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Daniel Boyd (1066 KP) rated The Jungle Book (2016) in Movies
Jul 21, 2017
Incredible CGI (2 more)
Amazing voice acting
New versions of classic songs
The King Of The Swingers
I was sceptical going in, as I’m not a huge fan of the original Disney cartoon version and the fact that the only live action performance in the movie was being delivered by a child actor definitely made me fairly dubious. However I actually enjoyed this movie. The young actor portraying Mowgli is a bit cringeworthy at times, but when you think that all he had to work with was a bunch of green screens and voiceovers, he did a remarkably good job, especially considering his age. He wasn’t anywhere near as good as Jaeden Lieberher was in Midnight Special, but he did a decent job of carrying the movie’s plot along. The CG work in this movie is mind blowing. Disney have gone all out and went for a hyper realistic style of animation and at times, even as an animator myself, I forgot that these animals and environments were cartoons and totally bought them as real world objects and environments. Also the cast is made up of Hollywood gold and all of the voice performances are spot on. Ben Kingsley does a great job as the parental panther who guides Mowgli along his journey and whoever decided to cast Bill Murray as Baloo deserves a raise, as that is a stroke of casting genius. Murray is hilarious here and his relationship with Mowgli is also fantastic. Scarlett Johannsen does a decent job as the snake, but to be honest it is more of a cameo role as she is in the movie for under five minutes. Of course it would be a crime not to mention the legend that is Christopher Walken and his fantastic performance as King Louie. He gives off a perfect blend of charm and villainy and his rendition of King Of The Swingers is also very entertaining. However, although all of the above voice performances were great, there is one that completely steals the show and that is Idris Elba as the antagonist Lion, Sher Khan. The command that Elba has over his vocal performance is incredible, he is such a threatening presence throughout the entire movie and he completely steals every single scene that he is in. Several people have also complained about the use of the music in the film, but that was actually one of my favourite parts of the film, Bare Necessities is used as more of a shanty than an actual song, and King Of The Swingers performed by Walken, is in my opinion very well implemented and serves as an awesome new take on the classic song. The one gripe that I have about the film is that, it is quite slow at times and I was left fairly bored several times, as were a lot of the kids in the theatre by the looks of it. If I didn’t have to keep an eye on the kids we were looking after I probably would have drifted off and to be honest I don’t know if they really enjoyed much either, they seemed to either be scared by Sher Khan and hiding their eyes or bored and fidgety. Although it’s hard to deny that this is a very well made movie and while not totally faithful to its source material, it is a fresh new take on the classic story for a new generation. I would like to see the film again without a wriggling child on my knee, but I did enjoy myself with this movie overall.
Movie Metropolis (309 KP) rated Run All Night (2015) in Movies
Jun 11, 2019
Neeson at his gritty best
It’s fair to say Liam Neeson has picked some decidedly dodgy acting jobs since his rise to become an A-list Hollywood action hero. From a disappointing turn in the most recent A Team movie to the laughably bad Taken 3, he seems to have been turned from fan favourite to the butt of so many jokes.
After January’s poorly received Taken 3, Neeson returns to give the genre another go in Run All Night, but does Jaume Collet-Serra’s intriguing direction return him to the top of the food chain?
Run All Night follows the story of Neeson’s Jimmy Conlon as he does his best to keep his son Michael, played by Joel Kinnaman, away from the deadly clutches of Sean Maguire, a brutal underworld gangster portrayed by Ed Harris, after the murder of Sean’s son Danny over the course of 16 hours.
What ensues is a formulaic action thriller featuring by-the-numbers set pieces that are interspersed with some inspiring cinematography and all the actors at the top of their game.
Neeson’s Jimmy is an alcoholic former hit man, previously employed by Maguire, who has decided to move away from his shady past and become a more rounded individual. His interactions with Ed Harris’ brilliant Sean are excellent and the pair have genuine chemistry – it’s just a shame that their backstory isn’t built on a little more.
As the audience follows Jimmy and Michael evading the police, mobsters and professional hired killers, the film traces their backstory, almost using the action-packed set pieces as checkpoints for a bit more history and from a genre that rarely utilises character development, this is a welcome addition.
The cinematography is truly stunning. The sweeping shots of New York City are inspired and the use of tracking and aerial panning instead of simply fading between scenes stylises the film like no other action movie from the last few years.
There is an air of The Taking of Pelham 123 in Serra’s direction, and of course the similarities to Neeson’s Taken and Serra’s very own Non-Stop that also starred the Irish actor are obvious.
