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Gareth von Kallenbach (971 KP) rated The Judge (2014) in Movies
Jun 19, 2019
Family dramas are nothing new for most people but for hotshot defense lawyer Hank Palmer (Robert Downey Jr.), things are about to get supremely intense following the passing of his mother. Forced to go back to the small Indiana town that he grew up in, Hank has very much become the victim of his success in Chicago. While he has material goods and a wonderful daughter, his marriage is falling apart and he returns home out of a sense of duty, eager to get away from their at his earliest opportunity. His brothers Glen and Dale (Vincent D’Ofrio and Jeremy Strong), are happy to see him but unfortunately the visit brings up old wounds between Hank and his father Judge Palmer (Robert Duvall).
The duo have a very bitter history between them and at their mothers wake things can best be described as icily civil between them. Hank looks forward to catching the early flight out in the morning eager to put the town behind him forever when early the next morning their lives take a change when the judges prize Cadillac is discovered to have damage consistent from a collision.
These feisty and defiant judge claims he hit nothing and he maintains this stance even when the police show up and he is suspected of vehicular homicide. Further compounding the case is that the victim was known to the judge and had been recently released after being sentenced for murder. The fact that the two individuals had a prior and bitter history with one another makes the judge a prime candidate for vehicular homicide.
Despite his best wishes and in defiance of his father, Hank decides to represent his father and pending trial as he clearly sees that his father’s representative (Dax Sheppard), is no match for the hotshot prosecutor (Billy Bob Thornton), that is been brought in to prosecute the judge. In what can best be described as a hate/hate relationship Hank is supremely conflicted but wants to do right by his father.
Further complicating matters is the emergence of his old high school girlfriend Samantha (Vera Farmiga), who causes Hank to revisit childhood memories both painful and pleasant. Along the way new discoveries are made that causes Hank to reevaluate his father as well as his life and family and take stock of his priorities.
The film has some funny and tender moments in between the courtroom proceedings which at times our little incredulous yet always captivating.
The cast is first-rate specifically Downey Jr. and Duvall who do Oscar quality work in their roles. While some may be quick to dismiss the film is courtroom procedural, I found “The Judge” to be a very interesting and engaging human drama about very real characters and their all too relatable clauses human beings. These are not Teflon superheroes but rather real flesh and blood people confronted with problems and emotions that people in the audience should be able to rate late to even if they had not experienced them first-hand.
The supporting cast was fantastic and the pacing of the film helped to move things along despite the nearly two-hour runtime. The film is rated R due to some very intense moments and conversations between the characters but stands out as one of the more memorable and enjoyable films of 2014 .
http://sknr.net/2014/10/10/judge/
The duo have a very bitter history between them and at their mothers wake things can best be described as icily civil between them. Hank looks forward to catching the early flight out in the morning eager to put the town behind him forever when early the next morning their lives take a change when the judges prize Cadillac is discovered to have damage consistent from a collision.
These feisty and defiant judge claims he hit nothing and he maintains this stance even when the police show up and he is suspected of vehicular homicide. Further compounding the case is that the victim was known to the judge and had been recently released after being sentenced for murder. The fact that the two individuals had a prior and bitter history with one another makes the judge a prime candidate for vehicular homicide.
Despite his best wishes and in defiance of his father, Hank decides to represent his father and pending trial as he clearly sees that his father’s representative (Dax Sheppard), is no match for the hotshot prosecutor (Billy Bob Thornton), that is been brought in to prosecute the judge. In what can best be described as a hate/hate relationship Hank is supremely conflicted but wants to do right by his father.
Further complicating matters is the emergence of his old high school girlfriend Samantha (Vera Farmiga), who causes Hank to revisit childhood memories both painful and pleasant. Along the way new discoveries are made that causes Hank to reevaluate his father as well as his life and family and take stock of his priorities.
The film has some funny and tender moments in between the courtroom proceedings which at times our little incredulous yet always captivating.
The cast is first-rate specifically Downey Jr. and Duvall who do Oscar quality work in their roles. While some may be quick to dismiss the film is courtroom procedural, I found “The Judge” to be a very interesting and engaging human drama about very real characters and their all too relatable clauses human beings. These are not Teflon superheroes but rather real flesh and blood people confronted with problems and emotions that people in the audience should be able to rate late to even if they had not experienced them first-hand.
The supporting cast was fantastic and the pacing of the film helped to move things along despite the nearly two-hour runtime. The film is rated R due to some very intense moments and conversations between the characters but stands out as one of the more memorable and enjoyable films of 2014 .
http://sknr.net/2014/10/10/judge/
Phillip McSween (751 KP) rated The Judge (2014) in Movies
Jan 14, 2020
Suprisingly Not As Good As I Thought
A lawyer leaves his small town to make it in the big city only to have to come back to face his past and defend his father in a murder trial. The Judge could have definitely been worse, but it struck enough cords for me to never want to see it again.
