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Lenard (726 KP) rated Late Night (2019) in Movies

Aug 26, 2019  
Late Night (2019)
Late Night (2019)
2019 | Comedy, Drama
7
6.4 (12 Ratings)
Movie Rating Watch
Late Night is a well-written comedy about a non-white female hired to add diversity to the writing staff of a late night talk show. Katherine Newbury (Emma Thompson showing the comic skills developed during her university days as Hugh Laurie's girlfriend) is a older sophisticated woman who hosts a show whose audience is dying off, literally in some cases and figuratively. If things do not improve, she will no longer be host of her eponymous talk show. So, in an unexpected but obvious hiring decision, Molly Patel is hired to join the writing staff. At first, seen as an interloper with little comedy or writing experience, Molly uses her Mindy Kaling charm to win over her co-workers and her boss. As Katherine starts to see a way to take advantage of her uniqueness and the youth of Molly, she challenges the status quo of late night.
The movie is charming. The characters are developed and not cardboard cutouts of caricatures thanks to the writing, Max Casella, Reid Scott, Denis O'Hare, Hugh Dancy, Amy Ryan, and John Lithgow have backstories and motivations. However, the movie never really goes after the boys' club landscape that late night television inhabits nor does it go after the concept of diversity hires. It simply turns Molly into some sprite who sprinkles enthusiasm into the mundane lives of the people she encounters. Late Night also begins the campaign for John Lithgow as this year's Best Supporting Actor, Not for this role as the mentor for Molly's transformation to strong woman and devoted husband of Katherine who learns the meaning of karma, but for his role later this year as Roger Ailes.
  
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JT (287 KP) rated 1917 (2020) in Movies

Mar 3, 2020  
1917 (2020)
1917 (2020)
2020 | Drama, War
9
8.8 (56 Ratings)
Movie Rating Watch
Brilliant cinematography (2 more)
Great score
Fantastic central characters
A stunning film which hits hard both physically and emotionally
particular emphasis on cinematography. The World War I film is made to look like one continuous shot by director Sam Mendes whose one-shot opening of Spectre gave us a taste of things to come.

The film swept awards season with the film winning Best Drama Motion Picture at the Golden Globes, not to mention cleaning up at the BAFTAs. This was a strong indication that Mendes might have a hand on a couple of Oscars.

1917 tells the story of two Lance Corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay) who are tasked with hand-delivering a message to another battalion who are inadvertently walking into a trap – Blake’s brother among them. If they fail then 1,600 men will lose their lives.

Blake and Schofield have been through a lot. When we first meet them they are relaxing beneath a tree, taking a break trying to enjoy the peaceful surroundings.

Without so much as a thought the pair salute General Erinmore (Colin Firth) and start the first part of their harrowing journey crossing no man’s land. The film is gripping in every sense of the word and you feel as if you are making the treacherous journey with them.

The scenery is devastatingly realistic, particularly the trip across no man’s land where charred bodies are buried deep in bombed-out craters of mud, their faces starring out in a look of shock.

The cast is limited to a few big-name cameos which aren’t blink and you miss them. Joining Firth is Andrew Scott, Mark Strong and Benedict Cumberbatch who make a significant impression in key scenes. The film flows incredibly well and never takes a back step, quite literally.

This is a journey that rivals Saving Private Ryan for it’s impactfulness, and why the memories of those who fought in the great war should always be forever remembered as true heroes.
  
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Lee Richmond (19 KP) rated Blade Runner 2049 (2017) in Movies

Mar 2, 2019  
Blade Runner 2049 (2017)
Blade Runner 2049 (2017)
2017 | Sci-Fi
9
8.1 (77 Ratings)
Movie Rating Watch
Visually beautiful and a wonderfully woven story. (0 more)
The key to the future is finally unearthed.
I must admit, my hopes where not high. Since 2012 I have witnessed Ridley Scott wiping his arse on his past glory with the ever worsening Alien Prequels. I hated Prometheus and the less said about Alien Covenant the better. Not only that but did Blade Runner really need a sequel? I was of the strong belief that it did not. The original was a beautifully told, self contained flick with a strong start, middle and end. Throw in to the mix the fact that generally a movie sequel that appears a few decades after the original is rarely as good as what came before. I'm talking about you Indiana Jones, Dumb and Dumber and so on..
Taking that all into account I sat down to watch Blade Runner 2049 with the most open mind I could muster and as the end credits rolled the only thought in my sci-fi frazzled head was "holy shit what a movie"..
I loved it. Not just liked it. Not just found it to be ok (which was about all I had hoped for). I fucking loved it. My wife found it slow and eventually wandered off for a bath but I loved it. I loved the visuals that burst forth from the screen and penetrated my brain through my eyeballs. The story was equally as compelling as the original. Ryan Gosling was great. Harrison Ford was great. The nods to the original all great and never sickly nostalgic.
I can honestly say that I have never been so happy to be wrong. Although there is a 30+ year gap between both films I didn't feel that the special effects (although stunning here) did anything to spoil those of the original. Hopefully this movie has taught me to be more open minded but somehow I imagine I will always be this cynical old bastard that those who know me have come to love or loathe.
If you haven't seen this film yet, or if like me you're expecting the worst, my advice would be "stop being an arse and enjoy the spectacle and dare I say masterpiece? That Blade Runner 2049 truly is".
  
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JT (287 KP) rated Only God Forgives (2013) in Movies

Mar 10, 2020  
Only God Forgives (2013)
Only God Forgives (2013)
2013 | Action, Crime, Drama, International
4
6.3 (6 Ratings)
Movie Rating
Now here is a film that completely split critics. It’s not going to be everyone’s cup of tea and it’s clear to see why. Anyone expecting a well constructed follow up to Winding Refn’s hit Drive are going to be sorely disappointed, as Only God Forgives serves up a mix of beautiful neon visuals, character dreamscapes and minimal dialogue.

Julian (Ryan Gosling) runs a Thai boxing club deep in the heart of Bangkok using it as front for a drug smuggling ring with his brother. Events take a horrific turn when his brother rapes and murders an underage prostitute. Enter retired cop Chang (Vithaya Pansringarm), more well known as the ‘Angel of Vengeance’ who has a unique and almost godlike way of handing out retribution to those who cross his path.

When he allows Julian’s brother to be murdered by the father of the girl he killed, Julian’s mother Crystal and family matriarch heads out to demand that Julian take revenge for his brothers death.

Only God Forgives is a film doused in deep colours that awash the actors on screen and cast them in a variety of different lights. It feels a bit art house and at times arrogant. This must have been the easiest pay cheque that Gosling has ever picked up. He barely speaks and stamps any authority on screen by long drawn out stares of which he is the master.

Scott Thomas is not the mother figure that you would expect to have. Goading Julian into submission in a vile and disgusting manner she belittles him, prompting the question that he is half the man his brother is. She is one of the few standouts. All blonde hair and jewellery along with a arsenal of foul language. However, it will be Chang that leaves the afterthought, as he glides about unleashing his sword on those who stand in his way.

Only God Forgives is violent, and it is certainly not for the faint-hearted, the spilling of blood (particularly one hard to watch scene) is in keeping with the tonal colour of the setting. It doesn’t have Drive’s slickness but does come with an equally pulsating sound track.

There is no arguing that from a cinematography point of view this film his head and shoulders above others. But there is the odd occasion when you really have to question the director and what it was that he set out to achieve?