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CSI: Crime Scene Investigation - Season 15
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Finlay finds her car rigged to explode ("The CSI Effect") as Sara and Greg are quarantined ("Bad...
CSI: Crime Scene Investigation - Season 13
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D.B. and Finn hunt for missing Kaitlyn, while Sara convinces Nick to return to the Las Vegas Crime...
Gareth von Kallenbach (971 KP) rated Poseidon (2006) in Movies
Aug 14, 2019
The summer movie season has arrived in grand style with the first thrill ride of the season In Poseidon, viewers are taking to the very edge and beyond in one of the better adventure films in recent memory.
Based on the 1972 original, the film once again follows a ship in peril and a group of survivors attempting to save themselves from certain doom. Onboard the Poseidon, the guests are a mixed bag of society, but fate is about to bring them all together when their transatlantic crossing hits a rather unexpected snag in the form of a massive tidal wave which capsizes the boat leaving the survivors to deal with an upside down ship and the constant threat of drowning.
Wasting little time on character backgrounds and motivations, the film gets right to the action as within 10 minutes, the action is underway, and rarely lets up over the roughly 99 minutes of the films run time.
After the disaster has hit and the survivors survey the carnage caused by the wave, Robert Ramsey (Kurt Russell), decides to ignore the advice of the ships captain and follow a maverick named Dylan (Josh Lucas), out of the ballroom in an effort not only to find his daughter, but a way out of the ship. Joining the duo are a young mother named Maggie (Jacinda Barrett), and her son, as well as business man Richard Nelson (Richard Dreyfuss). As the group ventures to find a way out, they do in time meet up with Roberts’s daughter and her finance as well as a few other survivors.
As the group is forced to work with one another for survival, conflicts arise as Dylan and Robert clash over the best course of action. It is learned that Robert was a former fireman who after a heroic act was able to become Mayor of New York, but for reasons unknown was not able to deal with his success which had caused his wife to leave him. Now Michael spends his days in luxury being an overprotective father to his daughter Jennifer (Emmy Rossum).
While much of Michael’s past is uncovered in a few lines tossed at him in a moment of anger, even less is known about Dylan. Prior to the accident, he revealed to Maggie that he takes money from people who like to get into arguments and play cards. Only Richard Nelsons character is given a bit more background as we learn that he is a Gay business man whose lover has left him for another in London, leaving Richard alone, and suicidal. The fact that Richard is preparing to jump overboard and is stopped only by the site of the closing wave allows his character to show some diversity as in the face of disaster, he finds new meaning and purpose.
The remainder of the film is packed with narrow escapes, danger, death, and the ever constant menace of the water which like an unrelenting killer is never far away from the group and stalks them without mercy at every turn.
While some of the situations are beyond reason, the film has some impressive sets and visuals, and Director Wolfgang Peterson keeps the pacing of the film fresh as it never stops long enough to loose its momentum.
The leads do the best they can with their stock characters, yet this is compensated for by the thrills of the film and the physicality of the rolls. Josh Lucas reportedly broke his arm while filming the movie underscoring just how much the actors put themselves into the film.
While Poseidon is not likely to be a cinematic classic, it is an enjoyable if flawed summer film that provides enough thrills to keep you entertained.
Based on the 1972 original, the film once again follows a ship in peril and a group of survivors attempting to save themselves from certain doom. Onboard the Poseidon, the guests are a mixed bag of society, but fate is about to bring them all together when their transatlantic crossing hits a rather unexpected snag in the form of a massive tidal wave which capsizes the boat leaving the survivors to deal with an upside down ship and the constant threat of drowning.
Wasting little time on character backgrounds and motivations, the film gets right to the action as within 10 minutes, the action is underway, and rarely lets up over the roughly 99 minutes of the films run time.