Acting: 10
Beginning: 2
Characters: 10
Cinematography/Visuals: 7
The film is shot in different color tones representing the mood of the scene. When Robert Downey Jr. is just palling around the city, you see more lighter tones. However, during most of the court scenes, it’s shot in a darker and grainier light. It works for the most part, but is uneven in certain spots. I did appreciate overall what it was trying to do.
Conflict: 10
Entertainment Value: 7
At one point, I wrote in my notes: “I’m not bored, but there are definitely some glaring holes I can’t overlook.” At times, this movie seemed to fight with its own self, never really deciding who or what it wanted to be. While there were quite a few scenes I really enjoyed, there were some things lacking overall.
Memorability: 4
Pace: 5
This movie is easily thirty minutes longer than it needed to be. In some spots, they are trying too hard to force these characters down your throat that they don’t focus on moving the actual story along. It drags its feet in way too many places.
Plot: 6
Decent concept that arrived DOA due to the lack of willingness to fix simple holes. I never could settle in and just enjoy the movie because there were just so many unanswered questions from the left to the right. Overall, it made sense, but it’s very easy to pick apart.
Resolution: 7
A touching finish, although, again, would have appreciated more finite answers. More often than not, the movie seemed to take the lazy way out and the ending was no exception. Based on the number of plot holes, can’t say I was that surprised.
Overall: 68
There is a scene in The Judge where the jurors are being picked for the trial. This one scene will tell you everything you need to know about the rest of the movie. These actors have done way better in their time.
Acting: 10
Beginning: 2
Characters: 10
Cinematography/Visuals: 7
The film is shot in different color tones representing the mood of the scene. When Robert Downey Jr. is just palling around the city, you see more lighter tones. However, during most of the court scenes, it’s shot in a darker and grainier light. It works for the most part, but is uneven in certain spots. I did appreciate overall what it was trying to do.
Conflict: 10
Entertainment Value: 7
At one point, I wrote in my notes: “I’m not bored, but there are definitely some glaring holes I can’t overlook.” At times, this movie seemed to fight with its own self, never really deciding who or what it wanted to be. While there were quite a few scenes I really enjoyed, there were some things lacking overall.
Memorability: 4
Pace: 5
This movie is easily thirty minutes longer than it needed to be. In some spots, they are trying too hard to force these characters down your throat that they don’t focus on moving the actual story along. It drags its feet in way too many places.
Plot: 6
Decent concept that arrived DOA due to the lack of willingness to fix simple holes. I never could settle in and just enjoy the movie because there were just so many unanswered questions from the left to the right. Overall, it made sense, but it’s very easy to pick apart.
Resolution: 7
A touching finish, although, again, would have appreciated more finite answers. More often than not, the movie seemed to take the lazy way out and the ending was no exception. Based on the number of plot holes, can’t say I was that surprised.
Overall: 68
There is a scene in The Judge where the jurors are being picked for the trial. This one scene will tell you everything you need to know about the rest of the movie. These actors have done way better in their time.
Darren (1599 KP) rated 2001 Maniacs (2005) in Movies
Jun 20, 2019
Story: 2001 Maniacs starts as three history students Anderson (Gillespie), Nelson (Edrington) and Cory (Carey) failing through college before spring breaks gives them a chance to party some more. When the three friends meet fellow travellers including two hot girls Joey (Malcolm), Kat (Heekin) and Ricky (Gross) they arrange to meet back up on the beach and we continue our adventure with our three friends who find Pleasant Valley.
When the six find themselves being welcomed by the Mayor Buckman (Englund) for a celebration they decide to stay. As the strangers spend more time in the town they start to go missing before learning the truth about the people in the town. Who will make it out alive.
2001 Maniacs is one of those horrors that came out at the perfect time, it was the time when gore and nudity were big in the industry and this does everything needed. The story is pretty simple, strangers arrive in town and welcomed only to learn not everything is as it seems. Sure this is easy to watch but it is also important that nothing becomes over-complicated too.
Actor Review
Robert Englund: Mayor Buckman is the man running Pleasant Valley, he is from a time where the south was still in control meaning he only accepts white people in his town. It isn’t long till we learn his motives as the man who welcomes guests with arms wide open. Robert is always going to be a good lead for a film like this.mayr
Lin Shaye: Granny Boone is the host where the guests are staying. She is welcoming throughout the stay trying to make sure all the women look extra pretty. Lin is good in this role where we get to see the added quirky character.
Giuseppe Andrews: Harper is the charming man of the local town that seduces the women who come to town before finding his own way to kill them. Giuseppe is good in this role as you believe he will be calm and crazy in the same side.
Jay Gillespie: Anderson is the nice guy of the three friends travelling who meets the beautiful Joey where he sees a potential new girlfriend, when he learns what is going on he must try to survive. Jay is solid in this role but it could easily be any of the friends.