Unfortunately, all these comparisons mean that Run All Night isn’t particularly original in premise despite its unique direction. We’ve seen it all before, we saw Neeson running about and shooting bad guys in Taken, Taken 2 and Taken 3. We saw him try to get the bottom of a serious problem in Non-Stop and we saw him take on the role of a troubled alcoholic in The Grey.
Yes, after Taken 3, Run All Night showcases Neeson at his gritty best, but it’s in Ed Harris that we find the most intriguing
character and he puts everything into Sean Maguire – despite his more than familiar name.
Thankfully, Serra and the production crew steered away from creating a film that would please the masses and opted for an often brutal, yet strangely warming action thriller – along the way avoiding the pitfalls of some of Neeson’s previous efforts.
Overall, Run All Night isn’t the disaster it could have been and shows what everyone’s favourite Irish actor is capable of when given the right material to work with. Ed Harris is also on point and Jaume Collet-Serra’s direction goes above and beyond what the genre asks for.
Only an underwhelming final act and a highly unoriginal story stop it from becoming the film it so deeply wanted to be.
https://moviemetropolis.net/2015/03/15/neeson-at-his-gritty-best-run-all-night-review/
After January’s poorly received Taken 3, Neeson returns to give the genre another go in Run All Night, but does Jaume Collet-Serra’s intriguing direction return him to the top of the food chain?
Run All Night follows the story of Neeson’s Jimmy Conlon as he does his best to keep his son Michael, played by Joel Kinnaman, away from the deadly clutches of Sean Maguire, a brutal underworld gangster portrayed by Ed Harris, after the murder of Sean’s son Danny over the course of 16 hours.
What ensues is a formulaic action thriller featuring by-the-numbers set pieces that are interspersed with some inspiring cinematography and all the actors at the top of their game.
Neeson’s Jimmy is an alcoholic former hit man, previously employed by Maguire, who has decided to move away from his shady past and become a more rounded individual. His interactions with Ed Harris’ brilliant Sean are excellent and the pair have genuine chemistry – it’s just a shame that their backstory isn’t built on a little more.
As the audience follows Jimmy and Michael evading the police, mobsters and professional hired killers, the film traces their backstory, almost using the action-packed set pieces as checkpoints for a bit more history and from a genre that rarely utilises character development, this is a welcome addition.
The cinematography is truly stunning. The sweeping shots of New York City are inspired and the use of tracking and aerial panning instead of simply fading between scenes stylises the film like no other action movie from the last few years.
There is an air of The Taking of Pelham 123 in Serra’s direction, and of course the similarities to Neeson’s Taken and Serra’s very own Non-Stop that also starred the Irish actor are obvious.
Unfortunately, all these comparisons mean that Run All Night isn’t particularly original in premise despite its unique direction. We’ve seen it all before, we saw Neeson running about and shooting bad guys in Taken, Taken 2 and Taken 3. We saw him try to get the bottom of a serious problem in Non-Stop and we saw him take on the role of a troubled alcoholic in The Grey.
Yes, after Taken 3, Run All Night showcases Neeson at his gritty best, but it’s in Ed Harris that we find the most intriguing
character and he puts everything into Sean Maguire – despite his more than familiar name.
Thankfully, Serra and the production crew steered away from creating a film that would please the masses and opted for an often brutal, yet strangely warming action thriller – along the way avoiding the pitfalls of some of Neeson’s previous efforts.
Overall, Run All Night isn’t the disaster it could have been and shows what everyone’s favourite Irish actor is capable of when given the right material to work with. Ed Harris is also on point and Jaume Collet-Serra’s direction goes above and beyond what the genre asks for.
Only an underwhelming final act and a highly unoriginal story stop it from becoming the film it so deeply wanted to be.
https://moviemetropolis.net/2015/03/15/neeson-at-his-gritty-best-run-all-night-review/
Matthew Krueger (10051 KP) rated Doctor Sleep (2019) in Movies
Nov 11, 2019 (Updated Nov 12, 2019)
39 Years Later: Redrum aka Murder
Doctor Sleep- if you dont know is the sequel to the shining. I have been waiting for this movie to come out ever since it got announced. I read the book over two years again and i loved it. I didnt even know their was a sequel to the shining until i read the book. The book is phenomenal, it is acutally my first stephen king novel that i read and finshed, so to say at less, i was hyped and very anticpated, so what did i think. I thought it was good. I liked it alot.
