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Emma @ The Movies (1786 KP) rated Lucky Grandma (2019) in Movies
Nov 7, 2019
The synopsis for this sounded okay but I can't say I was blown away. I popped this in my third tier films to watch at the London Film Festival, the "I'll try and see this if there's a gap" films. There was a gap so this ended up being my first film of the festival.
Grandma Wong doesn't have a lot to live on, her son wants her to move in with his family but she likes her independence. When her doctor/fortune teller says she's got a change in fortunes coming she decides to throw caution to the wind and test this new luck out. The experiment goes well until she crosses paths with Mr Lin, a member of the Red Dragon gang.
Tsai Chin is a delight, a grumpy delight as Grandma. She's a face I recognised but of course I couldn't remember from what... to IMDb... Two Bond films! I'm a terrible movie viewer right now. As well as those there are lods of other films and shows to her name, lots that you'd recognise. Her portrayal of Grandma is wonderful, she's hardened but funny, her reaction to everything was hilarious to me. This is exactly how I see myself being as an old lady, without the life threatening situations... probably. Chin brought just the right feeling to this role and captured all her ups and downs with just the right amount of stubborn.
The reltionship forged with Big Pong, plays by Hsiao-Yuan Ha, is lovely. The strange little friendship is a sweet inclusion and even when it take a turn they manage to make it through. Big Pong is her bodyguard, it was never a conventional employer/employee relationship and their interactions are very protective towards each other. Big Pong has a real moment of sheer joy when eating Grandma's food and that expression along with a lot of Ha's performance brought me a really happy feeling.
Michael Tow as Little Handsome deserves a special mention, the pure nutball rage is really quite insane and I don't know how someone would manage to do that.
There are some great montages that sum up Grandma's life. The one at the beginning is amusing but the next proves to be a brilliant contrast after her luck has changed. I like its consistency and how it managed to accomodate the story without affecting her day to day life too much.
On a whole the film felt just the right length, it moved along fairly quickly and the quirky relationships keep you interested. It potentially could have focused on some more of the peripheral characters a little, but I actually enjoyed the main focus. The shots are quite traditional but there's one shot of Grandma's apartment as she hears intruders, it captures the whole apartment and we see her edge into shot hiding. It created a really tense moment and if gave the instinctive desire to try and look round the corner.
I'm sure this won't be to everyone's taste as there are a fair amount of subtitled bits but it really doesn't distract that much from the film.
What you should do
It's a fun little film and if it makes it into a release somewhere then it would be something fun to watch.
Movie thing you wish you could take home
A big bag of money wouldn't go amiss.
Grandma Wong doesn't have a lot to live on, her son wants her to move in with his family but she likes her independence. When her doctor/fortune teller says she's got a change in fortunes coming she decides to throw caution to the wind and test this new luck out. The experiment goes well until she crosses paths with Mr Lin, a member of the Red Dragon gang.
Tsai Chin is a delight, a grumpy delight as Grandma. She's a face I recognised but of course I couldn't remember from what... to IMDb... Two Bond films! I'm a terrible movie viewer right now. As well as those there are lods of other films and shows to her name, lots that you'd recognise. Her portrayal of Grandma is wonderful, she's hardened but funny, her reaction to everything was hilarious to me. This is exactly how I see myself being as an old lady, without the life threatening situations... probably. Chin brought just the right feeling to this role and captured all her ups and downs with just the right amount of stubborn.
The reltionship forged with Big Pong, plays by Hsiao-Yuan Ha, is lovely. The strange little friendship is a sweet inclusion and even when it take a turn they manage to make it through. Big Pong is her bodyguard, it was never a conventional employer/employee relationship and their interactions are very protective towards each other. Big Pong has a real moment of sheer joy when eating Grandma's food and that expression along with a lot of Ha's performance brought me a really happy feeling.
Michael Tow as Little Handsome deserves a special mention, the pure nutball rage is really quite insane and I don't know how someone would manage to do that.
There are some great montages that sum up Grandma's life. The one at the beginning is amusing but the next proves to be a brilliant contrast after her luck has changed. I like its consistency and how it managed to accomodate the story without affecting her day to day life too much.
On a whole the film felt just the right length, it moved along fairly quickly and the quirky relationships keep you interested. It potentially could have focused on some more of the peripheral characters a little, but I actually enjoyed the main focus. The shots are quite traditional but there's one shot of Grandma's apartment as she hears intruders, it captures the whole apartment and we see her edge into shot hiding. It created a really tense moment and if gave the instinctive desire to try and look round the corner.
I'm sure this won't be to everyone's taste as there are a fair amount of subtitled bits but it really doesn't distract that much from the film.
What you should do
It's a fun little film and if it makes it into a release somewhere then it would be something fun to watch.
Movie thing you wish you could take home
A big bag of money wouldn't go amiss.