Support Cast: 2001 Maniacs has a supporting cast which is mostly the victims but also most of the women end up having to do some sort of nudity.
Director Review: Tim Sullivan – Tim gives us a film that reaches all the special effects levels and is filled with all the gore and nudity fitting the genre.
Comedy: 2001 Maniacs has a few good one liners when it comes to the kills.
Horror: 2001 Maniacs is gored filled for all of the kills but isn’t suspense filled.
Settings: 2001 Maniacs keeps most of the film in this small town showing how this is more of a tradition rather than mistake.
Special Effects: 2001 Maniacs has great effects when it comes to the kills which is important for the film.
Suggestion: 2001 Maniacs is one for the horror fans out there to sit down and watch. (Horror Fans Watch)
Best Part: The kills.
Worst Part: No suspense.
Kill Of The Film: Got Milk.
Believability: No
Chances of Tears: No
Chances of Sequel: Has one.
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 27 Minutes
Tagline: The south will rise again!
Overall: Enjoyable horror that pushes the boundaries on kills.
https://moviesreview101.com/2016/10/08/movie-reviews-101-midnight-halloween-horror-2001-maniacs-2005/
When the six find themselves being welcomed by the Mayor Buckman (Englund) for a celebration they decide to stay. As the strangers spend more time in the town they start to go missing before learning the truth about the people in the town. Who will make it out alive.
2001 Maniacs is one of those horrors that came out at the perfect time, it was the time when gore and nudity were big in the industry and this does everything needed. The story is pretty simple, strangers arrive in town and welcomed only to learn not everything is as it seems. Sure this is easy to watch but it is also important that nothing becomes over-complicated too.
Actor Review
Robert Englund: Mayor Buckman is the man running Pleasant Valley, he is from a time where the south was still in control meaning he only accepts white people in his town. It isn’t long till we learn his motives as the man who welcomes guests with arms wide open. Robert is always going to be a good lead for a film like this.mayr
Lin Shaye: Granny Boone is the host where the guests are staying. She is welcoming throughout the stay trying to make sure all the women look extra pretty. Lin is good in this role where we get to see the added quirky character.
Giuseppe Andrews: Harper is the charming man of the local town that seduces the women who come to town before finding his own way to kill them. Giuseppe is good in this role as you believe he will be calm and crazy in the same side.
Jay Gillespie: Anderson is the nice guy of the three friends travelling who meets the beautiful Joey where he sees a potential new girlfriend, when he learns what is going on he must try to survive. Jay is solid in this role but it could easily be any of the friends.
Support Cast: 2001 Maniacs has a supporting cast which is mostly the victims but also most of the women end up having to do some sort of nudity.
Director Review: Tim Sullivan – Tim gives us a film that reaches all the special effects levels and is filled with all the gore and nudity fitting the genre.
Comedy: 2001 Maniacs has a few good one liners when it comes to the kills.
Horror: 2001 Maniacs is gored filled for all of the kills but isn’t suspense filled.
Settings: 2001 Maniacs keeps most of the film in this small town showing how this is more of a tradition rather than mistake.
Special Effects: 2001 Maniacs has great effects when it comes to the kills which is important for the film.
Suggestion: 2001 Maniacs is one for the horror fans out there to sit down and watch. (Horror Fans Watch)
Best Part: The kills.
Worst Part: No suspense.
Kill Of The Film: Got Milk.
Believability: No
Chances of Tears: No
Chances of Sequel: Has one.
Post Credits Scene: No
Oscar Chances: No
Budget: $3 Million
Runtime: 1 Hour 27 Minutes
Tagline: The south will rise again!
Overall: Enjoyable horror that pushes the boundaries on kills.
https://moviesreview101.com/2016/10/08/movie-reviews-101-midnight-halloween-horror-2001-maniacs-2005/
Daniel Boyd (1066 KP) rated Widows (2018) in Movies
Nov 14, 2018 (Updated Nov 14, 2018)
Outstanding performances from the entire cast (3 more)
Phenomenal Direction
Clever Cinematography
A Brilliant Script With Sharp Dialogue
The Best Movie I Have Seen This Year
Widows is an outstanding thriller from Steve McQueen. It stars a brilliant Viola Davis as Veronica Rawlings at the top of her game as a widow of her criminal husband. He and his crew died during the heist and now she and the other widows of the recently deceased crew decide to complete the heist and take the money for themselves. That is the basic plot outline, but it is actually a lot more in depth and layered than that, embroiled in politics and gang rivalries, amongst even more complex elements. However, although there are a lot of moving parts in the film, it never seems confused or messy. It doesn't treat it's audience like idiots either, as long as you are paying attention.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
Matthew Krueger (10051 KP) rated Rocky (1976) in Movies
Nov 24, 2020
Underdog Tale
Rocky is a classic. A tale of a underdog rising to the top. At the same time its a story of rocky. A underdog, a fighter, a lover, a southpaw, a man who wont give up.