Ewan McGregor was a perfect cast for Danny Torrance and Rebecca Ferguson was excellent as Rose The Hat and newcomer actress Kyliegh Curran was great as Abra Stone. Mike Flanagan was amazing choice for the dirctor. I liked his other movies that he directed and also loved The Haunting of Hill House which he created and directed.
The Recreated sences from the oringal film was intresting, i liked it not to bad. The hotel looks the same, old, crooked, haunted, scary, horrorfying and terrorfying. The replacements for Dick Hallorann, young Danny, Wendy and Llyod/Jack were intresting. I really liked the actress who played Wendy. As for Dick, i liked the actor who played him. As for young Danny he was good and Llyod/Jack the actor who played him was okay/bad, he just did a impression of Jack Nichoslon and looked like a young Jack Nicolson.
This is intresting, i just found this out: Danny Lloyd, who played Danny Torrance in The Shining, makes a cameo appearance as Bradley Trevor's father. Lloyd had been retired from acting for roughly 38 years, and was direct-messaged on Twitter by Flanagan to appear in the film. Producer Trevor Macy said of Lloyd's involvement, "[Lloyd] was excited to do [the cameo]. He hadn't acted since [the original]. He's a schoolteacher, and a very successful one at that, [who] like[s] making the world better. He came back for a day, and we were thrilled to have him." When pressed as to why the filmmakers did not extend the same offer to Jack Nicholson, Macy responded, "With Jack, I knew that they approached him for Ready Player One, and that he seems to be very serious about being retired. I had known that he was supportive [of the sequel] but retired." Flanagan admitted, "I didn't know how that would really work. Even if he were to come back, if he were appearing as a different character, I thought that would set people's hair on fire. He was absolutely a presence on set, though, whether he knew it or not."
So thats intresting. I would of loved to see Jack Nichloson come out of retirement and play old Jack Torrance.
Doctor Sleep was a great/excellent sequel to the shining and what Mike Flanagan did was perfect he toke elements from Stanley Kubrick's film and made it his own. The cast is great, the story is great, the hotel is great.
If you havent seen the shining than watch it and read it. If you havent seen this movie, than go watch it and read it.
Ewan McGregor was a perfect cast for Danny Torrance and Rebecca Ferguson was excellent as Rose The Hat and newcomer actress Kyliegh Curran was great as Abra Stone. Mike Flanagan was amazing choice for the dirctor. I liked his other movies that he directed and also loved The Haunting of Hill House which he created and directed.
The Recreated sences from the oringal film was intresting, i liked it not to bad. The hotel looks the same, old, crooked, haunted, scary, horrorfying and terrorfying. The replacements for Dick Hallorann, young Danny, Wendy and Llyod/Jack were intresting. I really liked the actress who played Wendy. As for Dick, i liked the actor who played him. As for young Danny he was good and Llyod/Jack the actor who played him was okay/bad, he just did a impression of Jack Nichoslon and looked like a young Jack Nicolson.
This is intresting, i just found this out: Danny Lloyd, who played Danny Torrance in The Shining, makes a cameo appearance as Bradley Trevor's father. Lloyd had been retired from acting for roughly 38 years, and was direct-messaged on Twitter by Flanagan to appear in the film. Producer Trevor Macy said of Lloyd's involvement, "[Lloyd] was excited to do [the cameo]. He hadn't acted since [the original]. He's a schoolteacher, and a very successful one at that, [who] like[s] making the world better. He came back for a day, and we were thrilled to have him." When pressed as to why the filmmakers did not extend the same offer to Jack Nicholson, Macy responded, "With Jack, I knew that they approached him for Ready Player One, and that he seems to be very serious about being retired. I had known that he was supportive [of the sequel] but retired." Flanagan admitted, "I didn't know how that would really work. Even if he were to come back, if he were appearing as a different character, I thought that would set people's hair on fire. He was absolutely a presence on set, though, whether he knew it or not."
So thats intresting. I would of loved to see Jack Nichloson come out of retirement and play old Jack Torrance.
Doctor Sleep was a great/excellent sequel to the shining and what Mike Flanagan did was perfect he toke elements from Stanley Kubrick's film and made it his own. The cast is great, the story is great, the hotel is great.
If you havent seen the shining than watch it and read it. If you havent seen this movie, than go watch it and read it.
BankofMarquis (1832 KP) rated Glory (1989) in Movies
Apr 14, 2020
Well acted with tense battle scenes
Every now and then, I'll watch a specific scene in a movie and when it is complete, I say to myself - "that person just won the Oscar." Such was the case for a young "up and coming' actor in the 1989 Civil War film GLORY.