After the disaster has hit and the survivors survey the carnage caused by the wave, Robert Ramsey (Kurt Russell), decides to ignore the advice of the ships captain and follow a maverick named Dylan (Josh Lucas), out of the ballroom in an effort not only to find his daughter, but a way out of the ship. Joining the duo are a young mother named Maggie (Jacinda Barrett), and her son, as well as business man Richard Nelson (Richard Dreyfuss). As the group ventures to find a way out, they do in time meet up with Roberts’s daughter and her finance as well as a few other survivors.
As the group is forced to work with one another for survival, conflicts arise as Dylan and Robert clash over the best course of action. It is learned that Robert was a former fireman who after a heroic act was able to become Mayor of New York, but for reasons unknown was not able to deal with his success which had caused his wife to leave him. Now Michael spends his days in luxury being an overprotective father to his daughter Jennifer (Emmy Rossum).
While much of Michael’s past is uncovered in a few lines tossed at him in a moment of anger, even less is known about Dylan. Prior to the accident, he revealed to Maggie that he takes money from people who like to get into arguments and play cards. Only Richard Nelsons character is given a bit more background as we learn that he is a Gay business man whose lover has left him for another in London, leaving Richard alone, and suicidal. The fact that Richard is preparing to jump overboard and is stopped only by the site of the closing wave allows his character to show some diversity as in the face of disaster, he finds new meaning and purpose.
The remainder of the film is packed with narrow escapes, danger, death, and the ever constant menace of the water which like an unrelenting killer is never far away from the group and stalks them without mercy at every turn.
While some of the situations are beyond reason, the film has some impressive sets and visuals, and Director Wolfgang Peterson keeps the pacing of the film fresh as it never stops long enough to loose its momentum.
The leads do the best they can with their stock characters, yet this is compensated for by the thrills of the film and the physicality of the rolls. Josh Lucas reportedly broke his arm while filming the movie underscoring just how much the actors put themselves into the film.
While Poseidon is not likely to be a cinematic classic, it is an enjoyable if flawed summer film that provides enough thrills to keep you entertained.
Nick Beaty (70 KP) rated The Irishman (2019) in Movies
Jan 26, 2020 (Updated Jan 26, 2020)
De Niro is the best he has been in a long time...
First off any movie that has Robert De Niro, Al Pacino, Joe Pesci and Martin Scorsese connected to it has me from the get go.
De Niro is the best he has been in a long time as mob hitman Frank Sheeran, Joe Pesci is excellent in a much more reserved role as Russell Bufalino and Al Pacino is superb as the loud and brash Jimmy Hoffa. All the buzz is around the three lead actors, as all have been nominated for Oscars. Although for me Stephen Graham more than holds his own alongside these legends, as the cocky and destructive 'Tony Pro'. Some of the best scenes are with him and Pacino not seeing eye to eye on various occasions.
Personally I felt it wasn't as Scorsese as I expected, it didn't have the same narrative or feel as say Goodfellas or Casino, I'm not saying that is a bad thing as it's still a very good movie, it's just not on their level in my opinion.
There has been a lot of talk about the 3 hour 29 minutes running time. I personally don't understand all the fuss, as there have been many classic, award winning movies even longer than this. Gone with the Wind took home the Oscar in 1940 and ran a whopping 3h 58m. Ben Hur won best picture in 1960 at 3h 32m and more recently Titanic in 1998 was slightly less at 3h 14m.
I also feel the need to mention a couple of scenes that felt very reminiscent of one of my favourite movies Pulp Fiction. The opening sequence when the words 'I heard you paint houses' flash on the screen felt very Tarantino and the whole car scene with Jesse Plemons & Louis Cancelmi talking about the fish, was very Jule's & Vincent like. I'm not sure if that is just me or whether other people agree.
Overall I get that it is a long movie and people have very busy lives but if you get the chance you really should watch it, just to see these big screen legends at work and doing what they do best.
De Niro is the best he has been in a long time as mob hitman Frank Sheeran, Joe Pesci is excellent in a much more reserved role as Russell Bufalino and Al Pacino is superb as the loud and brash Jimmy Hoffa. All the buzz is around the three lead actors, as all have been nominated for Oscars. Although for me Stephen Graham more than holds his own alongside these legends, as the cocky and destructive 'Tony Pro'. Some of the best scenes are with him and Pacino not seeing eye to eye on various occasions.