The plot: Rocky Balboa (Sylvester Stallone), a small-time boxer from working-class Philadelphia, is arbitrarily chosen to take on the reigning world heavyweight champion, Apollo Creed (Carl Weathers), when the undefeated fighter's scheduled opponent is injured. While training with feisty former bantamweight contender Mickey Goldmill (Burgess Meredith), Rocky tentatively begins a relationship with Adrian (Talia Shire), the wallflower sister of his meat-packer pal Paulie (Burt Young).
The film, made on a budget of just over $1 million, was a sleeper hit; it earned $225 million in global box office receipts, becoming the highest-grossing film of 1976. The film was critically acclaimed and solidified Stallone's career as well as commenced his rise to prominence as a major movie star of that era.
Among other accolades, it went on to receive ten Academy Award nominations, winning three, including Best Picture. In 2006, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". Rocky is considered to be one of the greatest sports films ever made and was ranked as the second-best in the genre, after Raging Bull, by the American Film Institute in 2008.
The film has spawned seven sequels: Rocky II (1979), Rocky III (1982), Rocky IV (1985), Rocky V (1990), Rocky Balboa (2006), Creed (2015), and Creed II (2018). Stallone portrays Rocky in all eight films, wrote seven of the eight films, and directed four of the six titular installments.
Sylvester Stallone wrote the screenplay for Rocky in three and a half days.
United Artists liked Stallone's script, and viewed it as a possible vehicle for a well-established star such as Robert Redford, Ryan O'Neal, Burt Reynolds, or James Caan.
Stallone's agents, Rumar and Kubik, insisted that Stallone portray the title character, to the point of issuing an ultimatum. Stallone later said that he would never have forgiven himself, had the film become a success with somebody else in the lead.
During filming, both Stallone and Weathers suffered injuries during the shooting of the final fight; Stallone suffered bruised ribs and Weathers suffered a damaged nose, the opposite injuries of what their characters had.
The first date between Rocky and Adrian, in which Rocky bribes a janitor to allow them to skate after closing hours in a deserted ice skating rink, was shot that way only because of budgetary pressures. This scene was originally scheduled to be shot in a skating rink during regular business hours. However, the producers decided that they could not afford to hire the hundreds of extras that would have been necessary for that scene.
Its a excellent movie.
The plot: Rocky Balboa (Sylvester Stallone), a small-time boxer from working-class Philadelphia, is arbitrarily chosen to take on the reigning world heavyweight champion, Apollo Creed (Carl Weathers), when the undefeated fighter's scheduled opponent is injured. While training with feisty former bantamweight contender Mickey Goldmill (Burgess Meredith), Rocky tentatively begins a relationship with Adrian (Talia Shire), the wallflower sister of his meat-packer pal Paulie (Burt Young).
The film, made on a budget of just over $1 million, was a sleeper hit; it earned $225 million in global box office receipts, becoming the highest-grossing film of 1976. The film was critically acclaimed and solidified Stallone's career as well as commenced his rise to prominence as a major movie star of that era.
Among other accolades, it went on to receive ten Academy Award nominations, winning three, including Best Picture. In 2006, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". Rocky is considered to be one of the greatest sports films ever made and was ranked as the second-best in the genre, after Raging Bull, by the American Film Institute in 2008.
The film has spawned seven sequels: Rocky II (1979), Rocky III (1982), Rocky IV (1985), Rocky V (1990), Rocky Balboa (2006), Creed (2015), and Creed II (2018). Stallone portrays Rocky in all eight films, wrote seven of the eight films, and directed four of the six titular installments.
Sylvester Stallone wrote the screenplay for Rocky in three and a half days.
United Artists liked Stallone's script, and viewed it as a possible vehicle for a well-established star such as Robert Redford, Ryan O'Neal, Burt Reynolds, or James Caan.
Stallone's agents, Rumar and Kubik, insisted that Stallone portray the title character, to the point of issuing an ultimatum. Stallone later said that he would never have forgiven himself, had the film become a success with somebody else in the lead.
During filming, both Stallone and Weathers suffered injuries during the shooting of the final fight; Stallone suffered bruised ribs and Weathers suffered a damaged nose, the opposite injuries of what their characters had.
The first date between Rocky and Adrian, in which Rocky bribes a janitor to allow them to skate after closing hours in a deserted ice skating rink, was shot that way only because of budgetary pressures. This scene was originally scheduled to be shot in a skating rink during regular business hours. However, the producers decided that they could not afford to hire the hundreds of extras that would have been necessary for that scene.
Its a excellent movie.
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/ ).
Bob Mann (459 KP) rated Adrift (2018) in Movies
Sep 29, 2021
“Hurricane Raymond has been upgraded to a category 5”
“Should we be worried” says Tami. Well, yes dear, you really should.
