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Chris Sawin (602 KP) rated Moon (2009) in Movies
Jun 22, 2019
Sam Bell is at the end of his rope. He's an astronaut that took a job on the moon whose contract lasted three long years. The job requires him to send storage containers of Helium-3 back to Earth, which would essentially help with the planet's power situation. Other than his computer assistant, GERTY, Sam is alone. He's started talking to himself and basically feels like he's losing his mind since he's been on the moon for so long in this lonely state. The only thing that's really keeping him straight is the fact that he's supposed to go home in two weeks. Sam just wants to get home and see his wife and daughter, who's already growing up without him in her life. As Sam ventures outside for some everyday maintenance, he discovers something disturbing. An accident occurred while somebody was behind the wheel of one of the lunar vehicles and the unconscious man Sam pulls out of the vehicle looks exactly like him. Sam is then given the unfortunate task of trying to figure out if he's lost his marbles or if some conspiracy scheme has been transpiring right under his nose this entire time.
Moon has been one of my most anticipated films of the year ever since I saw the trailer a few months ago. Everything about the trailer pulled me in. Sam Rockwell looked to put in an incredible performance, the score sounded incredibly solid and fit the film like a glove, and it just looked like a really amazing sci-fi film. Have you ever walked away from a film completely satisfied? That feeling you have when you see a film that just sticks with you as its most memorable moments play through your head and you smile a little as you walk to your car? That's the feeling that pulsed through me after seeing Moon. A feeling that I've only felt a handful of times (The Dark Knight, Benjamin Button, Up, and Moon come to mind).
Sam Rockwell is really in top form here. I've always wanted to like him, but had always seen him in films where it felt like he was holding back and not showing his full potential. Moon definitely corrected that as Rockwell is really able to portray his acting range and how wonderful he really is. When I saw 1408, the first thing that crossed my mind after it ended was that John Cusack really carried that film. It was just him alone in a hotel room the majority of the film and he was able to make that worth watching. What John Cusack is to 1408, Sam Rockwell is to Moon as it's just Sam reacting to himself during the film's duration.
It's not often that I get to say a film met my expectations or satisfied me in every way, but Moon did just that. This is Sam Rockwell at his best. The film pulls you in as soon as the opening scene hits with Sam running on a treadmill and that familiar music from the trailer kicks in. My craving for an incredible and original sci-fi film for quite some time was met with this and it delivered in every aspect. It's definitely in the running for my favorite film of 2009.
Moon has been one of my most anticipated films of the year ever since I saw the trailer a few months ago. Everything about the trailer pulled me in. Sam Rockwell looked to put in an incredible performance, the score sounded incredibly solid and fit the film like a glove, and it just looked like a really amazing sci-fi film. Have you ever walked away from a film completely satisfied? That feeling you have when you see a film that just sticks with you as its most memorable moments play through your head and you smile a little as you walk to your car? That's the feeling that pulsed through me after seeing Moon. A feeling that I've only felt a handful of times (The Dark Knight, Benjamin Button, Up, and Moon come to mind).
Sam Rockwell is really in top form here. I've always wanted to like him, but had always seen him in films where it felt like he was holding back and not showing his full potential. Moon definitely corrected that as Rockwell is really able to portray his acting range and how wonderful he really is. When I saw 1408, the first thing that crossed my mind after it ended was that John Cusack really carried that film. It was just him alone in a hotel room the majority of the film and he was able to make that worth watching. What John Cusack is to 1408, Sam Rockwell is to Moon as it's just Sam reacting to himself during the film's duration.
It's not often that I get to say a film met my expectations or satisfied me in every way, but Moon did just that. This is Sam Rockwell at his best. The film pulls you in as soon as the opening scene hits with Sam running on a treadmill and that familiar music from the trailer kicks in. My craving for an incredible and original sci-fi film for quite some time was met with this and it delivered in every aspect. It's definitely in the running for my favorite film of 2009.
Tyondai Braxton recommended Multistability by Mark Fell in Music (curated)
A Promised Land
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A riveting, deeply personal account of history in the making-from the president who inspired us to...
BankofMarquis (1832 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
May 19, 2019 (Updated May 19, 2019)
Great Fight Choreography in a very strong 3rd Chapter
The latest installment of the JOHN WICK story (titled CHAPTER 3 - PARABELLUM) is one long chase scene. It's 2 hours and 10 minutes of John Wick (Keanu Reeves) running and fighting and chasing and fighting and running again and fighting again.