Personally I felt it wasn't as Scorsese as I expected, it didn't have the same narrative or feel as say Goodfellas or Casino, I'm not saying that is a bad thing as it's still a very good movie, it's just not on their level in my opinion.
There has been a lot of talk about the 3 hour 29 minutes running time. I personally don't understand all the fuss, as there have been many classic, award winning movies even longer than this. Gone with the Wind took home the Oscar in 1940 and ran a whopping 3h 58m. Ben Hur won best picture in 1960 at 3h 32m and more recently Titanic in 1998 was slightly less at 3h 14m.
I also feel the need to mention a couple of scenes that felt very reminiscent of one of my favourite movies Pulp Fiction. The opening sequence when the words 'I heard you paint houses' flash on the screen felt very Tarantino and the whole car scene with Jesse Plemons & Louis Cancelmi talking about the fish, was very Jule's & Vincent like. I'm not sure if that is just me or whether other people agree.
Overall I get that it is a long movie and people have very busy lives but if you get the chance you really should watch it, just to see these big screen legends at work and doing what they do best.
BankofMarquis (1832 KP) rated The Irishman (2019) in Movies
Nov 30, 2019
Delivers What Is Expected
Like eating comfort food on a cold, wintery day, sitting down to catch the latest Scorsese/DeNiro mob movie filled me with a warmth that was satisfying for it's familiarity. It is a film landscape mined by professionals who know this genre of movie well.
There is a terrific film in this 3 1/2 hour epic - if only "Marty" would have trimmed the fat to find it.
Telling the real-life story (with some conjecture and fabrications), THE IRISHMAN tells the tale of...well...Irishman Frank Sheeran (Robert DeNiro) a working stiff who rises in the ranks of mobster Russell Buffalino (Joe Pesci) to be one of his chief enforcers and the personal bodyguard to Jimmy Hoffa (Al Paciino).
In the lead, DeNiro commands the screen like the DeNiro of old. His Frank Sheeran is menacing, razor-focused on his objectives. You never question Frank's loyalties and his ability to keep silent. DeNiro shows this by be being silent for a good part of this film, even though he is on screen for most of it. He is a commanding force that requires that we pay attention to him.
It was good to see Pesci back onscreen as Russell Buffalino. His mob boss is pragmatic, making decisions sternly and expecting his people to follow them, no questions asked. His presence on the screen is almost as commanding as DeNiro's and I wouldn't be surprised to see DeNiro (Best Actor) and Pesci (Best Supporting Actor) be in the mix come Oscar time.
In lesser, (almost cameo), roles - but faring very well - is a "who's who" of character actors, Harvey Keitel (who I would have LOVED to have seen much, much more in this film), Ray Romano, Bobby Canavale, Jesse Pleimens and Anna Paquin, I'm sure all jumped at the chance to appear - however briefly - in a Scorsese mob epic.
Faring less well in this film is Al Pacio as Jimmy Hoffa. He is back to his "yelling Al Pacino" ways of films like SCENT OF A WOMAN. His Hoffa is pretty one note and, consequently, his scenes with DeNiro are ineffective mostly because Pacino is chewing up the scenery (and yelling) while DeNiro is sitting silent and staring and listening to Pacino. This was a major disappointment for me, but (fortunately), Hoffa is in only about 1/3 of this long film, so while it hampered my enjoyment of the film, it didn't ruin it.
Credit (and blame) for all of this goes to master Director Martin Scorsese who has mined these waters more successfully in CASINO, THE DEPARTED and GOODFELLAS (his best film, IMO). This film is a loving pastiche to these types of films and a bygone era - and he chose to make it for NETFLIX for he wanted to make a sprawling epic and take his time in telling the story he wanted to tell. This is evidenced in the 3 1/2 hour length of this film, which if filled with long tracking shots set to a backdrop of Italian crooners singing old standards. It's a throwback to a different time and place, one that these players know well.