In the glorious surroundings of Tahiti, the American footloose traveller Tami Oldham (Shailene Woodley, “Divergent trilogy“, “The Descendents) meets British footloose traveller Richard Sharp (Sam Claflin, “Journey’s End“, “Me Before You“) and a nautical-based love beckons. Richard is hired by his friends Peter (Jeffrey Thomas) and Christine (Elizabeth Hawthorne) to sail their luxury 44 foot yacht Hazana from Tahiti to Tami’s home city of San Diego. But they hadn’t reckoned on the decidedly un-romantic attentions of Raymond and severely battered and bruised it’s a battle for survival on the vast expanse of the Pacific.
I was intrigued by this film as it seems to have divided the professional critics’ opinions: Kevin Maher in The Times gave it five stars… five! Conversely Edward Porter in The Sunday Times gave it two stars. After seeing the film, I’m with Mr Maher on this one (breaking convention as I haven’t exactly been in tune with this reviewer recently!).
As a story with romantic undertones, the film will live or die on your belief in this aspect. And fortunately the romance works. There is real chemistry between the pair despite them striking you as an odd couple. This is in no small part to the quality of the acting: Claflin proves again that he is a safe pair of hands as a male lead, but it’s Shailene Woodley, who has to carry large portions of the film single-handedly, who again demonstrates just how excellent an actress she is. The camera of Tarentino favourite Robert Richardson (“The Hateful Eight“, “Django Unchained”) stays tightly on Woodley’s features dramatically capturing her tiniest of grimaces.
Woodley is also deliciously un-Hollywood, getting to where she has through acting talent as much as her looks. Yes, she has a great body (liberally, perhaps a tad lasciviously, featured here both above and under the water) but her face is gloriously assymettical with little wrinkles appearing unexpectedly when she grins. She’s a good role model for young girls that perfection is not a pre–requisite for success. (What’s perhaps less good, role-model-wise, is that Woodley allegedly ate only 350 calories a day to get to the emaciated state seen at the end of the film! But to compensate, it’s notable that she looks so much better/sexier at the start of the film than at the end).
It’s also interesting to note that the 27-year old Woodley is also a co-producer on the film, a sign perhaps that as well as being the ‘Meryl Streep of the future'(TM), she is also likely to become a significant mover and shaker in Hollywood when getting there.
A bit like “The Shallows“, it’s unapologetically a B movie, but it’s delivered with such style and chutzpah that it drives its way through the apallingly cheesy dialogue just as the poor Hazana bashes its way throught the mountainous seas. It’s even self-mocking, with Tami rolling her eyes at the corniness of Richard’s, very English, attempts at romantic dialogue. The script is more successful in establishing back-stories for Tami and Richard, demonstrating a degree of parallelism that perhaps better explains their mutual attraction. The irony of fate taking Tami back to her damaged past is exquisite.
A controversial and brave decision by Icelandic director Baltasar Kormákur is to constantly flashback between the survival scenes and Tami and Richard’s courtship that leads up to the cataclismic event. This can be a little distracting, but given the gut-wrenching twist in the third act a linear storytelling would simply have not worked. It’s very well done too, with matched cross-cuts that really work well. Kormákur’s previous film “Everest” was his biggest hit to date, and I noted the cheeky addition of the book “Everest” on the bookshelf on Richard’s boat! (As an aside, “Everest” is for some reason the film review on One Mann’s Movies that has been viewed more often than any other… no idea why… must be down to search engine results!)
Extraordinarily, it’s a true story with the closing frames of the film being genuinely moving.
With many similarities to the excellent Robert Redford thriller “All Is Lost”, this is a robust and enthralling thriller-cum-romance that unusually delivers on both counts. The romance is believable and the thrills suitably thrilling, especially when a panic-ridden Tami is separated from her one patch of dry land. Although slightly let down by some dodgy dialogue, sitting amongst all the big-hitter summer blockbusters this is a movie you should definitely seek out.
In the glorious surroundings of Tahiti, the American footloose traveller Tami Oldham (Shailene Woodley, “Divergent trilogy“, “The Descendents) meets British footloose traveller Richard Sharp (Sam Claflin, “Journey’s End“, “Me Before You“) and a nautical-based love beckons. Richard is hired by his friends Peter (Jeffrey Thomas) and Christine (Elizabeth Hawthorne) to sail their luxury 44 foot yacht Hazana from Tahiti to Tami’s home city of San Diego. But they hadn’t reckoned on the decidedly un-romantic attentions of Raymond and severely battered and bruised it’s a battle for survival on the vast expanse of the Pacific.
I was intrigued by this film as it seems to have divided the professional critics’ opinions: Kevin Maher in The Times gave it five stars… five! Conversely Edward Porter in The Sunday Times gave it two stars. After seeing the film, I’m with Mr Maher on this one (breaking convention as I haven’t exactly been in tune with this reviewer recently!).
