Search
Search results
LoganCrews (2861 KP) rated We Summon the Darkness (2019) in Movies
Jan 5, 2021
This is fun but there's no reason it shouldn't be gorier, crazier, more inventive, and/or more insightful given the film's insanely clever choice to frame a horror/slasher flick through the lens of religious sects vs. metal culture in the 80s - but I digress, perfectly serviceable fluff trash as it stands. Daddario is awesome in it, and I just can't get enough of Knoxville as a deliciously fire-and-brimstone pastor. I at least appreciate the formality - I'm glad this wasn't an obnoxiously meta "hey, remember this?" nostalgia soundboard like droves of films or shows detrimentally feel the need to become whenever they're set in the 80s now. But at the same time, there's so much potential for super bombastic kills and nuanced commentary that never was, and in their place it just tends to lumber for no real reason. Otherwise entertaining solely on principle, with another dependably cool score from Timothy Williams keeping things entertaining. And yes the twist is as righteous as everyone says. Not going to shake a stick at the amount of blood, enjoyment, and amped-up performances this does end up delivering - it's a decent little throwback slasher on its own - but God could you imagine if like Adam Wingard had made this? Holy hell what a picture that would have been.
Gareth von Kallenbach (962 KP) rated Early Man (2018) in Movies
Jul 8, 2019
From the creators of Chicken Run and Wallace and Gromit comes the “true”
story of the origin of the world’s most popular sport-football (or soccer
as we call it in the U.S.). A charming film that takes us back to the dawn
of man, The Stone Age, where a motley band of cavemen and women live an
archaic lifestyle foraging and hunting for their food.
Their way of life
is shattered as the Bronze age approaches, and mining for metal becoming
superior, along with the love of football (soccer) playing second. The
leader of the Bronze Age conquerors Lord Nooth strips the cavemen from
their land to mine for more metal and for smelting. Eager to keep their
way of life and get their home back, the Cavemen challenge Lord Nooth to a
game of football.
Who doesn’t love a good underdog story? As you can guess, it’s hysterical
slapstick humor and sheer silliness of epic proportion. In true Wallace
and Gromit fashion, Aardman animation create a movie with an underlying
sweetness that makes the audience fall in love with such delightful
characters.
Featuring an all-star British voice cast featuring Tom
Hiddleston, Maisie Williams, Tom Redmayne, and Timothy Spall, Early Man may
not be your typical run of the mill bright, boisterous, tug at the
heartstrings type of movie, but it definitely provides enough physical
comedy to keep the audience laughing and a great message about teamwork and
learning to coexist.
story of the origin of the world’s most popular sport-football (or soccer
as we call it in the U.S.). A charming film that takes us back to the dawn
of man, The Stone Age, where a motley band of cavemen and women live an
archaic lifestyle foraging and hunting for their food.
Their way of life
is shattered as the Bronze age approaches, and mining for metal becoming
superior, along with the love of football (soccer) playing second. The
leader of the Bronze Age conquerors Lord Nooth strips the cavemen from
their land to mine for more metal and for smelting. Eager to keep their
way of life and get their home back, the Cavemen challenge Lord Nooth to a
game of football.
Who doesn’t love a good underdog story? As you can guess, it’s hysterical
slapstick humor and sheer silliness of epic proportion. In true Wallace
and Gromit fashion, Aardman animation create a movie with an underlying
sweetness that makes the audience fall in love with such delightful
characters.
Featuring an all-star British voice cast featuring Tom
Hiddleston, Maisie Williams, Tom Redmayne, and Timothy Spall, Early Man may
not be your typical run of the mill bright, boisterous, tug at the
heartstrings type of movie, but it definitely provides enough physical
comedy to keep the audience laughing and a great message about teamwork and
learning to coexist.
Bob Mann (459 KP) rated Manchester by the Sea (2016) in Movies
Sep 29, 2021
Wow! I’d heard all about the Oscar hype surrounding this film but to be honest, while I thought I would be seeing a solid and well-made indie film, I went into it without great expectations of having an ‘enjoyable’ time: the trailer had “angst” written all over it. And – sure – it is emotional and harrowing in places. However, I was completely knocked out by the depth, the intelligence and the humour of this masterpiece.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.