Scorsese has stated the he only decided to make this film because the "de-aging" software the he used to make DeNiro and Pesci look 30 years younger was "good enough" to use. And I would agree with that statement. The de-aging of these 2 (and others) is "good enough", in some scenes I forgot I was watching a de-aged DeNiro and Pesci, while in some other scenes, I could spot the trick. Again, it was "good enough" and not distracting (unless you were looking to make it distracting, then you probably found what you were looking for).
But for me - a fan of these types of films, I was not disappointed. It was about what I expected it to be. If you were looking for something different and new, look elsewhere, you will be disappointed.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
There is a terrific film in this 3 1/2 hour epic - if only "Marty" would have trimmed the fat to find it.
Telling the real-life story (with some conjecture and fabrications), THE IRISHMAN tells the tale of...well...Irishman Frank Sheeran (Robert DeNiro) a working stiff who rises in the ranks of mobster Russell Buffalino (Joe Pesci) to be one of his chief enforcers and the personal bodyguard to Jimmy Hoffa (Al Paciino).
In the lead, DeNiro commands the screen like the DeNiro of old. His Frank Sheeran is menacing, razor-focused on his objectives. You never question Frank's loyalties and his ability to keep silent. DeNiro shows this by be being silent for a good part of this film, even though he is on screen for most of it. He is a commanding force that requires that we pay attention to him.
It was good to see Pesci back onscreen as Russell Buffalino. His mob boss is pragmatic, making decisions sternly and expecting his people to follow them, no questions asked. His presence on the screen is almost as commanding as DeNiro's and I wouldn't be surprised to see DeNiro (Best Actor) and Pesci (Best Supporting Actor) be in the mix come Oscar time.
In lesser, (almost cameo), roles - but faring very well - is a "who's who" of character actors, Harvey Keitel (who I would have LOVED to have seen much, much more in this film), Ray Romano, Bobby Canavale, Jesse Pleimens and Anna Paquin, I'm sure all jumped at the chance to appear - however briefly - in a Scorsese mob epic.
Faring less well in this film is Al Pacio as Jimmy Hoffa. He is back to his "yelling Al Pacino" ways of films like SCENT OF A WOMAN. His Hoffa is pretty one note and, consequently, his scenes with DeNiro are ineffective mostly because Pacino is chewing up the scenery (and yelling) while DeNiro is sitting silent and staring and listening to Pacino. This was a major disappointment for me, but (fortunately), Hoffa is in only about 1/3 of this long film, so while it hampered my enjoyment of the film, it didn't ruin it.
Credit (and blame) for all of this goes to master Director Martin Scorsese who has mined these waters more successfully in CASINO, THE DEPARTED and GOODFELLAS (his best film, IMO). This film is a loving pastiche to these types of films and a bygone era - and he chose to make it for NETFLIX for he wanted to make a sprawling epic and take his time in telling the story he wanted to tell. This is evidenced in the 3 1/2 hour length of this film, which if filled with long tracking shots set to a backdrop of Italian crooners singing old standards. It's a throwback to a different time and place, one that these players know well.
Scorsese has stated the he only decided to make this film because the "de-aging" software the he used to make DeNiro and Pesci look 30 years younger was "good enough" to use. And I would agree with that statement. The de-aging of these 2 (and others) is "good enough", in some scenes I forgot I was watching a de-aged DeNiro and Pesci, while in some other scenes, I could spot the trick. Again, it was "good enough" and not distracting (unless you were looking to make it distracting, then you probably found what you were looking for).