As a story with romantic undertones, the film will live or die on your belief in this aspect. And fortunately the romance works. There is real chemistry between the pair despite them striking you as an odd couple. This is in no small part to the quality of the acting: Claflin proves again that he is a safe pair of hands as a male lead, but it’s Shailene Woodley, who has to carry large portions of the film single-handedly, who again demonstrates just how excellent an actress she is. The camera of Tarentino favourite Robert Richardson (“The Hateful Eight“, “Django Unchained”) stays tightly on Woodley’s features dramatically capturing her tiniest of grimaces.
Woodley is also deliciously un-Hollywood, getting to where she has through acting talent as much as her looks. Yes, she has a great body (liberally, perhaps a tad lasciviously, featured here both above and under the water) but her face is gloriously assymettical with little wrinkles appearing unexpectedly when she grins. She’s a good role model for young girls that perfection is not a pre–requisite for success. (What’s perhaps less good, role-model-wise, is that Woodley allegedly ate only 350 calories a day to get to the emaciated state seen at the end of the film! But to compensate, it’s notable that she looks so much better/sexier at the start of the film than at the end).
It’s also interesting to note that the 27-year old Woodley is also a co-producer on the film, a sign perhaps that as well as being the ‘Meryl Streep of the future'(TM), she is also likely to become a significant mover and shaker in Hollywood when getting there.
A bit like “The Shallows“, it’s unapologetically a B movie, but it’s delivered with such style and chutzpah that it drives its way through the apallingly cheesy dialogue just as the poor Hazana bashes its way throught the mountainous seas. It’s even self-mocking, with Tami rolling her eyes at the corniness of Richard’s, very English, attempts at romantic dialogue. The script is more successful in establishing back-stories for Tami and Richard, demonstrating a degree of parallelism that perhaps better explains their mutual attraction. The irony of fate taking Tami back to her damaged past is exquisite.
A controversial and brave decision by Icelandic director Baltasar Kormákur is to constantly flashback between the survival scenes and Tami and Richard’s courtship that leads up to the cataclismic event. This can be a little distracting, but given the gut-wrenching twist in the third act a linear storytelling would simply have not worked. It’s very well done too, with matched cross-cuts that really work well. Kormákur’s previous film “Everest” was his biggest hit to date, and I noted the cheeky addition of the book “Everest” on the bookshelf on Richard’s boat! (As an aside, “Everest” is for some reason the film review on One Mann’s Movies that has been viewed more often than any other… no idea why… must be down to search engine results!)
Extraordinarily, it’s a true story with the closing frames of the film being genuinely moving.
With many similarities to the excellent Robert Redford thriller “All Is Lost”, this is a robust and enthralling thriller-cum-romance that unusually delivers on both counts. The romance is believable and the thrills suitably thrilling, especially when a panic-ridden Tami is separated from her one patch of dry land. Although slightly let down by some dodgy dialogue, sitting amongst all the big-hitter summer blockbusters this is a movie you should definitely seek out.
Gareth von Kallenbach (971 KP) rated Firewall (2006) in Movies
Aug 14, 2019
Following a three year absence from the big screen, box office megastar Harrison Ford returns in Firewall as Ford Jack Stanfield, a devoted family man who works designing and maintaining networks and security systems for a small chain of banks. Jack who along with his wife Beth (Virginia Madsen), and their two children live a comfortable life in a Seattle suburb in a luxurious home that Beth designed.
The twenty-four banks owned by Jack’s firm are in the process of being acquired by a large chain and the resulting windfall from this venture is making people on both sides tense and excited as the merger draws closure. Jack has some reservations about the new firm’s lack of customer service and acceptance of security losses which he believes will be passed on to their customers. This stance draws tension from a representative of the new partner (Robert Patrick), and has caused Jack to go to a meeting with a potential client who is looking to engage Jack’s services.
What begins as a promising business venture soon takes a dangerous turn as Jack is hijacked and learns that he and his family are being held hostage by a gang of thugs lead by the charismatic and dangerous Bill Cox (Paul Bettany), who wires Jack for sight and sound so they can monitor his every move at work. Jack is told that should he deviate from instructions or attempt to alert others to his situation, his family will be killed for his defiance.
In time, Jack is instructed to withdraw $10,000 from several of the banks top accounts and erase any history of the transactions or the resulting deposits in offshore accounts. The plan hits an unexpected snag when as a result of the pending merger, the hardware needed for Jack to input his requests has been moved to a remote locale out of state.
Undaunted Bill ups the stakes and forces Jack to find a way to get the money to him before time is up and his family is killed. Things go from bad to worse when complications arise forcing Jack to take desperate measures that soon has him fighting both his captors, his co-workers, and the law as he attempts to free his family and save them from their captors.
Firewall like last years Hostage suffers from a severe lack of urgency. We are told and shown just how evil the captors are yet, when people are told not do certain things and they continue to do so without repercussions, one would have to think that they would eventually cut their losses and start killing people off.
