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David McK (3791 KP) rated Murder on the Orient Express in Books
Dec 27, 2021
As a general rule, I'm not really big into murder mystery whodunnits, generally finding them boring, (sometimes) obvious and just, well, generally a little bit stale.
That may be why I'd never read perhaps Agatha Christie's most famous murder story before, or even had any interest in which any of the (numerous) films, TV series or plays based around the same.
Which is a long way of saying that I came into this 'cold', as it were, knowing little beyond the fact that it was a Hercule Poirot mystery (thanks to the 2017 Kenneth Branagh movie, which I hadn't seen), and that the murder was on a train (d'uh!) just as it ran into snow whilst on a journey.
Now that I've read it, I have to say: I found little to cause me to revise my opinion of murder mysteries in general.
That's not to say that it is bad, per se, just that it never really hooked me all that much: indeed, at times it felt more like a chore to read than something enjoyable. Indeed, I'm sorry to say, the reveal of just who carried out the crime also completely failed to elicit any form of surprise or emotion at all from me: not that I saw it coming but just that, well, it almost felt like a relief when it did.
All I can say is: sorry, any Poirot fans!
That may be why I'd never read perhaps Agatha Christie's most famous murder story before, or even had any interest in which any of the (numerous) films, TV series or plays based around the same.
Which is a long way of saying that I came into this 'cold', as it were, knowing little beyond the fact that it was a Hercule Poirot mystery (thanks to the 2017 Kenneth Branagh movie, which I hadn't seen), and that the murder was on a train (d'uh!) just as it ran into snow whilst on a journey.
Now that I've read it, I have to say: I found little to cause me to revise my opinion of murder mysteries in general.
That's not to say that it is bad, per se, just that it never really hooked me all that much: indeed, at times it felt more like a chore to read than something enjoyable. Indeed, I'm sorry to say, the reveal of just who carried out the crime also completely failed to elicit any form of surprise or emotion at all from me: not that I saw it coming but just that, well, it almost felt like a relief when it did.
All I can say is: sorry, any Poirot fans!
LeftSideCut (3776 KP) rated Jackass Forever (2022) in Movies
Feb 16, 2022
I remember Jackass when it first aired back in 2000. It was dumb, it was shocking, but most importantly, it took no time at all to get on board with the cast. The chemistry and bonds between Johnny Knoxville and co were immediately infectious, and everytime they put out a movie, it feels like a reunion with a bunch of old friends. Jackass Forever is the same in that respect, but it also relates to the only issue I had - I didn't feel overly fussed when it was initially announced that Bam Margera wasn't involved this time around, but now that JF is here, his absence is notable. This, coupled with a whole bunch of new faces, (presumably so the TV series can be relaunched in the near future with a new cast) makes for an unfamiliar Jackass experience. Well, kind of. Everything else is business as usual, and it's pretty glorious.
The opening scene is one of the most absurd skits that they've ever come up with, and the closing scene is a masterpiece of escalating chaos. Everything in between is the usual mix of silliness that we've come to know and love, and it feels like a warm hug, drenched in 15 gallons of pig jizz.
In short, if you're going to see Jackass Forever, chances are that you're already and established viewer, and as such, will most likely love it as I did. Long live Jackass.
The opening scene is one of the most absurd skits that they've ever come up with, and the closing scene is a masterpiece of escalating chaos. Everything in between is the usual mix of silliness that we've come to know and love, and it feels like a warm hug, drenched in 15 gallons of pig jizz.
In short, if you're going to see Jackass Forever, chances are that you're already and established viewer, and as such, will most likely love it as I did. Long live Jackass.
5 Minute Movie Guy (379 KP) rated 22 Jump Street (2014) in Movies
Jun 26, 2019 (Updated Jun 29, 2019)
22 Jump Street is ingeniously self-aware. (3 more)
It's a fun film with lots of laughs and good action.
Channing Tatum and Ice Cube are both hilarious.
It ends with an unforgettably awesome credits sequence.
22 Jump Street may be a familiar foray, but this summer bromance still manages to be loads of fun and is without a doubt one of the funniest movies of the year.
Officers Schmidt and Jenko are back again for the biggest bromance of the summer. Previously on the film 21 Jump Street, this pair of police officers went undercover, disguised as high school students, to stop the spread of a new drug that was being distributed throughout the campus. Their mission was a success, and now the buddy cop duo returns with a new assignment – or actually the same assignment – but this time they’re going to college! 22 Jump Street has essentially the same exact premise as its predecessor and shamelessly spares no expense in letting you know it. It’s a running joke throughout the film with characters blatantly reminding you of the similarities. It may be a familiar foray, but 22 Jump Street still manages to be loads of fun and is without a doubt one of the funniest movies of the year.