But for me - a fan of these types of films, I was not disappointed. It was about what I expected it to be. If you were looking for something different and new, look elsewhere, you will be disappointed.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
MaryAnn (14 KP) rated CSB Worldview Study Bible in Books
Nov 4, 2019
The CSB Worldview Study Bible features extensive worldview study notes and articles by notable Christian scholars to help Christians better understand the grand narrative and flow of Scripture within the biblical framework from which we are called to view reality and make sense of life and the world. Guided by general editors David S. Dockery and Trevin K. Wax, this Bible is an invaluable resource and study tool that will help you to discuss, defend, and clearly share with others the truth, hope, and practical compatibility of Christianity in everyday life.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Gareth von Kallenbach (971 KP) rated The Nice Guys (2016) in Movies
Aug 6, 2019
This is how it’s supposed to be done. Though it’s not the most original flick to grace the silver screen, Shane Black’s follow-up to his instant cult classic Kiss Kiss Bang Bang has everything you could want in an action/comedy romp. A solid dynamic between its two charming yet flawed leads, a strong plot that has enough twists and turns to keep you thrilled but not lost, and plenty of quotably razor-sharp dialogue. Imagine the Lethal Weapon type meets a less obtuse Inherent Vice. Besides the return of Jason Bourne in July, it will undoubtedly be the most entertaining thing you’ll see in another summer season of mediocrity. Is anybody really that interested in a ninth X-Men film?
Russell Crowe is the muscle-for-hire opposite Ryan Gosling as the P.I. referred to by his daughter as “the worst detective in the world”. They are thrust together by circumstance and, after a couple of amusing altercations, come to find out they are both involved in a larger case of conspiracy and cover-up as they race to find the girl at the center of it all. Crowe and Gosling make a winning team with chemistry in spades and, though the dialogue they’re given may not feel as fresh as what Val Kilmer and Robert Downey Jr. had to work with in Kiss Kiss Bang Bang; they still pull it off marvelously. Between Gosling’s unfortunate directorial debut, Lost River, and Crowe’s string of misfires since 2010’s Robin Hood, these were the type of roles their fading stars were in dire need of and they both certainly look at home in a 70’s-era Hollywood detective story. For Gosling especially, this is probably the most likable he’s ever been. Well done also to the casting department for finding Angourie Rice. As Gosling’s daughter, she’s does an admirably fine job of playing a girl who can stand up to an incredibly hostile world and give some back. Here’s hoping she’s got a decent agent that will keep her in rich, multi-dimensional characters.
Shane Black, already having proved that he knows his way around a screenplay or two, is firmly coming into his own as a director (though the Christmas thing has got to stop), and I’ll be eagerly anticipating his next foray behind the camera. It’s also another excellent job from Warner’s marketing team, with a trailer that gave just enough of the one-liners and snippets of action without spoiling too many of the fun and twisty plot points. The action beats and moments of violence themselves, due to a tightly-structured script, feel earned and well-placed. Not once did I get that overwhelming feeling of action fatigue I’ve been experiencing so much in film lately (I’m looking at you, Marvel). The Nice Guys is all-around great filmmaking and one I can’t wait to revisit. I wouldn’t doubt it’ll be a day-one buy for me when it hits the home video market.
Russell Crowe is the muscle-for-hire opposite Ryan Gosling as the P.I. referred to by his daughter as “the worst detective in the world”. They are thrust together by circumstance and, after a couple of amusing altercations, come to find out they are both involved in a larger case of conspiracy and cover-up as they race to find the girl at the center of it all. Crowe and Gosling make a winning team with chemistry in spades and, though the dialogue they’re given may not feel as fresh as what Val Kilmer and Robert Downey Jr. had to work with in Kiss Kiss Bang Bang; they still pull it off marvelously. Between Gosling’s unfortunate directorial debut, Lost River, and Crowe’s string of misfires since 2010’s Robin Hood, these were the type of roles their fading stars were in dire need of and they both certainly look at home in a 70’s-era Hollywood detective story. For Gosling especially, this is probably the most likable he’s ever been. Well done also to the casting department for finding Angourie Rice. As Gosling’s daughter, she’s does an admirably fine job of playing a girl who can stand up to an incredibly hostile world and give some back. Here’s hoping she’s got a decent agent that will keep her in rich, multi-dimensional characters.
