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Bob Mann (459 KP) rated Me Before You (2016) in Movies
Sep 29, 2021
“You are scored on my heart Clark”
“Me Before You” is a bit of a queer fish of a movie. It never quite decides whether it wants to be a romantic weepy, a drama, or a rom-com and as such ends up rather falling between all three stools.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Gareth von Kallenbach (965 KP) rated Cinderella Man (2005) in Movies
Aug 14, 2019
In the late 1920’s Jim Braddock was a boxer with a future. After many wins, he was poised to take his place as one of the greatest boxers of his time. Things took a bad turn for Jim in 1929 when he first lost a 15 round decision to Tommy Loughran, and then lost everything in the Stock Market Crash.
In the new film Cinderella Man Academy Award winner Russell Crowe stars as Jim Braddock in one of the most satisfying films in recent memory. Down and almost out, Braddock struggles to provide for his wife Mae (Renee Zellweger), and his three children. A series of hand injuries has forced Jim to resort to fighting in pick up fights, as he is unable to find work as a laborer.
Things go from bad to worse for Jim when he breaks a bone in his hand and is unable to provide entertainment for those in a local boxing match which results in the suspension of his boxing license. With his electricity turned off in the dead of winter, and his children coughing from the effects of the cold, Jim is forced to hide his injury and seek work as a day laborer to get by.
As Jim and Mae debate sending the kids to her sister in order to better provide for them, a ray of hope arises when Jim’s old manger Joe Gould (Paul Giamatti), says he has arranged a fight with a $250 payday.
Since Jim’s hand has healed, he takes the fight seeing it as a chance to get caught up on his bills. Fate steps in when in a shocking turnaround; Jim wins the fight via knock out, and captures the imagination of the local sports community. Before long, Jim is racking up win after win and improving his lot in life as he prepares for an unexpected title shot against the devastating and unbeaten Max Baer (Craig Bierko).
The fact that Baer has killed two men in the ring is a cause of great stress for Jim and Mae as she worries for the safety of her husband while Jim sees the fight as his chance to provide some financial security for his family.
Anyone who has seen the trailer can be sure that the big fight will take place, and that the underdog will find himself in a battle against overwhelming odds, but what makes Cinderella Man such a captivating film is the captivating human drama that propels the film. There have been many boxing films ranging from “Rocky” to “Raging Bull”, that have depicted the graphic action of the ring, but few have reached the depths of human drama that this film does. Jim is not looking for glory, he is simply looking to provide for his family the best way that he is able be it in the ring or hauling cargo at the docks.
Crowe is riveting as he is able to convey his characters plight to the audience without making it seem forced or heavy handed. Where Crowe truly shines is his ability to mix the emotional sequences of the film with the athletic and action filled ring sequences and not lose any of his character. Far too often actors fail to convince in one aspect when they try to mix drama and action, but Crowe easily transitions between the demands of the role proving again that he is the most gifted actor in Hollywood. The steady direction of Ron Howard keeps the film moving at a crisp pace, without allowing the story to become mired in sentiment.
The only real issue I had with the film is that the talented Zellweger is not given enough to do, as beyond doting for and worry about her family, she is not given much to do aside from stand by while the action occurs around her.
That being said Cinderella Man, is a triumph of film making, and should be a forced to contend with come Oscar season.
In the new film Cinderella Man Academy Award winner Russell Crowe stars as Jim Braddock in one of the most satisfying films in recent memory. Down and almost out, Braddock struggles to provide for his wife Mae (Renee Zellweger), and his three children. A series of hand injuries has forced Jim to resort to fighting in pick up fights, as he is unable to find work as a laborer.
Things go from bad to worse for Jim when he breaks a bone in his hand and is unable to provide entertainment for those in a local boxing match which results in the suspension of his boxing license. With his electricity turned off in the dead of winter, and his children coughing from the effects of the cold, Jim is forced to hide his injury and seek work as a day laborer to get by.