Andy K (10823 KP) rated The Irishman (2019) in Movies
Nov 28, 2019
Great but disappointing
Frank Sheeran starts in humble beginnings driving a meat truck while trying to make a living to support his family. He takes the favor of the right connect mobsters and quickly rises through the ranks to become one of its elite. He perpetrates countless villainous activities including murder, bribery, extortion and general unpleasantness toward his fellow man to the point where it almost becomes routine.
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
Lee (2222 KP) rated The Invisible Man (2020) in Movies
Mar 2, 2020
Right off the bat, this latest remake of the classic H.G. Wells story shows us just how suspenseful it can be. It’s the middle of the night and a wide-awake Cecilia (Elizabeth Moss) quietly climbs out of bed so as not to disturb her sleeping partner Adrian (Oliver Jackson-Cohen). It quickly becomes apparent that she has been waiting and planning for this moment to leave him for some time now, and she is absolutely terrified of waking him up. She creeps through their spacious modern glass home, gathering some of her belongings and occasionally checking a mobile feed of the CCTV camera that she has re-positioned in order to see Adrian asleep in bed. Already the tension is unbearable, and we’re only a few minutes into the movie!
A few weeks after her dramatic escape from Adrian and Cecilia is now in the safety of a friends house, police detective James (Aldis Hodge) and his teenage daughter Sydney (Storm Reid). It’s clear that the years of living with an abusive and controlling partner have taken their toll on Cecilia and she can barely even bring herself to leave the house, fearful of every stranger that passes her by. We don’t get to see any of what went on in her relationship with Adrian, and we barely know anything of him either, other than he is a tech billionaire and an expert in the field of ‘optics’. So, when word reaches Cecilia that Adrian has committed suicide, we’re even more in the dark about him. He becomes more of an unknown to us, making him all the more mysterious, and the events that consequently unfold throughout the movie all the more terrifying.
As Cecilia begins to settle back into some kind of normality, she slowly lets her guard down, which as we all know is a big mistake! While Cecilia is alone, we start to get different points of view of her, as if someone is watching her. We focus on areas of the house where nobody is in shot, before panning around to reveal…. nothing. Cecilia is not aware of anything, and we haven’t seen anything either, but you’re left on the edge of your seat, straining your eyes to desperately try and pick out some kind of evidence that someone or something is there with her. And then we begin to get confirmation that an invisible something is actually there – a falling knife, a kitchen fire and things being tampered with all start to put Cecilia back on edge, leading her to suspect that Adrian has found some way to continue making her life a misery. These events start off very subtle, but soon become more horrific and intense, clearly intended to gaslight Cecilia and portray her as crazy to everyone around her.
The traditional route for a movie like this would be to focus on our title character – in this case the invisible man. We might see a brilliant or tortured scientist, succeeding or failing with whatever they’re experimenting with, before following them and the consequences of their actions. By giving us very little backstory to our title character, writer and director Leigh Whannell has chosen instead to focus primarily on Cecilia and the psychological horror she endures. Elizabeth Moss gives us the full range of emotions as she endures her terrible ordeal, and you really do share in her isolation and terror throughout. She completely and brilliantly carries the movie – progressing from the lowest of lows to finally, and brilliantly, deciding it’s time to fight back!
A few weeks after her dramatic escape from Adrian and Cecilia is now in the safety of a friends house, police detective James (Aldis Hodge) and his teenage daughter Sydney (Storm Reid). It’s clear that the years of living with an abusive and controlling partner have taken their toll on Cecilia and she can barely even bring herself to leave the house, fearful of every stranger that passes her by. We don’t get to see any of what went on in her relationship with Adrian, and we barely know anything of him either, other than he is a tech billionaire and an expert in the field of ‘optics’. So, when word reaches Cecilia that Adrian has committed suicide, we’re even more in the dark about him. He becomes more of an unknown to us, making him all the more mysterious, and the events that consequently unfold throughout the movie all the more terrifying.
As Cecilia begins to settle back into some kind of normality, she slowly lets her guard down, which as we all know is a big mistake! While Cecilia is alone, we start to get different points of view of her, as if someone is watching her. We focus on areas of the house where nobody is in shot, before panning around to reveal…. nothing. Cecilia is not aware of anything, and we haven’t seen anything either, but you’re left on the edge of your seat, straining your eyes to desperately try and pick out some kind of evidence that someone or something is there with her. And then we begin to get confirmation that an invisible something is actually there – a falling knife, a kitchen fire and things being tampered with all start to put Cecilia back on edge, leading her to suspect that Adrian has found some way to continue making her life a misery. These events start off very subtle, but soon become more horrific and intense, clearly intended to gaslight Cecilia and portray her as crazy to everyone around her.
The traditional route for a movie like this would be to focus on our title character – in this case the invisible man. We might see a brilliant or tortured scientist, succeeding or failing with whatever they’re experimenting with, before following them and the consequences of their actions. By giving us very little backstory to our title character, writer and director Leigh Whannell has chosen instead to focus primarily on Cecilia and the psychological horror she endures. Elizabeth Moss gives us the full range of emotions as she endures her terrible ordeal, and you really do share in her isolation and terror throughout. She completely and brilliantly carries the movie – progressing from the lowest of lows to finally, and brilliantly, deciding it’s time to fight back!