One of the strengths of 22 Jump Street is that it never takes itself too seriously. Right off the bat, it sarcastically sets the stage through a cheesy and overly-dramatic recap of the first film that feels like it’s straight out of a ‘90s TV series. The movie continues to poke fun at itself every step of the way, reminding you that the creators are very much in on the joke. Rather than coming off as a lazy rehash, 22 Jump Street’s self-awareness makes it feel fresh and inviting. The whole movie plays out like a fourth-wall-breaking inside-joke between the actors and the audience. It openly acknowledges that it’s silly and redundant, but in doing so, it encourages us to put that aside and just sit back and have a good time. All in all, I most certainly did have a good time, and 22 Jump Street ended up being far more funny and enjoyable than I ever expected.
As much as I liked the movie, I have to say that it’s awfully heavy on the bromance. Many of the jokes revolve around the relationship between Jonah Hill’s Schmidt and Channing Tatum’s Jenko, and it gets to be pretty excessive and overdone. While Schmidt struggles to fit in at college, Jenko is accepted with open arms and quickly befriends the star quarterback Zook, played by Wyatt Russell, who recruits him to join the university football team. This puts a serious strain on Schmidt and Jenko’s friendship, and the film revels in their troubled relationship, portraying them like a bickering couple. The problem, however, is that it continuously stresses this bromance to the point where it becomes more awkward than funny. Additionally, as Schmidt feels more and more out of place without Jenko, I think Jonah Hill similarly falls more and more out of place in this film.
Jonah Hill and Channing Tatum make for an adequate comedic pair, however I find that Hill struggles in scenes without his co-star. While I respect Hill as an actor, it’s Tatum that truly carries the film, further establishing himself as a Hollywood star. He’s not only the funnier of the two, but he’s also highly entertaining and a perfect fit for an action star. He’s a natural in the movie’s comical action sequences, which include car chases, shootouts, and a well-choreographed fight scene on the beaches of Cancun. The movie drags on through Hill’s mopey solo scenes, only to be reinvigorated by Tatum’s humor and enthusiasm. Though the two of them play well together, I can’t help but feel like perhaps Hill should consider sticking to more dramatic roles.
While some of Hill’s attempts at humor fall flat, most of the comedy in the movie does work. Ice Cube is a stand-out in his return as police captain Dickson and his short temper creates some of the movie’s more memorable scenes. Meanwhile Tatum’s Jenko makes for a perfectly lovable and amusing airhead. The movie is chock-full of clever self-referential jokes and has an elaborate credits scene that expertly basks in its own egotism. 22 Jump Street is a movie that knows full well what it is and is proud of it.
22 Jump Street may be more of the same, but it’s completely content with that and wagers that you will be too. It’s a fun and comical adventure through college, and is coincidentally one of the best comedies of the year.
(This review was originally posted at 5mmg.com on 12.2.14.)
One of the strengths of 22 Jump Street is that it never takes itself too seriously. Right off the bat, it sarcastically sets the stage through a cheesy and overly-dramatic recap of the first film that feels like it’s straight out of a ‘90s TV series. The movie continues to poke fun at itself every step of the way, reminding you that the creators are very much in on the joke. Rather than coming off as a lazy rehash, 22 Jump Street’s self-awareness makes it feel fresh and inviting. The whole movie plays out like a fourth-wall-breaking inside-joke between the actors and the audience. It openly acknowledges that it’s silly and redundant, but in doing so, it encourages us to put that aside and just sit back and have a good time. All in all, I most certainly did have a good time, and 22 Jump Street ended up being far more funny and enjoyable than I ever expected.
As much as I liked the movie, I have to say that it’s awfully heavy on the bromance. Many of the jokes revolve around the relationship between Jonah Hill’s Schmidt and Channing Tatum’s Jenko, and it gets to be pretty excessive and overdone. While Schmidt struggles to fit in at college, Jenko is accepted with open arms and quickly befriends the star quarterback Zook, played by Wyatt Russell, who recruits him to join the university football team. This puts a serious strain on Schmidt and Jenko’s friendship, and the film revels in their troubled relationship, portraying them like a bickering couple. The problem, however, is that it continuously stresses this bromance to the point where it becomes more awkward than funny. Additionally, as Schmidt feels more and more out of place without Jenko, I think Jonah Hill similarly falls more and more out of place in this film.