As Jim and Mae debate sending the kids to her sister in order to better provide for them, a ray of hope arises when Jim’s old manger Joe Gould (Paul Giamatti), says he has arranged a fight with a $250 payday.
Since Jim’s hand has healed, he takes the fight seeing it as a chance to get caught up on his bills. Fate steps in when in a shocking turnaround; Jim wins the fight via knock out, and captures the imagination of the local sports community. Before long, Jim is racking up win after win and improving his lot in life as he prepares for an unexpected title shot against the devastating and unbeaten Max Baer (Craig Bierko).
The fact that Baer has killed two men in the ring is a cause of great stress for Jim and Mae as she worries for the safety of her husband while Jim sees the fight as his chance to provide some financial security for his family.
Anyone who has seen the trailer can be sure that the big fight will take place, and that the underdog will find himself in a battle against overwhelming odds, but what makes Cinderella Man such a captivating film is the captivating human drama that propels the film. There have been many boxing films ranging from “Rocky” to “Raging Bull”, that have depicted the graphic action of the ring, but few have reached the depths of human drama that this film does. Jim is not looking for glory, he is simply looking to provide for his family the best way that he is able be it in the ring or hauling cargo at the docks.
Crowe is riveting as he is able to convey his characters plight to the audience without making it seem forced or heavy handed. Where Crowe truly shines is his ability to mix the emotional sequences of the film with the athletic and action filled ring sequences and not lose any of his character. Far too often actors fail to convince in one aspect when they try to mix drama and action, but Crowe easily transitions between the demands of the role proving again that he is the most gifted actor in Hollywood. The steady direction of Ron Howard keeps the film moving at a crisp pace, without allowing the story to become mired in sentiment.
The only real issue I had with the film is that the talented Zellweger is not given enough to do, as beyond doting for and worry about her family, she is not given much to do aside from stand by while the action occurs around her.
That being said Cinderella Man, is a triumph of film making, and should be a forced to contend with come Oscar season.
Kristy H (1252 KP) rated Mrs. Everything in Books
Jun 21, 2019
Jo and Bethie, sisters growing up in 1950s Detroit, are leading rather rigid lives. Jo is the troubled and angry older sister--the "different" one, while Bethie is the adored, perfect younger sister. Jo feels completely misunderstood by their mother, Sarah, but at least she has their father to act as a go-between. But, as the sisters grow up and move out, they somehow find their roles and lives changing. Bethie becomes the free spirit: the one unable to settle down and please their mother. Meanwhile, Jo marries and leads a picture-perfect life with her husband and children. Yet, deep down, neither sister is truly happy. Is it too late for either Jo or Bethie to find the life they really want?
This is a really wonderful novel from Jennifer Weiner. In the beginning, she states that she always wanted to write about a woman like her mom, who was born in the 40s, came of age in the 60s, married and had children, but then divorced and ended up falling in love with a woman. By then, times had changed and she could live a very different life than when she was born. Framing the story in this way makes perfect sense, and I think Weiner has more than fulfilled her goal. She's written a gorgeous and sweeping epic novel, starting with Jo and Bethie as children and continuing throughout the majority of their lives.
The novel, as mentioned, starts with Jo and Bethie as kids, moving into a new house in Michigan. Each is hopeful for a new start to their small kid-sized lives. Already Jo is feeling different. The book is told from both Jo and Bethie's perspectives, and Weiner does a wonderful job of not only capturing each of their own unique voices, but telling the story from their perspective at that particular time period.
"But maybe, in this new place, she could make a fresh start. Maybe here, she could be a good girl."
From the beginning, we clearly see how much trouble Jo is to her mother, and how she struggles with her feelings of being different. She's a tomboy who hates dresses and loves sports. She doesn't want to date the boys that her other classmates fawn over. I had no idea that the book was going to cover Jo's sexuality in this way, and it was such a pleasant surprise. It's so well-done. I loved the unexpected storyline about this intelligent and strong girl/woman struggling with her sexual orientation during a time period where it not at all accepted: it was very poignant and touching.