Directed by Richard Zwick (LEGENDS OF THE FALL) Glory tells the true story of the 54th Massachusetts Volunteer Infantry of the Union Army in the Civil War - the first all black infantry - and stars Mathew Broderick (FERRIS BUELLER'S DAY OFF), Cary Elwes (THE PRINCESS BRIDE), Morgan Freeman (on his way to becoming well known), Andre Braugher (in one of his first screen appearances) and Denzel Washington (who won an Oscar for his work).
Zwick does a wonderful job putting a unique spin on a standard story - ragtag group of soldiers band together, they go through bootcamp together and shift from a disparate group of individuals to a solid team - and then prove their worth in battle. This could have easily been a "paint by numbers" film but Zwick makes it something more, putting the emphasis on the soldiers and the obstacles they need to overcome and downplaying the danger and the violence. Don't get me wrong - the action sequences are intense and well made, they just aren't the point of the film.
The point of the film are the men who are involved - and the 5 leads are tremendous. Morgan Freeman shows the grace and leadership and authority that he would bring to many, many pictures. Elwes shows that he can command a screen, if given a chance and Denzel sparkles in his scenes. This picture shows a true movie star being born. But the real surprises for me on this viewing is the work of Matthew Broderick, playing a very different character than the light comedy performances we had seen from him in films like FERRIS BUELLER and on the stage that we would come to know him as in such musicals as THE PRODUCERS. This film shows that he has some wonderful acting chops and is just at home with a dramatic role as he is with a light comedic role.
But...the actor that really stood out from the others in this showing is the great Andre Braugher in his first Major Motion Picture appearance. He would go on to shine brightly in such roles as Detective Pembleton in HOMICIDE: LIFE ON THE STREETS and currently is starring as Captain Holt in BROOKLYN 99, but in Glory he was an unknown commodity and his portrayal of free, educated black man Thomas Searles - a childhood friend of both the Broderick and Elwes characters - who must adjust to being one of "the men" with this collection of uneducated former slaves and live in a tiered relationship with 2 men that are his peers and friends is heartbreaking to watch. Even though I was thrilled with Washington's Oscar (he does have the "Oscar scene" in this film), I thought Braugher's performance was just as good - maybe even better.
All of this leads the audience to a finale that is intense - and intensely personal - for you are invested in these men as they face insurmountable odds and most certain death.
I've been re-watching quite a few movies lately, and GLORY is one that hit me harder - and is better - than I remembered. Well worth checking out.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed by Richard Zwick (LEGENDS OF THE FALL) Glory tells the true story of the 54th Massachusetts Volunteer Infantry of the Union Army in the Civil War - the first all black infantry - and stars Mathew Broderick (FERRIS BUELLER'S DAY OFF), Cary Elwes (THE PRINCESS BRIDE), Morgan Freeman (on his way to becoming well known), Andre Braugher (in one of his first screen appearances) and Denzel Washington (who won an Oscar for his work).
Zwick does a wonderful job putting a unique spin on a standard story - ragtag group of soldiers band together, they go through bootcamp together and shift from a disparate group of individuals to a solid team - and then prove their worth in battle. This could have easily been a "paint by numbers" film but Zwick makes it something more, putting the emphasis on the soldiers and the obstacles they need to overcome and downplaying the danger and the violence. Don't get me wrong - the action sequences are intense and well made, they just aren't the point of the film.
The point of the film are the men who are involved - and the 5 leads are tremendous. Morgan Freeman shows the grace and leadership and authority that he would bring to many, many pictures. Elwes shows that he can command a screen, if given a chance and Denzel sparkles in his scenes. This picture shows a true movie star being born. But the real surprises for me on this viewing is the work of Matthew Broderick, playing a very different character than the light comedy performances we had seen from him in films like FERRIS BUELLER and on the stage that we would come to know him as in such musicals as THE PRODUCERS. This film shows that he has some wonderful acting chops and is just at home with a dramatic role as he is with a light comedic role.
But...the actor that really stood out from the others in this showing is the great Andre Braugher in his first Major Motion Picture appearance. He would go on to shine brightly in such roles as Detective Pembleton in HOMICIDE: LIFE ON THE STREETS and currently is starring as Captain Holt in BROOKLYN 99, but in Glory he was an unknown commodity and his portrayal of free, educated black man Thomas Searles - a childhood friend of both the Broderick and Elwes characters - who must adjust to being one of "the men" with this collection of uneducated former slaves and live in a tiered relationship with 2 men that are his peers and friends is heartbreaking to watch. Even though I was thrilled with Washington's Oscar (he does have the "Oscar scene" in this film), I thought Braugher's performance was just as good - maybe even better.