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
Darren (1599 KP) rated A History of Violence (2005) in Movies
Jun 20, 2019
Story: A History of Violence starts as we meet mild-mannered Tom Stall (Mortensen) working in his local diner with his own family, wide Edie (Bello) and child Jack (Holmes) and Sarah. One evening two men arrive in his diner trying to rob and kill the people inside, Tom’s quick thinking kills the criminals making him a local hero.
The act of heroism brings gangster Carl Fogarty (Harris) to town who claims Tom is from the criminal underworld hiding out with his older brother Richie (Hurt) waiting for him to return back to the criminal world.
Thoughts on A History of Violence
Characters – Tom Stall is a quiet man, running a diner having a loving family, he steps up to protect his customers and friends makes him a local hero. Now he has drawn a target on his chest with his past coming back to haunt him. Edie is the wife of Tom, she works in law bring home the bigger pay checks, she supports Tom, until she learns the truth and must decide where she stands with him. Carl Fogarty is the mysterious stranger that arrives in town claiming to know Tom from a previous life, he brings the danger back into Tom’s life with the past he wanted to run away from. Richie is the crime boss and brother to Tom, he has been searching for his brother for years and now sees the chance for the connection.
Performances – Viggo Mortensen is outstanding in this leading role we see how he keeps his character perfectly calm in everyday life and how the switch can make him a deadly killer, this is an ability that not everyone can achieve. Maria Bello is strong in her role as a woman unsure who her husband really is. Ed Harris and William Hurt in the supporting role are fantastic both take over the screen with their presence adding much needed tension to everything.
Story – The story here follows a mild-mannered man whose past comes back to haunt him after protect people he loves and cares about. This is almost like the story that follows up one of the gangster films where we see someone leave the life only to get drawn back years later against his will. The film like to use the idea of violence being the breaking point for relationships between husband & wife, father & son and two brothers which gets played out perfectly. There is an air of tension from start to finish in the film which leaves us only wanting to see where things would go next.
Thriller – The film uses the tension to keep us feeling uneasy through nearly each moment in the film never knowing what would happen next.
Settings – The film is set in a small town which Tom makes safe and happy, if would make sense for his character to be there too, it shows how media can expose anybody’s secret.
Scene of the Movie – The first crime rescue.
That Moment That Annoyed Me – The bullying side which isn’t the most important thing we see.
Final Thoughts – This is one of the best modern thrillers you will see, you have four stunning performances and shocks around each corner.
Overall: Stunning thriller
https://moviesreview101.com/2018/10/21/viggo-mortensen-weekend-a-history-of-violence-2005/
The act of heroism brings gangster Carl Fogarty (Harris) to town who claims Tom is from the criminal underworld hiding out with his older brother Richie (Hurt) waiting for him to return back to the criminal world.
Thoughts on A History of Violence
Characters – Tom Stall is a quiet man, running a diner having a loving family, he steps up to protect his customers and friends makes him a local hero. Now he has drawn a target on his chest with his past coming back to haunt him. Edie is the wife of Tom, she works in law bring home the bigger pay checks, she supports Tom, until she learns the truth and must decide where she stands with him. Carl Fogarty is the mysterious stranger that arrives in town claiming to know Tom from a previous life, he brings the danger back into Tom’s life with the past he wanted to run away from. Richie is the crime boss and brother to Tom, he has been searching for his brother for years and now sees the chance for the connection.
Performances – Viggo Mortensen is outstanding in this leading role we see how he keeps his character perfectly calm in everyday life and how the switch can make him a deadly killer, this is an ability that not everyone can achieve. Maria Bello is strong in her role as a woman unsure who her husband really is. Ed Harris and William Hurt in the supporting role are fantastic both take over the screen with their presence adding much needed tension to everything.
Story – The story here follows a mild-mannered man whose past comes back to haunt him after protect people he loves and cares about. This is almost like the story that follows up one of the gangster films where we see someone leave the life only to get drawn back years later against his will. The film like to use the idea of violence being the breaking point for relationships between husband & wife, father & son and two brothers which gets played out perfectly. There is an air of tension from start to finish in the film which leaves us only wanting to see where things would go next.
Thriller – The film uses the tension to keep us feeling uneasy through nearly each moment in the film never knowing what would happen next.
Settings – The film is set in a small town which Tom makes safe and happy, if would make sense for his character to be there too, it shows how media can expose anybody’s secret.
Scene of the Movie – The first crime rescue.
That Moment That Annoyed Me – The bullying side which isn’t the most important thing we see.