"I am going to leave here, she thought. I am going to read, and I am going to write. I am going to find a girl who is brave enough to love me, and I am going to have the kind of life I want."
So this book touches on a lot of tough subjects--racism, immigration, feminism, sexual orientation, religion, sexual assault, and more. It offers a discussion on womanhood, motherhood, marriage, and the options available to women (or not). Perhaps in the hands of a lesser author, this would all be too much, but through Weiner's deft writing, it's really truly beautifully done. The book spans a huge time period, but it never feels rushed or as if too much is crammed in. Once you get into Jo and Bethie's story, you're there: you are part of the family. And truly, this is a story of family at its core. A bitter family, perhaps, at times. It's a story of how certain moments can change the course of your life. But it's also a story of love and sisterhood, in all its many forms.
"'You think I ruined your life? Well I think you ruined mine.'"
Overall, this is a really lovely book. It's heartbreaking at times, for sure, and I cried at the end, but it's a testament to how much I fell for these two sisters. Its story of strength and love is a wonderful theme. It's a book for and about women, with some excellent messaging about women and society. (Wow, so much has changed and yet so little, it seems.) I certainly recommend this one. 4.5 stars.
This is a really wonderful novel from Jennifer Weiner. In the beginning, she states that she always wanted to write about a woman like her mom, who was born in the 40s, came of age in the 60s, married and had children, but then divorced and ended up falling in love with a woman. By then, times had changed and she could live a very different life than when she was born. Framing the story in this way makes perfect sense, and I think Weiner has more than fulfilled her goal. She's written a gorgeous and sweeping epic novel, starting with Jo and Bethie as children and continuing throughout the majority of their lives.
The novel, as mentioned, starts with Jo and Bethie as kids, moving into a new house in Michigan. Each is hopeful for a new start to their small kid-sized lives. Already Jo is feeling different. The book is told from both Jo and Bethie's perspectives, and Weiner does a wonderful job of not only capturing each of their own unique voices, but telling the story from their perspective at that particular time period.
"But maybe, in this new place, she could make a fresh start. Maybe here, she could be a good girl."
From the beginning, we clearly see how much trouble Jo is to her mother, and how she struggles with her feelings of being different. She's a tomboy who hates dresses and loves sports. She doesn't want to date the boys that her other classmates fawn over. I had no idea that the book was going to cover Jo's sexuality in this way, and it was such a pleasant surprise. It's so well-done. I loved the unexpected storyline about this intelligent and strong girl/woman struggling with her sexual orientation during a time period where it not at all accepted: it was very poignant and touching.
"I am going to leave here, she thought. I am going to read, and I am going to write. I am going to find a girl who is brave enough to love me, and I am going to have the kind of life I want."
So this book touches on a lot of tough subjects--racism, immigration, feminism, sexual orientation, religion, sexual assault, and more. It offers a discussion on womanhood, motherhood, marriage, and the options available to women (or not). Perhaps in the hands of a lesser author, this would all be too much, but through Weiner's deft writing, it's really truly beautifully done. The book spans a huge time period, but it never feels rushed or as if too much is crammed in. Once you get into Jo and Bethie's story, you're there: you are part of the family. And truly, this is a story of family at its core. A bitter family, perhaps, at times. It's a story of how certain moments can change the course of your life. But it's also a story of love and sisterhood, in all its many forms.
"'You think I ruined your life? Well I think you ruined mine.'"
Overall, this is a really lovely book. It's heartbreaking at times, for sure, and I cried at the end, but it's a testament to how much I fell for these two sisters. Its story of strength and love is a wonderful theme. It's a book for and about women, with some excellent messaging about women and society. (Wow, so much has changed and yet so little, it seems.) I certainly recommend this one. 4.5 stars.
Emma @ The Movies (1786 KP) rated What Men Want (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Who wouldn't want to know what goes through a man's mind on occasion? Actually, you know what... I'm fine, I'm not sure I really want to hear everything... *shudder*
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Emma @ The Movies (1786 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Oct 29, 2019
Why oh why did they rename this film? I always want to call it Ford v Ferrari and several times I've said "Le Mans '66" and got odd looks so had to follow it up with the original.