All of this leads the audience to a finale that is intense - and intensely personal - for you are invested in these men as they face insurmountable odds and most certain death.
I've been re-watching quite a few movies lately, and GLORY is one that hit me harder - and is better - than I remembered. Well worth checking out.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (977 KP) rated Selma (2015) in Movies
Aug 6, 2019
Set in 1965, the film follows the voting rights marches from Selma to Montgomery. During the time Black citizens had the legal right to vote, but there were countless strategies put into place to stop them from actually being able to use those voting rights.
The film does a good job of providing back story of what was happening that brought on the marches. It portrays the horrific brutality of a time when blatant hatred ripped through the soul of the nation.
During the Selma march, peaceful protestors dressed in their Sunday’s best were beaten (even killed) by local police. However, even the most hard to watch moments of violence were toned down in comparison to actual footage from the Selma march.
The visceral moments of raw emotion and terrible violence will give the audience chills
Martin Luther King, Jr. (David Oyelowo) would of course be a hard pair of shoes to fill as an actor. But somehow Oyelowo pulls it off with a passion that shows in his eyes. Even the ways in which Oyelowo delivers his speeches were powerful and moving, much in the way of the real MLK, Jr.
An intriguing part of the film is the attention given to MLK, Jr.’s wife, Coretta Scott King (Carmen Ejogo). She is a less talked about figure in history, but perhaps this will now change. She is shown to be a very strong and intelligent woman, who serves as the backbone to the King family. Her role as wife, mother, and political supporter are highlighted.
The cast selection is top notch, making the film very realistic.
Tom Wilkinson, who plays Lyndon B. Johnson, practically resurrects the late President. His physical appearance and vocals make the actor almost indistinguishable from the real LBJ. .
However, there is some controversy over the historical accuracy of certain aspects of the film. This especially is true in regards to the portrayal of LBJ.
He is portrayed as under pressure to pass legislation in favor of Black voters, but he himself comes off as a racist whose heart is not in the cause. This portrayal paints a picture of a dishonest man, wielding political power to save face. It is contradicting to the more well-known image of the LBJ who actually cared very much about civil rights and poverty.
The Voting Rights Act of 1965 is thought to be his most important piece of legislative work. It was certainly not just a mere political reaction to protestors, though they surely had a strong impact on making it happen.
No one can deny the power of MLK, Jr.’s work. It is a profound historical example of the possibility for political transformation through the will of the people.
Another point of question is whether or not it was JFK or LBJ who originally ordered the FBI surveillance of MLK, Jr. and those associated with him.
A slightly troubling aspect of the film is that it lacks showing any tinge of gender inequality, which was a pervasive part of that era. Also, it was hinted at that MLK, Jr. had infidelity issues. Personally, I had some question as to whether or not this was true, or if it was even a useful piece of information to include. Perhaps it was included to show a more human side to MLK, Jr.
All of these questions aside, “Selma” is an amazing and moving piece of work.
A finely crafted cinematic reflection of a deep and painful scar on American history, I give “Selma” 4.5 out of 5 stars.
The film does a good job of providing back story of what was happening that brought on the marches. It portrays the horrific brutality of a time when blatant hatred ripped through the soul of the nation.
During the Selma march, peaceful protestors dressed in their Sunday’s best were beaten (even killed) by local police. However, even the most hard to watch moments of violence were toned down in comparison to actual footage from the Selma march.
The visceral moments of raw emotion and terrible violence will give the audience chills
Martin Luther King, Jr. (David Oyelowo) would of course be a hard pair of shoes to fill as an actor. But somehow Oyelowo pulls it off with a passion that shows in his eyes. Even the ways in which Oyelowo delivers his speeches were powerful and moving, much in the way of the real MLK, Jr.
An intriguing part of the film is the attention given to MLK, Jr.’s wife, Coretta Scott King (Carmen Ejogo). She is a less talked about figure in history, but perhaps this will now change. She is shown to be a very strong and intelligent woman, who serves as the backbone to the King family. Her role as wife, mother, and political supporter are highlighted.
The cast selection is top notch, making the film very realistic.
Tom Wilkinson, who plays Lyndon B. Johnson, practically resurrects the late President. His physical appearance and vocals make the actor almost indistinguishable from the real LBJ. .
However, there is some controversy over the historical accuracy of certain aspects of the film. This especially is true in regards to the portrayal of LBJ.