Jonah Hill and Channing Tatum make for an adequate comedic pair, however I find that Hill struggles in scenes without his co-star. While I respect Hill as an actor, it’s Tatum that truly carries the film, further establishing himself as a Hollywood star. He’s not only the funnier of the two, but he’s also highly entertaining and a perfect fit for an action star. He’s a natural in the movie’s comical action sequences, which include car chases, shootouts, and a well-choreographed fight scene on the beaches of Cancun. The movie drags on through Hill’s mopey solo scenes, only to be reinvigorated by Tatum’s humor and enthusiasm. Though the two of them play well together, I can’t help but feel like perhaps Hill should consider sticking to more dramatic roles.
While some of Hill’s attempts at humor fall flat, most of the comedy in the movie does work. Ice Cube is a stand-out in his return as police captain Dickson and his short temper creates some of the movie’s more memorable scenes. Meanwhile Tatum’s Jenko makes for a perfectly lovable and amusing airhead. The movie is chock-full of clever self-referential jokes and has an elaborate credits scene that expertly basks in its own egotism. 22 Jump Street is a movie that knows full well what it is and is proud of it.
22 Jump Street may be more of the same, but it’s completely content with that and wagers that you will be too. It’s a fun and comical adventure through college, and is coincidentally one of the best comedies of the year.
(This review was originally posted at 5mmg.com on 12.2.14.)
Bob Mann (459 KP) rated Six Minutes to Midnight (2021) in Movies
Apr 4, 2021 (Updated Apr 4, 2021)
Historical story (Potential for a great film) (1 more)
Judi Dench
B-grade spy caper antics (1 more)
Some ridiculous plot-points
A "39 Steps-esque" thriller that doesn't match its potential
In "Six Minutes to Midnight", it's the summer of 1939 (so we are in a parallel time-flow here with the events of "The Dig"). A private girl's school - the Augusta Victoria College in Bexhill-on-Sea - is run with loving care by the spinster Miss Rocholl (Judi Dench). But the 'finishing school' is unusual, in that all its teenage students are German. Indeed, they are the offspring of prominent Nazis.
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
When half-German English teacher Thomas Miller (Eddie Izzard) applies for a suddenly vacant position, he is taken on to share the teaching duties with Rocholl and Ilse (Carla Juri). But in snooping into the activities going on there, he finds mystery and danger.
Positives:
This is a fascinating premise for a movie that will appeal to an older generation, along the lines of "They don't make them like this anymore". It has elements of the 'good guy on the run' that struck parallels with "The 39 Steps" for me.
It's great that the school is all based on historical fact. Miss Rochol did indeed run the school, as a part of a plan to infiltrate British high-society with pro-Nazi sympathies ahead of an invasion. In real-life, one of the pupils was the god-daughter of Heinrich Himmler and one - Bettina von Ribbentrop - was the daughter of the German foreign minister.
After a comic "Family Guy"-style set of production logos to kick off with (for a full one and a half minutes!!), the pre-title sequence is a superb scene-setter. What exactly is going on here? A frantic scrabbling in a bookcase. A pier-end disappearance. The school badge (a genuine reproduction!) with its Union flag and Nazi Swastika insignia. The girls performing a ballet-like ritual on the beach with batons. (This looks to be a cracker, I thought).
Judi Dench. Superb as always.
Chris Seager does the cinematography, and impressively so. Most of Seager's CV has been TV work, so it must be delightful to be given the breadth of a cinema screen to capture landscapes like this.
I like the clever title: "Six Minutes to Midnight". I assumed it was intended solely to reflect the imminence of war. But it actually has another meaning entirely.
Negatives:
For me, was a highly frustrating film. All of the great credibility and atmosphere it builds up in the first 30 minutes, it then squanders by diving off into sub-Hitchcock spy capers.
Izzard becomes a 'man on the run', and doesn't seem credible at that. (I appreciate the irony of this statement given that this is the man who ran 32 marathons in 31 days for charity!) But Izzard is built for distance and not for speed, and some of the police chase scenes in the movie strain credibility to breaking point. Another actor might have been able to pull this off better.
There's a lack of continuity in the film: was it perhaps cut down from a much longer running time? At one point, Miller is a wanted murderer with his face plastered on the front pages. The next, kindly bus driver Charlie (Jim Broadbent) is unaccountably aiding him and Rochol seems to have assumed his innocence in later scenes.