Final Thoughts – This is one of the best modern thrillers you will see, you have four stunning performances and shocks around each corner.
Overall: Stunning thriller
https://moviesreview101.com/2018/10/21/viggo-mortensen-weekend-a-history-of-violence-2005/
Movie Metropolis (309 KP) rated Taken 3 (2015) in Movies
Jun 11, 2019
Impossible to recommend
The first Taken propelled Liam Neeson to action man stardom and became one of the most surprising hits of 2009. Its successor to some extent managed to capture the same thrilling suspense despite its ridiculous 12A certification.
Despite Neeson’s efforts to shut the series down, he decided to return as Bryan Mills for his final outing, Taken 3, but can it hold a candle to its predecessors?
No is the short answer. Everything from Neeson’s phoned-in performance to the horrific camerawork and poor special effects ensure it becomes the first turkey of 2015, and by the end, you’ll wish it was you being taken – out of the cinema.
Taken 3 follows Mills as he tries to evade the LAPD after he is wrongly accused of killing his wife Lenny – played by Famke Janssen who wasliamneeson clearly more interested in the paycheque than anything else.
This is the first problem with the film. Showing the killing of Janssen’s character in the trailer makes the audience all too aware of where the film is going – destroying any suspense that you would expect from the murder of a series’ main character.
Maggie Grace returns as Kim, now looking like the world’s oldest teenager and is the only actor to leave the film with their reputation intact. Her performance is decent but the hammy, almost comedic dialogue she is given to work with spoils her credibility.
Taken-3-Movie-PosterA new addition is Forest Whitaker who plays the detective tasked with bringing Mills in, Franck Dotzler, though he again gives a career-worst performance.
As with its predecessor, Taken 3 suffers from a ridiculous 12A certification which means that Neeson is only able to look vaguely menacing. The action which was such an integral part of the first film is completely lost and becomes repetitive after seeing the 15th punch in a row.
Unfortunately, Oliver Megaton’s uninspiring direction only worsens things. Taking lessons from the Michael Bay school of cinematography, everything is ridiculously shaky, devoid of any suspense or tension at all.
The final act of Taken 3’s 109 minute running time alleviates the offerings somewhat but there’s a twist you can see coming from a mile away.
Overall, Neeson’s performances have always bettered some of the more average films of his career, but by the time the end credits role here it feels like Liam himself is fed up. From an incomprehensible script to bland performances, Taken 3 is a dire film which simply is impossible to give a recommendation.
https://moviemetropolis.net/2015/01/09/impossible-to-recommend-taken-3-review/
Despite Neeson’s efforts to shut the series down, he decided to return as Bryan Mills for his final outing, Taken 3, but can it hold a candle to its predecessors?
No is the short answer. Everything from Neeson’s phoned-in performance to the horrific camerawork and poor special effects ensure it becomes the first turkey of 2015, and by the end, you’ll wish it was you being taken – out of the cinema.
Taken 3 follows Mills as he tries to evade the LAPD after he is wrongly accused of killing his wife Lenny – played by Famke Janssen who wasliamneeson clearly more interested in the paycheque than anything else.
This is the first problem with the film. Showing the killing of Janssen’s character in the trailer makes the audience all too aware of where the film is going – destroying any suspense that you would expect from the murder of a series’ main character.
Maggie Grace returns as Kim, now looking like the world’s oldest teenager and is the only actor to leave the film with their reputation intact. Her performance is decent but the hammy, almost comedic dialogue she is given to work with spoils her credibility.
Taken-3-Movie-PosterA new addition is Forest Whitaker who plays the detective tasked with bringing Mills in, Franck Dotzler, though he again gives a career-worst performance.
As with its predecessor, Taken 3 suffers from a ridiculous 12A certification which means that Neeson is only able to look vaguely menacing. The action which was such an integral part of the first film is completely lost and becomes repetitive after seeing the 15th punch in a row.
Unfortunately, Oliver Megaton’s uninspiring direction only worsens things. Taking lessons from the Michael Bay school of cinematography, everything is ridiculously shaky, devoid of any suspense or tension at all.
The final act of Taken 3’s 109 minute running time alleviates the offerings somewhat but there’s a twist you can see coming from a mile away.