He is portrayed as under pressure to pass legislation in favor of Black voters, but he himself comes off as a racist whose heart is not in the cause. This portrayal paints a picture of a dishonest man, wielding political power to save face. It is contradicting to the more well-known image of the LBJ who actually cared very much about civil rights and poverty.
The Voting Rights Act of 1965 is thought to be his most important piece of legislative work. It was certainly not just a mere political reaction to protestors, though they surely had a strong impact on making it happen.
No one can deny the power of MLK, Jr.’s work. It is a profound historical example of the possibility for political transformation through the will of the people.
Another point of question is whether or not it was JFK or LBJ who originally ordered the FBI surveillance of MLK, Jr. and those associated with him.
A slightly troubling aspect of the film is that it lacks showing any tinge of gender inequality, which was a pervasive part of that era. Also, it was hinted at that MLK, Jr. had infidelity issues. Personally, I had some question as to whether or not this was true, or if it was even a useful piece of information to include. Perhaps it was included to show a more human side to MLK, Jr.
All of these questions aside, “Selma” is an amazing and moving piece of work.
A finely crafted cinematic reflection of a deep and painful scar on American history, I give “Selma” 4.5 out of 5 stars.
Gareth von Kallenbach (977 KP) rated Snitch (2013) in Movies
Aug 7, 2019
I’m a huge fan of Dwayne “The Rock” Johnson. His wrestling persona is
extremely entertaining and he’s a pretty decent actor. He did good with this movie but it wasn’t enough.
The premise of the movie is based on ‘true events’ (whatever that
means), it’s more about a law that’s real in our country right now, I’ll get in to that later.
There are a lot of characters so stick with me. The Rock plays John
Matthews, he owns his own construction business. He has an ex-wife, Sylvie Collins played by Melina Kanakaredes, and a current wife, Analisa played by Nadine Velazquez.
Johnand Analisa
have a daughter Isabella and he has a son with Sylvie, Jason Collins played by Rafi Gavron. The other major players are Barry Pepper who plays undercover DEA agent Cooper; Susan Sarandon who plays Joanne Keeghan a US Attorney; Jon Bernthal
who plays Daniel James an ex-con trying to get his life back together; Michael Kenneth Williams who plays Malik, a drug dealer; and Benjamin Bratt who plays Cartel leader Juan Carlos. Out of all of these, I liked Daniel, Agent Cooper, John Matthews, Malik and
Joanne Keeghan, in that order.
The law the movie is based on is about mandatory minimums. If you are
holding and it’s enough to distribute then you go to jail. The length of your jail time is based on how
much you are holding when you’re caught. In this case, Jason, who is 18 and still in high
school, is set up by his ‘best friend’. This friend sends him a huge bag of ecstasy against Jason’s wishes.
When the package arrives Jason gets caught because it’s a
sting. His jail time based on the amount of ecstasy is ten years in a prison that holds murderers, rapist and violent criminals.
The movie starts excruciatingly slow, the real action doesn’t start until
almost halfway through, or at least it felt like it. It’s good once you get there but I wasn’t really into
the people in it/living it. I kept thinking of the actors as themselves not the characters
they were playing, even the ones I liked. There were too many close ups and‘in action’ scenes that involved someone with a camera running or walking next to the actor.
I getthat it was to try and build apprehension and anxiety but it was more annoying and kept pulling me out of the story so I couldn’t connect emotionally with the characters.
I didn’t believe the union between John and Analisa or that there had been one with Sylvie, there was no familiarity and I didn’t believe the love or tension between them.
John was a business man who’s never seen action so he’s kind of a wuss, but it’s the Rock, a huge tall muscle-y intense looking guy. Whenever he flinched I kept waiting for him to kick ass but he never does.
Then in another scene he’s magically badass, shooting
a shotgun one handed out of the window of a semi-truck he’s driving.
The movie was more about showing people this heinous law then entertainingus. I don’t like that, it’s not why I go to movies. The only saving grace would have been if it had been really entertaining but it was only mildly entertaining at best.
I’d say rent it if you like the Rock or if you’re curious, it wouldn’t be too much of a waste of your time but
definitely don’t waste your money in a theatre.
extremely entertaining and he’s a pretty decent actor. He did good with this movie but it wasn’t enough.
The premise of the movie is based on ‘true events’ (whatever that
means), it’s more about a law that’s real in our country right now, I’ll get in to that later.
There are a lot of characters so stick with me. The Rock plays John
Matthews, he owns his own construction business. He has an ex-wife, Sylvie Collins played by Melina Kanakaredes, and a current wife, Analisa played by Nadine Velazquez.
