Search
Search results
Emma @ The Movies (1786 KP) rated Beetlejuice (1988) in Movies
Sep 25, 2019
I'm really enjoying the classic movie re-releases at Cineworld. I've been along to several in the last year and enjoyed every one of them, so when Beetlejuice came up in the listings it was a must see for me as I loved this from the very first time I saw it.
With the other releases I didn't have much to worry about, they were either brand new to me or I'd never seen them the whole way through so it was going to be a new experience... but this time... could I be risking those great memories? While it did run through my head while I waited for the film to start I wasn't going to deny myself the chance to see it on the big screen. It did bring up a few moments that made me ponder, but all in all I'm glad that I got the chance to see it in the cinema.
At 30 years old you'd expect things to be a little dated, and perhaps the general feel of the film is with some old fashioned clothing, but most of it still holds up. The one thing that makes you notice the age is the cast. Everyone looks so young!
It's a fantastic cast too. Alec Baldwin and Geena Davis, Adam and Barbara, the perfect couple living a peaceful life out in the country. Winona Ryder, Lydia, the dark and brooding teenage daughter of Jeffrey Jones' Charles and step-daughter to Catherine O'Hara's Delia. We of course can't forget the film's (almost) namesake, Michael Keaton as Betelgeuse. Each one brings a little something different to the film and you get some fun interactions between them all as well as with the supporting cast.
The only real thing that struck me after rewatching this after a few years is that Beetlejuice doesn't actually feature in it as much as I remember. But then the film itself also feels quite short, which at 1 and a half hours it is, again, I just didn't remember it that way.
Some of Beetlejuice's antics may feel a little cringe worthy to newer viewers. To be fair some did to me as a seasoned veteran of the movie. But his over the top nature and motor mouth lead to some entertaining diversions throughout.
The highlights for me as always are the dance routines. (And possibly some of the earliest twerking in the movie biz?) I think we were all dancing a little in our seats as they played out in front of us.
It still brings just as much fun as it did before, it's one of those favourites that you can watch anytime you need something a bit upbeat
What you should do
You should watch this at least once. It's daft and some fun lighthearted humour to break up a dull day.
Movie thing you wish you could take home
If I could have the full backing band when I sing at home that would be great!
With the other releases I didn't have much to worry about, they were either brand new to me or I'd never seen them the whole way through so it was going to be a new experience... but this time... could I be risking those great memories? While it did run through my head while I waited for the film to start I wasn't going to deny myself the chance to see it on the big screen. It did bring up a few moments that made me ponder, but all in all I'm glad that I got the chance to see it in the cinema.
At 30 years old you'd expect things to be a little dated, and perhaps the general feel of the film is with some old fashioned clothing, but most of it still holds up. The one thing that makes you notice the age is the cast. Everyone looks so young!
It's a fantastic cast too. Alec Baldwin and Geena Davis, Adam and Barbara, the perfect couple living a peaceful life out in the country. Winona Ryder, Lydia, the dark and brooding teenage daughter of Jeffrey Jones' Charles and step-daughter to Catherine O'Hara's Delia. We of course can't forget the film's (almost) namesake, Michael Keaton as Betelgeuse. Each one brings a little something different to the film and you get some fun interactions between them all as well as with the supporting cast.
The only real thing that struck me after rewatching this after a few years is that Beetlejuice doesn't actually feature in it as much as I remember. But then the film itself also feels quite short, which at 1 and a half hours it is, again, I just didn't remember it that way.
Some of Beetlejuice's antics may feel a little cringe worthy to newer viewers. To be fair some did to me as a seasoned veteran of the movie. But his over the top nature and motor mouth lead to some entertaining diversions throughout.
The highlights for me as always are the dance routines. (And possibly some of the earliest twerking in the movie biz?) I think we were all dancing a little in our seats as they played out in front of us.
It still brings just as much fun as it did before, it's one of those favourites that you can watch anytime you need something a bit upbeat
What you should do
You should watch this at least once. It's daft and some fun lighthearted humour to break up a dull day.
Movie thing you wish you could take home
If I could have the full backing band when I sing at home that would be great!
Chris Sawin (602 KP) rated Black Swan (2010) in Movies
Jun 21, 2019 (Updated Jun 23, 2019)
Darren Aronofsky has been circling movie news sites pretty frequently as of late. He recently signed on to direct the stand-alone sequel to Wolverine (appropriately titled The Wolverine). He also developed a rather large and devoted fanbase over the course of directing fantastically surreal films such as Pi, Requiem for a Dream, and The Wrestler, but his psychological thriller Black Swan has also been gaining quite a bit of steam leading up to its December 3rd release. Despite Aronofsky's already well-established reputation and the rather high anticipation for the film, Black Swan still delivers a product that is even better than expected.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
BankofMarquis (1832 KP) rated Edward Scissorhands (1990) in Movies
Apr 23, 2020
Has more heart than later Burton/Depp collaborations
There have been many actor/director long term collaborations through the years - John Ford/John Wayne, Martin Scorcese/Robert DeNiro and Alfred Hitchock/Jimmy Stewart all come to mind. Another interesting collaboration is the unique one between Tim Burton and Johnny Depp. The films these 2 have made have shown an "outsider" being introduced into an environment - usually in a quirky and gothic dark manner. So it was interesting to go back to the film that started it all - 1990's EDWARD SCISSORHANDS.
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)