Sports films are a weakness of mine, I love them but I'm not really sure why as I'm very much a spectator than a participant. Some racing meant this film got an automatic spot in the LFF planning... even with Matt Damon in it.
We've got another "based on true events" film on our hands and taking a glance at what car and racing experts have to say it seems that the events are fairly well done apart from some Hollywood tweaks here and there.
My main love in car movies is the roar of the engine, you can't beat that sound. I was nearly disappointed as almost instantly we get the engine sound but without the oomph, it was a really upsetting feeling. They did redeem themselves shortly after but I didn't enjoy that first moment at all. I did suffer with the audio in general being rather loud but I'm going to lay that firmly at the feet of old age rather than anything else.
There are a lot of people in this film, you only have to go for a scroll in the listings to see that. They add that busy feeling, the urgency of the project, the eagerness for the win. Some scenes feel crowded but they knew when to hold back and that meant that during the chaos we were still able to see some smaller and more powerful moments, moments that really were needed to break everything up.
Christian Bale did a Christian Bale for this film, after putting on all the weight for Vice he dropped it all again for his role as Ken Miles. Someone please cast him as a regular man, I worry about him. Ken's dedication to the sport and the skill really shines in Bale's performance, would we expect anything less from him? No, of course not. One of the most pleasing things is Bale saying "T'ra" in that accent, so soothing to listen to.
Matt Damon isn't a great love of mine, I'll watch his films with a disgruntled look on my face... Downsizing, that's for you... but... yes, there's a but, I thought he played Carroll Shelby exceptionally well, and without a hint of "Matt Damon" in it. This felt like the first time I've seen him in something where he's committed more to the role.
Great performances don't always mean great chemistry on screen but the two played off each other to great effect throughout. There's one fantastic scene (that you can see in one of the trailers) where they tussle together and it's such fun to watch, the full scene holds so much more than the trailer clips do.
Everything comes together in Le Mans '66 (*cough* Ford v Ferrari *cough*). The era is captured perfectly from all angles, the attention to detail on set looks spot on. The script isn't overly complicated and allowed the viewer (or at the very least me) to follow the story. The scenes on track are beautiful to watch with the truly impressive effect for weather and conditions being consistent in each shot. If you're asking me to find a quibble it would be on the crash effects, during one in particular the CGI seemed a little weak but you're drawn into the next shot fairly quickly so it's just a fleeting view.
Le Mans '66 was genuinely one of the highlights of the London Film Festival for me, Bale gives a stellar performance filled with humour and heart, Damon wowed me with his portrayal of Shelby and the way they managed to bring his character full circle... I didn't expect this to be such an emotional movie, I was taken aback by some of the moments and I genuinely can't wait to see this again.
Full review originally published on: http://emmaatthemovies.blogspot.com/2019/10/le-mans-66-movie-review.html
Sports films are a weakness of mine, I love them but I'm not really sure why as I'm very much a spectator than a participant. Some racing meant this film got an automatic spot in the LFF planning... even with Matt Damon in it.
We've got another "based on true events" film on our hands and taking a glance at what car and racing experts have to say it seems that the events are fairly well done apart from some Hollywood tweaks here and there.
My main love in car movies is the roar of the engine, you can't beat that sound. I was nearly disappointed as almost instantly we get the engine sound but without the oomph, it was a really upsetting feeling. They did redeem themselves shortly after but I didn't enjoy that first moment at all. I did suffer with the audio in general being rather loud but I'm going to lay that firmly at the feet of old age rather than anything else.
There are a lot of people in this film, you only have to go for a scroll in the listings to see that. They add that busy feeling, the urgency of the project, the eagerness for the win. Some scenes feel crowded but they knew when to hold back and that meant that during the chaos we were still able to see some smaller and more powerful moments, moments that really were needed to break everything up.