Johnand Analisa
have a daughter Isabella and he has a son with Sylvie, Jason Collins played by Rafi Gavron. The other major players are Barry Pepper who plays undercover DEA agent Cooper; Susan Sarandon who plays Joanne Keeghan a US Attorney; Jon Bernthal
who plays Daniel James an ex-con trying to get his life back together; Michael Kenneth Williams who plays Malik, a drug dealer; and Benjamin Bratt who plays Cartel leader Juan Carlos. Out of all of these, I liked Daniel, Agent Cooper, John Matthews, Malik and
Joanne Keeghan, in that order.
The law the movie is based on is about mandatory minimums. If you are
holding and it’s enough to distribute then you go to jail. The length of your jail time is based on how
much you are holding when you’re caught. In this case, Jason, who is 18 and still in high
school, is set up by his ‘best friend’. This friend sends him a huge bag of ecstasy against Jason’s wishes.
When the package arrives Jason gets caught because it’s a
sting. His jail time based on the amount of ecstasy is ten years in a prison that holds murderers, rapist and violent criminals.
The movie starts excruciatingly slow, the real action doesn’t start until
almost halfway through, or at least it felt like it. It’s good once you get there but I wasn’t really into
the people in it/living it. I kept thinking of the actors as themselves not the characters
they were playing, even the ones I liked. There were too many close ups and‘in action’ scenes that involved someone with a camera running or walking next to the actor.
I getthat it was to try and build apprehension and anxiety but it was more annoying and kept pulling me out of the story so I couldn’t connect emotionally with the characters.
I didn’t believe the union between John and Analisa or that there had been one with Sylvie, there was no familiarity and I didn’t believe the love or tension between them.
John was a business man who’s never seen action so he’s kind of a wuss, but it’s the Rock, a huge tall muscle-y intense looking guy. Whenever he flinched I kept waiting for him to kick ass but he never does.
Then in another scene he’s magically badass, shooting
a shotgun one handed out of the window of a semi-truck he’s driving.
The movie was more about showing people this heinous law then entertainingus. I don’t like that, it’s not why I go to movies. The only saving grace would have been if it had been really entertaining but it was only mildly entertaining at best.
I’d say rent it if you like the Rock or if you’re curious, it wouldn’t be too much of a waste of your time but
definitely don’t waste your money in a theatre.
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)
BankofMarquis (1832 KP) rated The Big Short (2015) in Movies
Apr 19, 2020
Gets Better On Each Rewatch
Most of you reading this review remember the last time the U.S. had a downturn in it's economy - it was 2008 and the downturn was caused by a bubble that burst in the housing market. Michael Lewis' (author of MONEYBALL) book THE BIG SHORT attempted to explain what happend in lay man's terms. This books was considered "unfilmable" until the most unlikeliest of artists stepped in to make a wonderfully crafted and educational film that was also entertaining.
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Judas and the Black Messiah (2021) in Movies
Apr 25, 2021
Kaluuya and Stanfield excel (1 more)
Great US history lesson on the Black Panther movement
"Politics is war without bloodshed"
The ‘Judas’ in “Judas and the Black Messiah” is Bill O’Neil (LaKeith Stanfield). He works as an informer for FBI man Mitchell (Jesse Plemons), who has him over a barrel for impersonating an FBI officer. Fred Hampton (Daniel Kaluuya) runs the Chicago chapter of the Black Panther party and O’Neil is a trusted comrade on the inside.
Will O’Neil – always concerned that ‘snitches get stiches’ – stay on the side of ‘the pigs’, or be influenced by the ideals and good deeds of Chairman Fred?
Positives:
- Before this movie, I really had no idea what the Black Panthers were or how they operated. (If pushed, I would have tagged them as “internal terrorists” or similar). So this movie was really valuable to me in further understanding their role as a political movement. And their use of community programmes – focused, for example, around child nutrition and health improvements in inner cities – was a revelation.
- Given the BLM movement, and further ‘blue-on-black’ shootings, the film is timely. (Even more so for me, since the George Floyd trial verdict came out last night). “The United States vs Billie Holiday” showed how brutally the civil rights movement was put down by the authorities in the 40’s. This shows the same thing happened in the 70’s too. It’s again a movie that leaves you angry and frustrated at how poorly the black community have been abused in America. I guess counter to that is the positive view that things HAVE evidently improved significantly since then, albeit that the US is still on this journey.