Emma @ The Movies (1786 KP) rated The Personal History of David Copperfield (2019) in Movies
Mar 2, 2020
More classic literature retold for the modern audience, this time with a very distinctive and chaotic style.
Young David Copperfield is sent off into the world by his step-father. Unaware of the real woes of the world he must keep his spirits up as his surroundings changes to a much harsher nature. As he grows he's still a creative and happy-go-lucky young man but has he found himself in the place he truly wants to be?
I had to keep reminding myself that the film we were watching was being told to us by David himself, the chaotic nature throughout would have been, in part, down to his natural chaotic energy. It did become overwhelming at times though and starting the film with so many transitions was quite off putting.
I don't remember the last time I saw a cast this diverse, and that's a great thing but the cynical side of me did briefly wonder if it was diversity for the sake of that bit of recognition. Ugh, I hate thinking that, and it's in no way a reflection on the cast as they're all excellent actors, but I didn't feel like some of the character dynamics worked together. That may also have something to do with the frantic nature of everything else going on though.
There's definite theatre in this, each scene feels like it takes place in a confined space, like that of a stage, until it opens up at the end to its infinite future and possibilities.
Everything in this period drama feels wrong for a traditional period drama. The cities would normally be drab and dank but everything has a surprisingly light and airy nature to it, a quirk of David's optimism maybe? Each location was stunning though and designed perfectly for its needs. The Micawber's home being accessible from almost every angle to allow for the tussles with the creditors, and Mr Dick's room as a reflection of the chaos in his head. There was much to marvel at but so little time to see it as it fought for attention with the constantly moving script.
Dev Patel feels like the perfect choice for the role of Copperfield, the excitement and optimism in it is not that far off his portrayal of Sonny Kapoor in The Best Exotic Marigold Hotel. He brought the energy needed to keep up with the pace and it made for an entertaining lead.
Was this just too much though? So much story crammed into just 2 hours of screen time. Too many great actors never really getting a chance to make an impact [a very similar feeling to the Knives Out's roster]. A pace that was akin to a 2 hour version of Clue's multiple endings. Too much, I was exhausted after seeing it.
Having only seen Iannucci's directing before in Death Of Stalin I'm unsure as to whether this pacing issue is something common to him, I genuinely don't remember that being quite this chaotic, but that alone was enough to put me off. The experience felt rushed and that's never how I want to feel when I watch a film.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/the-personal-history-of-david.html
Young David Copperfield is sent off into the world by his step-father. Unaware of the real woes of the world he must keep his spirits up as his surroundings changes to a much harsher nature. As he grows he's still a creative and happy-go-lucky young man but has he found himself in the place he truly wants to be?
I had to keep reminding myself that the film we were watching was being told to us by David himself, the chaotic nature throughout would have been, in part, down to his natural chaotic energy. It did become overwhelming at times though and starting the film with so many transitions was quite off putting.
I don't remember the last time I saw a cast this diverse, and that's a great thing but the cynical side of me did briefly wonder if it was diversity for the sake of that bit of recognition. Ugh, I hate thinking that, and it's in no way a reflection on the cast as they're all excellent actors, but I didn't feel like some of the character dynamics worked together. That may also have something to do with the frantic nature of everything else going on though.
There's definite theatre in this, each scene feels like it takes place in a confined space, like that of a stage, until it opens up at the end to its infinite future and possibilities.
Everything in this period drama feels wrong for a traditional period drama. The cities would normally be drab and dank but everything has a surprisingly light and airy nature to it, a quirk of David's optimism maybe? Each location was stunning though and designed perfectly for its needs. The Micawber's home being accessible from almost every angle to allow for the tussles with the creditors, and Mr Dick's room as a reflection of the chaos in his head. There was much to marvel at but so little time to see it as it fought for attention with the constantly moving script.
Dev Patel feels like the perfect choice for the role of Copperfield, the excitement and optimism in it is not that far off his portrayal of Sonny Kapoor in The Best Exotic Marigold Hotel. He brought the energy needed to keep up with the pace and it made for an entertaining lead.
Was this just too much though? So much story crammed into just 2 hours of screen time. Too many great actors never really getting a chance to make an impact [a very similar feeling to the Knives Out's roster]. A pace that was akin to a 2 hour version of Clue's multiple endings. Too much, I was exhausted after seeing it.
Having only seen Iannucci's directing before in Death Of Stalin I'm unsure as to whether this pacing issue is something common to him, I genuinely don't remember that being quite this chaotic, but that alone was enough to put me off. The experience felt rushed and that's never how I want to feel when I watch a film.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/the-personal-history-of-david.html
Phillip McSween (751 KP) rated Toy Story 4 (2019) in Movies
Jul 29, 2019
About Life and Letting Go...
In yet another crazy adventure, Toy Story 4 sees Woody and the gang protecting Forky, Bonnie’s new toy she created from a spork in Kindergarten class.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
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