Shane Black, already having proved that he knows his way around a screenplay or two, is firmly coming into his own as a director (though the Christmas thing has got to stop), and I’ll be eagerly anticipating his next foray behind the camera. It’s also another excellent job from Warner’s marketing team, with a trailer that gave just enough of the one-liners and snippets of action without spoiling too many of the fun and twisty plot points. The action beats and moments of violence themselves, due to a tightly-structured script, feel earned and well-placed. Not once did I get that overwhelming feeling of action fatigue I’ve been experiencing so much in film lately (I’m looking at you, Marvel). The Nice Guys is all-around great filmmaking and one I can’t wait to revisit. I wouldn’t doubt it’ll be a day-one buy for me when it hits the home video market.
Bob Mann (459 KP) rated The Irishman (2019) in Movies
Jan 20, 2020
An endurance test but a great endurance test
Martin Scorsese made a lot of enemies recently with his rant against the superficiality of the Marvel movies. But you can hardly argue that his latest film is superficial. We see the mobster Frank Sheeran (Robert De Niro) in his old people's home wistfully recalling his past life. Through flashback we go back to times as early as his service in World War II, where he learned to kill other men without a second thought.
Later, back in Philadelphia, Sheeran has a chance meeting with mob-leader Russell Buffalino (Joe Pesci) and Buffalino hires him as a hit man. It's a working relationship and friendship that is going to last a lifetime.... however long that may be in this business! But it also brings Sheeran into a relationship with union leader Jimmy Hoffa (Al Pacino). And those of you with any knowledge of the history of Jimmy Hoffa (or remember that scene in "Bruce Almighty"!) will recall what happened to him!
One of the issues with these sort of films is that it is impossible (unless you are reading this as a borderline psycho) to form any sort of empathetic relationship with any of the characters. It's horrifying that this is based on a true story: you'd really like to assume that all of this sort of stuff was solely on the pages of tacky crime novels, and not reality.
The horror of Sheeran's actions are neatly reflected by screenwriter Steven Zaillian ("Schindler's List", "Clear and Present Danger") in the impact on his family, particularly on his impressionable young daughter Peggy (Lucy Gallina). Only when he is old and grey can Peggy (now Anna Paquin) vent at her father for the damage done.
The "youngification" work on De Niro and Pesci is really essential for the film to work. Finding a younger actor to play either of these iconic actors would have been a stretch. Here it's very well done. But I will again suggest that we are probably another ten years of technology advancement away from removing the "uncanny valley" effect from scenes like this. It just doesn't quite work for me for a reason I can't put my finger on.
After the career nadir of "Dirty Grandpa" it looked like Robert De Niro might have nothing but bread commercials and dog-food ads to look forward to. However, within three months we've had a resurgence of form: his great performance in "Joker" and now this. Of course, this is a role that he can play in his sleep. And I suspect that might count against him in the Oscar/Bafta season. But its undeniably a great performance.
Joe Pesci (famously mocked as "Baby Yoda" by Ricky Gervais in his hilarious Golden Globe roasting) and Al Pacino are also great, with Pacino being particular impressive as the fanatically focused union boss unable to see the danger he is in. "It is what it is" repeats Sheeran over and over again to deaf ears. A memorable scene.
Again Zaillian's script is brilliant in creating an impossibly tense triangular friendship between the three men. His family love Hoffa and dislike/distrust Buffalino. When the triangle gets stretched to breaking point, and a link needs to be broken, which way will Sheeran jump?
For me, good movies should be seen in the cinema. But I missed its short (to make it Oscar-worthy) release so had to catch it up on the small(-er) screen. Cinemas seem reluctant to stick an "interval" in programmes these days: never quite sure why, since most movie-goers if we are talking a 2 hour+ movie might welcome a loo-break, and the cinema could also sell more ice-cream! But at three and a half hours, a cinema trip would be a bladder-testing challenge for sure. So this is one that I wasn't unhappy to use the pause button on!
It's a superbly constructed movie and well deserved its place on the Oscars "Best Movie" shortlist. It's tense, dramatic and has enough variety of people being shot in the head to make it ghoulishly watchable.