- Nominated for Best Supporting Actor Oscars are both Stanfield and Kaluuya. (This is a highly debatable point, since arguably both of these gents are lead actors in the movie!) Both of them deliver outstanding performances, and Kaluuya has already picked up the BAFTA. Kaluuya demonstrates a huge amount of energy and charisma, particularly during the delivery of his stirring speeches. But Stanfield delivers a superbly nuanced performance, and perhaps impressed me even more.
- Also deserved, in a movie predominantly featuring a black cast, is recognition of the ever-excellent Jesse Plemons. As the steely-eyed FBI family man, he’s chilling to watch.
Negatives:
- I had issues with the sound mixing here. I found some of the dialogue – already hard for me to follow sometimes due to the speed of delivery and the accents – drowned out by background music and foley sounds.
- Martin Sheen’s make-up as J. Edgar Hoover was rather over-the-top and detracted from the role. (Sheen is in little more than a few cameo scenes).
Summary Thoughts:
I’m pleased I’ve managed to see this impressive Oscar contender before Sunday’s Academy Awards event. Interestingly, I noticed that historical advisors on the movie were Deborah Johnson (played here beautifully by Dominique Fishback) and the baby she was carrying (now Fred Hampton Jnr.).
As well as the two Supporting Actor nominations, it’s also up for Best Film, Best Original Screenplay, Best Cinematography (Sean Bobbitt) and Best Song (for “Fight for You”, played over the end titles, and very good).
(For the full graphical review, please check out One Mann's Movies here https://bob-the-movie-man.com/2021/04/21/judas-and-the-black-messiah-war-is-politics-with-bloodshed/. Thanks.)
Will O’Neil – always concerned that ‘snitches get stiches’ – stay on the side of ‘the pigs’, or be influenced by the ideals and good deeds of Chairman Fred?
Positives:
- Before this movie, I really had no idea what the Black Panthers were or how they operated. (If pushed, I would have tagged them as “internal terrorists” or similar). So this movie was really valuable to me in further understanding their role as a political movement. And their use of community programmes – focused, for example, around child nutrition and health improvements in inner cities – was a revelation.
- Given the BLM movement, and further ‘blue-on-black’ shootings, the film is timely. (Even more so for me, since the George Floyd trial verdict came out last night). “The United States vs Billie Holiday” showed how brutally the civil rights movement was put down by the authorities in the 40’s. This shows the same thing happened in the 70’s too. It’s again a movie that leaves you angry and frustrated at how poorly the black community have been abused in America. I guess counter to that is the positive view that things HAVE evidently improved significantly since then, albeit that the US is still on this journey.
- Nominated for Best Supporting Actor Oscars are both Stanfield and Kaluuya. (This is a highly debatable point, since arguably both of these gents are lead actors in the movie!) Both of them deliver outstanding performances, and Kaluuya has already picked up the BAFTA. Kaluuya demonstrates a huge amount of energy and charisma, particularly during the delivery of his stirring speeches. But Stanfield delivers a superbly nuanced performance, and perhaps impressed me even more.
- Also deserved, in a movie predominantly featuring a black cast, is recognition of the ever-excellent Jesse Plemons. As the steely-eyed FBI family man, he’s chilling to watch.
Negatives:
- I had issues with the sound mixing here. I found some of the dialogue – already hard for me to follow sometimes due to the speed of delivery and the accents – drowned out by background music and foley sounds.
- Martin Sheen’s make-up as J. Edgar Hoover was rather over-the-top and detracted from the role. (Sheen is in little more than a few cameo scenes).
Summary Thoughts:
I’m pleased I’ve managed to see this impressive Oscar contender before Sunday’s Academy Awards event. Interestingly, I noticed that historical advisors on the movie were Deborah Johnson (played here beautifully by Dominique Fishback) and the baby she was carrying (now Fred Hampton Jnr.).
As well as the two Supporting Actor nominations, it’s also up for Best Film, Best Original Screenplay, Best Cinematography (Sean Bobbitt) and Best Song (for “Fight for You”, played over the end titles, and very good).
(For the full graphical review, please check out One Mann's Movies here https://bob-the-movie-man.com/2021/04/21/judas-and-the-black-messiah-war-is-politics-with-bloodshed/. Thanks.)
BankofMarquis (1832 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Feb 12, 2021
Give Chadwick the Oscar
Pulitzer Prize winning Playwright August Wilson wrote 10 plays that he labeled his “Century Cycle” - one placed in each decade of the 20th century that depicts the Negro experience in America. Denzel Washington has pledged to produce a film for each one of these plays.
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)