Ford does his best to make the by-the-numbers story work, but there are just not enough thrills and tension in the film to make it gripping. There is a heavy sense of “been there, seen that” to almost every portion of the film. What could have been a tight thriller is lost in clichés and gaps in logic that undermine the supposed seriousness of the situation.
The twenty-four banks owned by Jack’s firm are in the process of being acquired by a large chain and the resulting windfall from this venture is making people on both sides tense and excited as the merger draws closure. Jack has some reservations about the new firm’s lack of customer service and acceptance of security losses which he believes will be passed on to their customers. This stance draws tension from a representative of the new partner (Robert Patrick), and has caused Jack to go to a meeting with a potential client who is looking to engage Jack’s services.
What begins as a promising business venture soon takes a dangerous turn as Jack is hijacked and learns that he and his family are being held hostage by a gang of thugs lead by the charismatic and dangerous Bill Cox (Paul Bettany), who wires Jack for sight and sound so they can monitor his every move at work. Jack is told that should he deviate from instructions or attempt to alert others to his situation, his family will be killed for his defiance.
In time, Jack is instructed to withdraw $10,000 from several of the banks top accounts and erase any history of the transactions or the resulting deposits in offshore accounts. The plan hits an unexpected snag when as a result of the pending merger, the hardware needed for Jack to input his requests has been moved to a remote locale out of state.
Undaunted Bill ups the stakes and forces Jack to find a way to get the money to him before time is up and his family is killed. Things go from bad to worse when complications arise forcing Jack to take desperate measures that soon has him fighting both his captors, his co-workers, and the law as he attempts to free his family and save them from their captors.
Firewall like last years Hostage suffers from a severe lack of urgency. We are told and shown just how evil the captors are yet, when people are told not do certain things and they continue to do so without repercussions, one would have to think that they would eventually cut their losses and start killing people off.
Ford does his best to make the by-the-numbers story work, but there are just not enough thrills and tension in the film to make it gripping. There is a heavy sense of “been there, seen that” to almost every portion of the film. What could have been a tight thriller is lost in clichés and gaps in logic that undermine the supposed seriousness of the situation.
BankofMarquis (1832 KP) rated GoodFellas (1990) in Movies
Jun 26, 2020
LIKE A FINE WINE - gets better with age
I have to admit, when I first watched GOODFELLAS 30 years ago, I thought it was "good" but not "great".
The years and subsequent viewings of this epic masterpiece has slowly changed my mind.
Directed by one of the finest Directors of all-time, GOODFELLAS is based on the real-life experience of former "Wiseguy" Nicholas Pileggi (from his book) and depicts mob life in New York City in the 1960's and the 1970's.
Scorcese knows this world and it's looks & feels and you can sense that world while watching this movie. Whether it's the clothing, the set decorations, the vocal inflections or the music choices, Scorcese meticulously blends all of the minutiae of these eras and these people extremely effectively to draw a vivid picture of people - and gangsters - of another era.
It helps tremendously that he has an "A" cast to inherit the characters. Robert DeNiro shows his ferocious personae as a "force to be reckoned with" as legendary (their word) mobster Jimmy Conway. He has a danger to him that could erupt at any time, but he also has something else - probably even more dangerous - he's smart and wily and will meticulously plan his crimes out. This makes him stand out in a world where most are acting out of impulse. Joe Pesci, rightfully, won the Oscar for Best Supporting Actor for his take on psychopathic gangster Tommy DeVito. What struck me on this viewing of the film was how small a role in this film that Tommy is. Pesci is not on-screen all that much, but for the scenes that he is in, he is incredibly powerful. You can see that Tommy is dangerous and needs to be handled with "kit gloves".
Scorcese took a chance by centering this film on an unknown actor on who's shoulders that this film will stand or fall - and he chose wisely - for Ray Liotta's performance as Henry Hill is fascinating to watch. He has a charisma and charm to him that draws you in, but there is also an air about him that repels you away at the same time. Scorcese cast another unknown, Lorraine Bracco as Henry's wife, Karen Hill, who is drawn towards the power and danger of Henry (and his world). Bracco was nominated for an Oscar and Liotta never came close to this level of performance for the rest of his career.
Credit, therefore, must be given to the Directorial job that Scorcese put in on this film. This is his masterpiece (despite what the Oscars say). Years from now when scholars look back on his career, this (along with Raging Bull) will be the films that are shown (not THE DEPARTED - the film that he, finally, won his Oscar for).
I find more and more nuance and richness to this film upon subsequent re-watches, and I drank those in on this viewing. GOODFELLAS is like a fine wine, it gets better with age.
Letter Grade: A
9 stars out of 10 (and you can take that to the Bank(OfMarquis)
The years and subsequent viewings of this epic masterpiece has slowly changed my mind.