Christian Bale did a Christian Bale for this film, after putting on all the weight for Vice he dropped it all again for his role as Ken Miles. Someone please cast him as a regular man, I worry about him. Ken's dedication to the sport and the skill really shines in Bale's performance, would we expect anything less from him? No, of course not. One of the most pleasing things is Bale saying "T'ra" in that accent, so soothing to listen to.
Matt Damon isn't a great love of mine, I'll watch his films with a disgruntled look on my face... Downsizing, that's for you... but... yes, there's a but, I thought he played Carroll Shelby exceptionally well, and without a hint of "Matt Damon" in it. This felt like the first time I've seen him in something where he's committed more to the role.
Great performances don't always mean great chemistry on screen but the two played off each other to great effect throughout. There's one fantastic scene (that you can see in one of the trailers) where they tussle together and it's such fun to watch, the full scene holds so much more than the trailer clips do.
Everything comes together in Le Mans '66 (*cough* Ford v Ferrari *cough*). The era is captured perfectly from all angles, the attention to detail on set looks spot on. The script isn't overly complicated and allowed the viewer (or at the very least me) to follow the story. The scenes on track are beautiful to watch with the truly impressive effect for weather and conditions being consistent in each shot. If you're asking me to find a quibble it would be on the crash effects, during one in particular the CGI seemed a little weak but you're drawn into the next shot fairly quickly so it's just a fleeting view.
Le Mans '66 was genuinely one of the highlights of the London Film Festival for me, Bale gives a stellar performance filled with humour and heart, Damon wowed me with his portrayal of Shelby and the way they managed to bring his character full circle... I didn't expect this to be such an emotional movie, I was taken aback by some of the moments and I genuinely can't wait to see this again.
Full review originally published on: http://emmaatthemovies.blogspot.com/2019/10/le-mans-66-movie-review.html
Gareth von Kallenbach (965 KP) rated Real Steel (2011) in Movies
Aug 7, 2019
Boxing movies have been a staple of Hollywood for decades. Some of the earliest celluloid offerings documented pugilistic bouts in films such as Raging Bull, The Fighter, and the iconic Rocky series and helped boxing cement itself in both popular and cinematic culture.
In the film “Real Steel”, Hugh Jackman plays Charlie Kenton, a down-on-his-luck promoter whose best days are definitely behind him. In the near-future setting of the film, robots have replaced humans in the boxing ring and Charlie is constantly and desperately looking for the next big thing to help him claim a little fame and a lot of fortune.
Following the loss of his fighting robot, Charlie is summoned to Texas after the passing of his ex-girlfriend, the mother of his son. Charlie is eager to sign over the guardianship of his son, Max, to Max’s aunt, but after noticing her wealthy husband, decides to take advantage of the situation. Charlie makes a deal to sign over the guardianship of his son Max, (Dakota Goyo) in exchange for a large sum of money which he plans to use to get back into the robot fighting game. The catch for Charlie is that he must watch Max for the summer so Max’s future parents can take a planned trip to Italy.
Max is quickly thrown into the robot-fighting world when he forces his dad to take him along to a bout. Unfortunately, it’s yet another painful loss for Charlie and their first father-son trip ends with them scouring a junkyard for robot replacement parts. It’s Max who literally stumbles across an old robot and becomes convinced that the discarded machine could become a champion given the right conditions. Despite his misgivings, Charlie agrees to train the robot and in doing so gets to reconnect with his estranged son. Charlie is given a shot at redemption when Max’s robot becomes a fighting success and starts to advance through the rankings.
Naturally with increased success comes increased expectations and risks for Charlie and Max’s robot. There are numerous people looking for them to fail, as there is no way that a washed up boxer with a kid and an outdated machine can take on the machines of the professional circuit. Predictably, but still grippingly so, the outdated robot, named Atom, makes his way from seedy fighting pits to upscale arenas. Eventually the Atom team is given a shot at the big time which, as fans of sports films know, is destined to end with a climactic bout with the larger-than-life champion.