However, while I can appreciate the technical art of the film, and I'm delighted I got to see it, a top film for me needs to be one I would reach for on my DVD rack (spot the old-fashinoned git) for multiple watches. And for all its worthiness, this doesn't really fit the bill.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/20/one-manns-movies-film-review-the-irishman-2019/ ).
Later, back in Philadelphia, Sheeran has a chance meeting with mob-leader Russell Buffalino (Joe Pesci) and Buffalino hires him as a hit man. It's a working relationship and friendship that is going to last a lifetime.... however long that may be in this business! But it also brings Sheeran into a relationship with union leader Jimmy Hoffa (Al Pacino). And those of you with any knowledge of the history of Jimmy Hoffa (or remember that scene in "Bruce Almighty"!) will recall what happened to him!
One of the issues with these sort of films is that it is impossible (unless you are reading this as a borderline psycho) to form any sort of empathetic relationship with any of the characters. It's horrifying that this is based on a true story: you'd really like to assume that all of this sort of stuff was solely on the pages of tacky crime novels, and not reality.
The horror of Sheeran's actions are neatly reflected by screenwriter Steven Zaillian ("Schindler's List", "Clear and Present Danger") in the impact on his family, particularly on his impressionable young daughter Peggy (Lucy Gallina). Only when he is old and grey can Peggy (now Anna Paquin) vent at her father for the damage done.
The "youngification" work on De Niro and Pesci is really essential for the film to work. Finding a younger actor to play either of these iconic actors would have been a stretch. Here it's very well done. But I will again suggest that we are probably another ten years of technology advancement away from removing the "uncanny valley" effect from scenes like this. It just doesn't quite work for me for a reason I can't put my finger on.
After the career nadir of "Dirty Grandpa" it looked like Robert De Niro might have nothing but bread commercials and dog-food ads to look forward to. However, within three months we've had a resurgence of form: his great performance in "Joker" and now this. Of course, this is a role that he can play in his sleep. And I suspect that might count against him in the Oscar/Bafta season. But its undeniably a great performance.
Joe Pesci (famously mocked as "Baby Yoda" by Ricky Gervais in his hilarious Golden Globe roasting) and Al Pacino are also great, with Pacino being particular impressive as the fanatically focused union boss unable to see the danger he is in. "It is what it is" repeats Sheeran over and over again to deaf ears. A memorable scene.
Again Zaillian's script is brilliant in creating an impossibly tense triangular friendship between the three men. His family love Hoffa and dislike/distrust Buffalino. When the triangle gets stretched to breaking point, and a link needs to be broken, which way will Sheeran jump?
For me, good movies should be seen in the cinema. But I missed its short (to make it Oscar-worthy) release so had to catch it up on the small(-er) screen. Cinemas seem reluctant to stick an "interval" in programmes these days: never quite sure why, since most movie-goers if we are talking a 2 hour+ movie might welcome a loo-break, and the cinema could also sell more ice-cream! But at three and a half hours, a cinema trip would be a bladder-testing challenge for sure. So this is one that I wasn't unhappy to use the pause button on!
It's a superbly constructed movie and well deserved its place on the Oscars "Best Movie" shortlist. It's tense, dramatic and has enough variety of people being shot in the head to make it ghoulishly watchable.
However, while I can appreciate the technical art of the film, and I'm delighted I got to see it, a top film for me needs to be one I would reach for on my DVD rack (spot the old-fashinoned git) for multiple watches. And for all its worthiness, this doesn't really fit the bill.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/20/one-manns-movies-film-review-the-irishman-2019/ ).
JT (287 KP) rated Killing Them Softly (2012) in Movies
Mar 10, 2020
There was quite a significant gap between films for writer/director Andrew Dominik, five years in fact. His last feature length outing The Assassination of Jesse James by the Coward Robert Ford was a Western epic and here he has teamed up with Brad Pitt again for Killing Them Softly, one with a significantly shorter run time.
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
Holby City - Series 19
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The series was created by Tony McHale and Mal Young as a spin-off from the established BBC medical...
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