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BankofMarquis (1832 KP) rated News of the World (2020) in Movies
Jan 17, 2021
Strongly Acted and Directed
Pound for pound, Tom Hanks is the best actor of this generation. From his big screen debut in SPLASH to his Oscar Nominated turn in BIG to his back-to-back Oscar wins for PHILADELPHIA and FORREST GUMP to more recent works like SULLY and THE POST, Hanks’ “everyman goodness” quality shines through the screen and makes him a screen presence that cannot be ignored.
And in his latest effort, the Paul Greengrass Directed NEWS OF THE WORLD, Hanks uses every molecule of his screen presence to keep the audience’s attention in a slow-paced, moody character study.
Based on the novel by Paulette Jiles, NEWS OF THE WORLD takes place in a post-Civil War Texas where a former Confederate Captain makes a living by going from town to town and reading the news to them. A chance encounter with a twice orphaned young girl alters the lives of both of them.
Writer/Director Paul Greengrass is most known for quick-cut action films like the BOURNE series or the criminally underrated GREEN ROOM, so he would seem - at first glance - as an unusual choice to adapt and direct this character study, but look further at Greengrass’ resume and you will find - in films such as UNITED 93 and CAPTAIN PHILLIPS - an ability to tell a story that is driven more by character than by action.
And this combination of Director and Actor works well for NEWS OF THE WORLD is a languidly paced piece that has a somber mood and look but Greengrass avoids the temptation of lingering on scenes or pictures too long (and there are some wonderful images captured by Greengrass and Cinemotgrapher Darius Wolski) to tell a story of a man who needs to rediscover and remake himself.
And Hanks is more than equal to the task of bringing the pragmatic, introspective Captain Jefferson Kyle Kidd character to life in a way that makes him intriguing and not boring. Hanks ability to show inherent decency in a look or a gesture is the stuff of legends and when he speaks, you listen. Which is good for Hanks is in every scene in this film and his performance needs to strongly capture the audience for this film to work - and he is more than equal to this task - so strong is Hanks in this role that I would not be surprised if there is another Oscar nomination in Tom’s near future.
Newcomer Helena Zegal is “just fine” in the other main role in this film - the young girl that Captain Kidd encounters, Johnna. This young girl is silent and shut down for most of the film and Zegal performs “shut down and silent” well. Also along for brief cameo roles of characters that Captain Kidd encounters on his journey is a bevy of wonderfully cast character actors that include Mare Winnigham, Ray McKinnon, Bill Camp and the always interesting to watch Elizabeth Marvel.
As is often the case in these sorts of films, the music/soundtrack becomes a vital part of the story that unfolds and 8 time Oscar nominated composer James Newton Howard (THE PRINCE OF TIDES) is more than up to the task. The music is another character in this film and helps set the mood along the journey.
But make no mistake, this is Hanks’ film - and he is VERY good in this. Like MIDNIGHT SKY (reviewed last month), this movie will not be for everyone - and many, many folks are going to tell me that they checked this movie out on my recommendation and were bored by it. But…if you click into the mood, motion and energy of what Greengrass is showing, you will be rewarded with an emotionally rich and complex character study.
Letter Grade: A-
8 stars (out of 10) - and you can take that to the Bank (ofMarquis)
And in his latest effort, the Paul Greengrass Directed NEWS OF THE WORLD, Hanks uses every molecule of his screen presence to keep the audience’s attention in a slow-paced, moody character study.
Based on the novel by Paulette Jiles, NEWS OF THE WORLD takes place in a post-Civil War Texas where a former Confederate Captain makes a living by going from town to town and reading the news to them. A chance encounter with a twice orphaned young girl alters the lives of both of them.
Writer/Director Paul Greengrass is most known for quick-cut action films like the BOURNE series or the criminally underrated GREEN ROOM, so he would seem - at first glance - as an unusual choice to adapt and direct this character study, but look further at Greengrass’ resume and you will find - in films such as UNITED 93 and CAPTAIN PHILLIPS - an ability to tell a story that is driven more by character than by action.
And this combination of Director and Actor works well for NEWS OF THE WORLD is a languidly paced piece that has a somber mood and look but Greengrass avoids the temptation of lingering on scenes or pictures too long (and there are some wonderful images captured by Greengrass and Cinemotgrapher Darius Wolski) to tell a story of a man who needs to rediscover and remake himself.
And Hanks is more than equal to the task of bringing the pragmatic, introspective Captain Jefferson Kyle Kidd character to life in a way that makes him intriguing and not boring. Hanks ability to show inherent decency in a look or a gesture is the stuff of legends and when he speaks, you listen. Which is good for Hanks is in every scene in this film and his performance needs to strongly capture the audience for this film to work - and he is more than equal to this task - so strong is Hanks in this role that I would not be surprised if there is another Oscar nomination in Tom’s near future.
