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Matthew Weiner recommended Manhattan (1979) in Movies (curated)
Awix (3310 KP) rated Torture Garden (1967) in Movies
Jul 12, 2020
Yet another Amicus horror anthology in which a mysterious stranger tells a mixed bag of actors their fortunes, all of which turn out to be grim. Michael Bryant gets over-familiar with his dead uncle's cat, Beverley Adams learns the dark secret of the Hollywood A-list, Barbara Ewing falls for a man who loves his piano, and it's mutual, and Jack Palance discovers that Peter Cushing owns the ultimate Edgar Allen Poe collectible.
Written by Robert Bloch, which may explain why it's a bit less cartoony than some of these films, and the final twist is not actually the usual one. However, the decision to go with four stories rather than the five or so does slow the film down a bit and there's a bit of meandering about in some of them before we get to the punchline. In the end, there are some good bits: Burgess Meredith's performance is fun and the moment where one character is attacked by a musical instrument has a sort of kitsch grandeur to it. But other films in this series as livelier and more fun. (I should say: not much torture, even less gardening.)
Written by Robert Bloch, which may explain why it's a bit less cartoony than some of these films, and the final twist is not actually the usual one. However, the decision to go with four stories rather than the five or so does slow the film down a bit and there's a bit of meandering about in some of them before we get to the punchline. In the end, there are some good bits: Burgess Meredith's performance is fun and the moment where one character is attacked by a musical instrument has a sort of kitsch grandeur to it. But other films in this series as livelier and more fun. (I should say: not much torture, even less gardening.)
Kirk Bage (1775 KP) rated Marriage Story (2019) in Movies
Mar 3, 2020
To say I found this hard to watch could not be more understated. Any adult that has risked their whole life on a true love that runs its course and then fails must surely feel the same. It happens to most of us once or twice in a lifetime, and resonates forever. Such is the level of truth and sadness on display in Noah Baumbach’s beautifully written and directed tale of two people in turmoil, whose biggest obstacle is not one another, but the dispassion and ineffectiveness of legality, and even friends and family, to resolve big issues of a personal nature.
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
Bob Mann (459 KP) rated Downton Abbey (2019) in Movies
Sep 28, 2021
Very little happens…. and it’s totally glorious!
The “Downton Abbey” TV show is comfortingly bland. The tales of the well-heeled Grantham family and the below-stairs antics of their servants. But for those who have followed Julian Fellowes‘ pot-boiler drama through all six seasons, and a number of Christmas specials, it’s like a favourite jumper… or rediscovering your comfy slippers just as the nights start getting colder.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.