What sets “Real Steel” apart from other CGI laden action films is the human element and emotional connections you make with the characters, and even the blue-eyed junkyard robot itself. Although Atom is a CGI construct of a machine, you find yourself pulling for this unlikely underdog just as much its flesh and blood costars. The action sequences are intense and amazing to look at but never overshadow the underlying storyline of love and redemption.
Jackman gives a believable performance as a seemingly callous individual with no redeeming qualities. (Remember, he essentially sold his son). Evangaline Lily, is solid and likeable in a supporting role as Charlie’s old friend and former love interest. Goyo, fresh off his work playing the younger Thor in this past summer’s blockbuster, does a remarkable job in what is likely his breakout role. He has the spunky innocence of youth with a maturity that I had not seen in any young actor since Haley Joel Osment in the Sixth Sense.
“Real Steel” may not be the most original film, as aside from the robots this is a boxing tale that is been told many times before. I definitely saw lots of elements of the original Rocky but still found the film extremely enjoyable and entertaining as well as one of the most pleasant surprises of the year. It is rumored that a sequel is already in production and I actually hope that this is the case. This is one story I certainly wouldn’t mind going a few extra rounds with.
In the film “Real Steel”, Hugh Jackman plays Charlie Kenton, a down-on-his-luck promoter whose best days are definitely behind him. In the near-future setting of the film, robots have replaced humans in the boxing ring and Charlie is constantly and desperately looking for the next big thing to help him claim a little fame and a lot of fortune.
Following the loss of his fighting robot, Charlie is summoned to Texas after the passing of his ex-girlfriend, the mother of his son. Charlie is eager to sign over the guardianship of his son, Max, to Max’s aunt, but after noticing her wealthy husband, decides to take advantage of the situation. Charlie makes a deal to sign over the guardianship of his son Max, (Dakota Goyo) in exchange for a large sum of money which he plans to use to get back into the robot fighting game. The catch for Charlie is that he must watch Max for the summer so Max’s future parents can take a planned trip to Italy.
Max is quickly thrown into the robot-fighting world when he forces his dad to take him along to a bout. Unfortunately, it’s yet another painful loss for Charlie and their first father-son trip ends with them scouring a junkyard for robot replacement parts. It’s Max who literally stumbles across an old robot and becomes convinced that the discarded machine could become a champion given the right conditions. Despite his misgivings, Charlie agrees to train the robot and in doing so gets to reconnect with his estranged son. Charlie is given a shot at redemption when Max’s robot becomes a fighting success and starts to advance through the rankings.
Naturally with increased success comes increased expectations and risks for Charlie and Max’s robot. There are numerous people looking for them to fail, as there is no way that a washed up boxer with a kid and an outdated machine can take on the machines of the professional circuit. Predictably, but still grippingly so, the outdated robot, named Atom, makes his way from seedy fighting pits to upscale arenas. Eventually the Atom team is given a shot at the big time which, as fans of sports films know, is destined to end with a climactic bout with the larger-than-life champion.
What sets “Real Steel” apart from other CGI laden action films is the human element and emotional connections you make with the characters, and even the blue-eyed junkyard robot itself. Although Atom is a CGI construct of a machine, you find yourself pulling for this unlikely underdog just as much its flesh and blood costars. The action sequences are intense and amazing to look at but never overshadow the underlying storyline of love and redemption.
Jackman gives a believable performance as a seemingly callous individual with no redeeming qualities. (Remember, he essentially sold his son). Evangaline Lily, is solid and likeable in a supporting role as Charlie’s old friend and former love interest. Goyo, fresh off his work playing the younger Thor in this past summer’s blockbuster, does a remarkable job in what is likely his breakout role. He has the spunky innocence of youth with a maturity that I had not seen in any young actor since Haley Joel Osment in the Sixth Sense.
“Real Steel” may not be the most original film, as aside from the robots this is a boxing tale that is been told many times before. I definitely saw lots of elements of the original Rocky but still found the film extremely enjoyable and entertaining as well as one of the most pleasant surprises of the year. It is rumored that a sequel is already in production and I actually hope that this is the case. This is one story I certainly wouldn’t mind going a few extra rounds with.
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