Various spy caper clichés are mined to extreme - including those old classics 'swerve to avoid bullets'; 'gun shot but different gun'; and 'shot guy seems to live forever'. And there are double-agent 'twists' occurring that are utterly predictable.
A very specific continuity irritation for me was in an 'aircraft landing' scene. Markers are separated by nine paces (I went back and counted them!) yet a view from a plane shows them a 'runway-width' apart. This might have escaped scrutiny were it shown just once. But no... we have ground shot; air shot; ground shot; air shot..... repeatedly!
Summary thoughts: This was one of the cinema trailers that most appealed to me over a year ago, in those heady days in the sunlit-uplands of life before Covid-19. It's a movie that showed a great deal of promise, since the history is fascinating. And there is probably a really great TV serial in here: showing the 'alternate history' consequences of these high-society German girls penetrating British society and steering the war in a different direction (screenplay idea (C) RJ Mann!) But the potential is squandered with a non-credible spy caper bolted onto the side.
So with "Six Minutes to Midnight", Downton-director Andy Goddard has made a perfectly watchable 'rainy Sunday afternoon' film, that I enjoyed in part for its 'old-school' quirkiness. But it's frustrating that all the promise couldn't be transitioned into a more satisfying movie.
(For the full graphical review, please check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/04/six-minutes-to-midnight-a-39-steps-esque-thriller-but-not-quite-pulling-it-off/. Thanks).
Darren (1599 KP) rated Bandits (2001) in Movies
Jul 25, 2019
This is a film that I saw not long after it came out and didn’t recall much about it besides the fact that it starred Bruce Willis, Billy Bob Thornton and Cate Blanchett.
It’s actually quite a mediocre heist film since it tries much too hard to make this feel as if it’s story is one that could be “ripped from the headlines” and also feel pertinent to Reality TV, which was in its infancy at the time.
The chemistry between the characters is quite weak and the fact that Willis and Thornton don’t feel as if they are on level ground also hurts things since the characters are meant to be equal.
Blanchett’s character is quite annoying the whole way through and it’s pretty difficult to believe that she is able to have a romance with one of these men, and they want us to believe that she has one with both of them.
This love triangle just doesn’t work on any level.
The story itself is quite repetitive and they rehash things much too often instead of trying to break new ground along the way.
This film should have been much shorter and that might have been better if edited together.
The movie fails to decide whether it wants to be seen as a comedy or as a crime thriller and in the end it feels as if it is neither especially when there are too many scenes that play off as being overly melodramatic for their own good.
Bottom Line – Very mediocre heist film that tries too hard to feel as if it is “ripped from the headlines” during the beginning of the days of Reality TV. Willis and Thornton don’t work very well together because they never seem to feel as if their characters are on equal levels. Blanchett’s character is quite annoying throughout and its very hard to believe the love triangle that comes about. The story itself feels too repetitive and things could have been shortened a lot because they try to reestablish things that they previously established. The plot gets a bit too melodramatic for its own good and fails to make the decision of whether they want this to be seen as a comedy or as a crime thriller and in the end, it seems like neither.
It’s actually quite a mediocre heist film since it tries much too hard to make this feel as if it’s story is one that could be “ripped from the headlines” and also feel pertinent to Reality TV, which was in its infancy at the time.
The chemistry between the characters is quite weak and the fact that Willis and Thornton don’t feel as if they are on level ground also hurts things since the characters are meant to be equal.
Blanchett’s character is quite annoying the whole way through and it’s pretty difficult to believe that she is able to have a romance with one of these men, and they want us to believe that she has one with both of them.
This love triangle just doesn’t work on any level.
The story itself is quite repetitive and they rehash things much too often instead of trying to break new ground along the way.
This film should have been much shorter and that might have been better if edited together.
The movie fails to decide whether it wants to be seen as a comedy or as a crime thriller and in the end it feels as if it is neither especially when there are too many scenes that play off as being overly melodramatic for their own good.
Bottom Line – Very mediocre heist film that tries too hard to feel as if it is “ripped from the headlines” during the beginning of the days of Reality TV. Willis and Thornton don’t work very well together because they never seem to feel as if their characters are on equal levels. Blanchett’s character is quite annoying throughout and its very hard to believe the love triangle that comes about. The story itself feels too repetitive and things could have been shortened a lot because they try to reestablish things that they previously established. The plot gets a bit too melodramatic for its own good and fails to make the decision of whether they want this to be seen as a comedy or as a crime thriller and in the end, it seems like neither.
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