Overall, Neeson’s performances have always bettered some of the more average films of his career, but by the time the end credits role here it feels like Liam himself is fed up. From an incomprehensible script to bland performances, Taken 3 is a dire film which simply is impossible to give a recommendation.
https://moviemetropolis.net/2015/01/09/impossible-to-recommend-taken-3-review/
Gareth von Kallenbach (980 KP) rated Borat (2006) in Movies
Aug 14, 2019
One of the funniest and most shockingly outrageous comedies in the history of film has arrived, and it is poised not only to make Sacha Baron Cohen a major star, but also ignite controversy. The film is Borat and it follows Cohen’s Kazakhstan news man, Borat, as he leaves his homeland to film a documentary in New York.
Naturally one would expect a fish out of water story, but fans are treated to much more than this as Borat and his backwards thoughts and practices and given form all over the U.S. often to the shock of those around him as well as howls of laughter from the audience.
You see Borat is a man with a few issues. He is anti-Semitic, a misogynist, ignorant and uncultured, and not ashamed of his actions which grow bolder and more outrageous as the film progresses.
The opening segments in his native land like the entire film is filled with one rapid fire joke after another as Borat introduces us to his family and key people in his town such as the town rapist and his sister the prostitute. As funny as the setup and the settings are, it is the clever comments that Cohen slips in that allows Borat to make some biting social and political commentaries.
Once in America, he travels from New York to Los Angeles making several stops along the way with side splitting results as Borat encounters events ranging from a rodeo, polite society, pop culture, a religious revival and much more.
The amazing thing about the film is that it never grows old and over the roughly 84 minutes of the films running time, there are plenty of jokes and a absence of slow spots which are often so common in comedies today.
Cohen is great at portraying Borat as a likeable guy who does not know any better which makes his comments and actions so easy to take. Cohen who is himself Jewish is able to get away with making jokes about his faith as he is doing it through the persona of someone who is ignorant to many realities in the world.
In a way the film allows us to laugh at ourselves as well as Borat is supposed to be a foreigner who does not know better, but is wiser in some ways due to his ignorance of topics. There is a scene where Borat buys a car is a true look at consumerism in the West as he spells out in graphic detail what he wants in a car and what he expects it to do for his love life.
Not only is the scene outrageous but it underscores the message of sex appeal and desirability that is prevalent in car ads aimed at men. Instead of hinting at it, Borat lifts the lid on the subject and takes it on with no punches pulled.
The film is tricky to review as one of the greatest joys of the film is the sense of discovery and not knowing where or what Borat will say or do next. Suffice it to say, that the film is a comedic masterpiece that will have you shocked and laughing harder than any film in recent memory.
Naturally one would expect a fish out of water story, but fans are treated to much more than this as Borat and his backwards thoughts and practices and given form all over the U.S. often to the shock of those around him as well as howls of laughter from the audience.
You see Borat is a man with a few issues. He is anti-Semitic, a misogynist, ignorant and uncultured, and not ashamed of his actions which grow bolder and more outrageous as the film progresses.
The opening segments in his native land like the entire film is filled with one rapid fire joke after another as Borat introduces us to his family and key people in his town such as the town rapist and his sister the prostitute. As funny as the setup and the settings are, it is the clever comments that Cohen slips in that allows Borat to make some biting social and political commentaries.
Once in America, he travels from New York to Los Angeles making several stops along the way with side splitting results as Borat encounters events ranging from a rodeo, polite society, pop culture, a religious revival and much more.
The amazing thing about the film is that it never grows old and over the roughly 84 minutes of the films running time, there are plenty of jokes and a absence of slow spots which are often so common in comedies today.
Cohen is great at portraying Borat as a likeable guy who does not know any better which makes his comments and actions so easy to take. Cohen who is himself Jewish is able to get away with making jokes about his faith as he is doing it through the persona of someone who is ignorant to many realities in the world.
In a way the film allows us to laugh at ourselves as well as Borat is supposed to be a foreigner who does not know better, but is wiser in some ways due to his ignorance of topics. There is a scene where Borat buys a car is a true look at consumerism in the West as he spells out in graphic detail what he wants in a car and what he expects it to do for his love life.
Not only is the scene outrageous but it underscores the message of sex appeal and desirability that is prevalent in car ads aimed at men. Instead of hinting at it, Borat lifts the lid on the subject and takes it on with no punches pulled.
The film is tricky to review as one of the greatest joys of the film is the sense of discovery and not knowing where or what Borat will say or do next. Suffice it to say, that the film is a comedic masterpiece that will have you shocked and laughing harder than any film in recent memory.
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
A Summer of Surprises: And, an Unexpected Affair
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An Unexpected Affair After her divorce, Eleanor Mace decides to begin a new life running a quirky...