Directed by one of the finest Directors of all-time, GOODFELLAS is based on the real-life experience of former "Wiseguy" Nicholas Pileggi (from his book) and depicts mob life in New York City in the 1960's and the 1970's.
Scorcese knows this world and it's looks & feels and you can sense that world while watching this movie. Whether it's the clothing, the set decorations, the vocal inflections or the music choices, Scorcese meticulously blends all of the minutiae of these eras and these people extremely effectively to draw a vivid picture of people - and gangsters - of another era.
It helps tremendously that he has an "A" cast to inherit the characters. Robert DeNiro shows his ferocious personae as a "force to be reckoned with" as legendary (their word) mobster Jimmy Conway. He has a danger to him that could erupt at any time, but he also has something else - probably even more dangerous - he's smart and wily and will meticulously plan his crimes out. This makes him stand out in a world where most are acting out of impulse. Joe Pesci, rightfully, won the Oscar for Best Supporting Actor for his take on psychopathic gangster Tommy DeVito. What struck me on this viewing of the film was how small a role in this film that Tommy is. Pesci is not on-screen all that much, but for the scenes that he is in, he is incredibly powerful. You can see that Tommy is dangerous and needs to be handled with "kit gloves".
Scorcese took a chance by centering this film on an unknown actor on who's shoulders that this film will stand or fall - and he chose wisely - for Ray Liotta's performance as Henry Hill is fascinating to watch. He has a charisma and charm to him that draws you in, but there is also an air about him that repels you away at the same time. Scorcese cast another unknown, Lorraine Bracco as Henry's wife, Karen Hill, who is drawn towards the power and danger of Henry (and his world). Bracco was nominated for an Oscar and Liotta never came close to this level of performance for the rest of his career.
Credit, therefore, must be given to the Directorial job that Scorcese put in on this film. This is his masterpiece (despite what the Oscars say). Years from now when scholars look back on his career, this (along with Raging Bull) will be the films that are shown (not THE DEPARTED - the film that he, finally, won his Oscar for).
I find more and more nuance and richness to this film upon subsequent re-watches, and I drank those in on this viewing. GOODFELLAS is like a fine wine, it gets better with age.
Letter Grade: A
9 stars out of 10 (and you can take that to the Bank(OfMarquis)
BankofMarquis (1832 KP) rated Amsterdam (2022) in Movies
Nov 21, 2022
Weak First Half Gives Way To Strong Second Half
There are certain Directors working today that gain such a reputation that most Major Movie Stars clamor to be in their films - no matter how big (or small) their part is. Quentin Tarantino, Wes Anderson and Christopher Nolan all come to mind. And, for some reason, David O. Russell is in that camp as well.
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The latest film from this cinematic auteur, AMSTERDAM, is jam-packed with stars from Christian Bale to John David Washington to Margot Robbie, Robert DeNiro, Zoe Saldana, Rami Malek, Andrea Riseborough, Chris Rock, Michael Shannon, Michael Myers, Timothy Olyphant, Any-Taylor Joy and even Taylor Swift show up to play part in this drama/thriller/comedy that takes a real life event and gives it the David O. Russell touch.
And…what is the David O. Russell touch? It is - for better or for worse - a skewed perspective of the goings-on in the film, commenting on the action while driving a narrative forward. On the one hand, he is liked by many actors for he let’s them improvise and work through their performances. However, on the other hand, if he is not getting what he wants, he is also known as a antagonistic Director as he has had on-set feuds with George Clooney, Lilly Tomlin and Amy Adams. But…on the other hand…he has been nominated for Best Director 3x and quite a few of his actors (Bale, Adams, Cooper, Jennifer Lawrence, etc.) have been nominated for an Oscar.
For AMSTERDAM the film’s tone and intention meander for the 1st half of the movie - as do the performances - before settling into a crackerjack thriller/murder-mystery/espionage film.
And that’s too bad for many will be turned off by the 1st half - the meandering is detrimental to the audience’s enjoyment - it feels like a series of “acting scenes” and not a coherent grouping of scenarios leading to a plot. This will turn many off - and will have them turning off the film - before it settles down and becomes good.
As is often the case with Russell’s films, the performances are good (Washington), better (Robbie) and best (Bale, channelling his inner Peter Faulk) while the other actors support the 3 leads in surprising ways. If nothing else, see this movie to watch all of these wonderful performers plying their craft. Of course, you’ll be saying to yourself “that’s wonderfully acted” for you won’t be immersed into the people, emotions or the plot at the beginning.
And that is Russell’s issue. If he could have settled on the tone and focus of the 2nd half of the film in the first half, he’d have himself another Oscar contending film. But, as it were, it’s an interesting curiosity - one that will have you entertained for a few hours, but will leave you scratching your head longing for “what could have been”.
Letter Grade: B (“C” for the first half, “A” for the 2nd half)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)