TV like "The West Wing" he could spread the dialogue over a whole series, but in a feature film it can become very dense and verbose. I found that in both of his last two films - "Molly's Game" and "Steve Jobs".
Here, in "The Trial of the Chicago 7", even though there's a lot of speechifying, to me it never felt over the top. Although an epic courtroom drama (akin to his debut script "A Few Good Men") the characters are given time to breath between the lines. And many of those lines are real zingers, particularly out of the mouth of stand-up anarchist Abbie Hoffman (Sacha Baron Cohen).
Aside from the script being a zinger, the direction here from Aaron Sorkin is also top-notch. If you thought a courtroom drama was going to be static and boring, think again. The camera never rests, and inserted flashbacks (excellent film editing from Alan Baumgarten) maintain the momentum of the story.
Overall, this is a movie tour-de-force from Sorkin, and a fantastic watch. Could this be a writing/directing double Oscar nom for Sorkin?
(For the full graphical review, check out the bob the movie man review here - https://rb.gy/y6bxtf . Thanks.)
I know a decent bit of 20th century history, but this is a story I knew nothing about. At the 1968 Democratic Convention in Chicago, anti-Vietnam protests resulted in a violent and brutal confrontation with the police. Eight of the ring-leaders were rounded up and charged with inciting the violence. What happens in the court with the eight convicted men, in front of an old and partisan judge (the wonderful Frank Langella), is simply amazing.
There's a nice wiki article on the history you can look up. But its worth watching the movie blind, since it's a great rollercoaster ride.
If you read my blog regularly, you'll know that one of my favourite of the awards in award season is the "Ensemble Cast" award from the Screen Actor's Guild (SAG). I think a good measure of which movies might be good candidates for this award is when you find it difficult to single out particular actors for an individual award when they all work so well together. For this is a cast to die for:
- Sacha Baron Cohen, as Abbie Hoffman: an intelligent 'straight' role, poles apart from Borat and Bruno, that he delivers on 100%;
- Jeremy Strong as Hoffman's buddy Jerry Rubin, doing an enormously entertaining turn;
- Eddie Redmayne as the apparently 'sensible one' Tom Hayden. A bit similar to his role in "Les Miserables", but diving off in a different direction at a key point;
- John Carroll Lynch as the genuine 'boy scout' David Dellinger, so good in "The Founder" and here as the only family man under the judgmental stare of his wife and son;
- Yahya Abdul-Mateen II as Black Panther member Bobby Seale - the "minus 1" from the title - in an astonishingly powerful performance;
- Joseph Gordon-Levitt as the prosecutor Richard Schultz - always quietly dependable;
- And the fantastic Mark Rylance as the defense attorney William Kunstler. I appreciate I am having a tendency to gush in this review, but Rylance expresses such a range of frustration and disgust here that his performance is nothing short of electrifying.
There's also a cracking cameo from Michael Keaton playing the former US Attorney General, Ramsey Clark.
I would think that any of these performances might be Oscar-worthy (somewhere in the Actor/Supporting Actor categories) but my personal choices would be Rylance for Best Actor and Baron Cohen and Langella for Best Supporting Actor nods.
One of my issues with the scripts of Aaron Sorkin is that they tend to be overly dense and wordy. In epic TV like "The West Wing" he could spread the dialogue over a whole series, but in a feature film it can become very dense and verbose. I found that in both of his last two films - "Molly's Game" and "Steve Jobs".
Here, in "The Trial of the Chicago 7", even though there's a lot of speechifying, to me it never felt over the top. Although an epic courtroom drama (akin to his debut script "A Few Good Men") the characters are given time to breath between the lines. And many of those lines are real zingers, particularly out of the mouth of stand-up anarchist Abbie Hoffman (Sacha Baron Cohen).
Aside from the script being a zinger, the direction here from Aaron Sorkin is also top-notch. If you thought a courtroom drama was going to be static and boring, think again. The camera never rests, and inserted flashbacks (excellent film editing from Alan Baumgarten) maintain the momentum of the story.
Overall, this is a movie tour-de-force from Sorkin, and a fantastic watch. Could this be a writing/directing double Oscar nom for Sorkin?
(For the full graphical review, check out the bob the movie man review here - https://rb.gy/y6bxtf . Thanks.)