Newcomer Helena Zegal is “just fine” in the other main role in this film - the young girl that Captain Kidd encounters, Johnna. This young girl is silent and shut down for most of the film and Zegal performs “shut down and silent” well. Also along for brief cameo roles of characters that Captain Kidd encounters on his journey is a bevy of wonderfully cast character actors that include Mare Winnigham, Ray McKinnon, Bill Camp and the always interesting to watch Elizabeth Marvel.
As is often the case in these sorts of films, the music/soundtrack becomes a vital part of the story that unfolds and 8 time Oscar nominated composer James Newton Howard (THE PRINCE OF TIDES) is more than up to the task. The music is another character in this film and helps set the mood along the journey.
But make no mistake, this is Hanks’ film - and he is VERY good in this. Like MIDNIGHT SKY (reviewed last month), this movie will not be for everyone - and many, many folks are going to tell me that they checked this movie out on my recommendation and were bored by it. But…if you click into the mood, motion and energy of what Greengrass is showing, you will be rewarded with an emotionally rich and complex character study.
Letter Grade: A-
8 stars (out of 10) - and you can take that to the Bank (ofMarquis)
Gareth von Kallenbach (977 KP) rated Live By Night (2017) in Movies
Jul 12, 2019
I’m a sucker for a Prohibition-set yarn. It’s a fascinating period in history and typically yields excellent filmmaking with gritty, no-nonsense performances, gorgeous production design and hard-boiled action. It was De Palma’s The Untouchables that hooked me. Some would call it a guilty pleasure; and sure, Morricone’s score is a little over-the-top, De Niro is more caricature than character actor as Al Capone and I’m not going to argue that Connery’s Oscar was a “sympathy vote”, but it’s got everything I mentioned above in spades and for me it’ll always be the high benchmark of the Prohibition era gangster epic. Ben Affleck’s fourth turn as director has done nothing to change my position on that.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Bob Mann (459 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 16, 2021
Relationship between Shaun and Katy (1 more)
Great Shakespearean level of story
Ten rings to rule them all
Positives:
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
Kirk Bage (1775 KP) rated Light of My Life (2019) in Movies
Jan 22, 2021
It is difficult to talk about Casey Affleck in a positive light as a movie-maker without mentioning the heightened media storm that surrounded him in 2017, at the time of #metoo and his own moment of personal glory in winning the Best Actor Oscar for his excellent performance in Manchester By the Sea. The Oscar was deserved, as was the criticism. The latter affecting the sweetness of the former entirely, and perhaps explaining why a recent Academy Award winner would be so quiet for the next 3 years.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
Daniel Boyd (1066 KP) rated Wind River (2017) in Movies
Sep 28, 2017
Brilliant performances (1 more)
Very well written and directed
A Satisfying Thriller
Taylor Sheridan has written two of my favourite movies over the last few years, Sicario and Hell or Highwater. This is only Sheridan's second time in the directors chair though and he proves that he is more than capable when put in charge of an entire film's production.
This is a fairly slow burn that focuses mostly on building character arcs and relationships rather than fast paced action. The structure that the movie follows to give the audience context and the backstory of the movie's respective characters though, is extremely effective and well crafted. The movie doesn't treat it's audience like idiots, nor does it act too smart for it's own good.
Renner and Olsen are both fantastic in the two lead roles and are able to make scenes that are purely dialogue focused, engaging and entertaining. I like Jeremy Renner, but when he stars in blockbuster movies like Bourne or Avengers or Mission Impossible, it is easy to forget how good of an actor he really is, in this performance, he does a good job of reminding you of his ability as a performer.
Slight spoilers follow, nothing major, but some might rather not know anything going in, so if that's you stop reading now. Jon Bernthal's cameo towards the end of the movie was such a delight, he is only in the movie for a just shy of ten minutes, but he was fantastic as he always is. That guy is quickly turning into one of my favourite character actors working in Hollywood.
I won't spoil the end of the movie, but I will say that it is extremely satisfying and makes the slow burn leading up to that point totally worth it.
If you are a fan of mystery thrillers and gripping dramatic performances, then go and see this film.
This is a fairly slow burn that focuses mostly on building character arcs and relationships rather than fast paced action. The structure that the movie follows to give the audience context and the backstory of the movie's respective characters though, is extremely effective and well crafted. The movie doesn't treat it's audience like idiots, nor does it act too smart for it's own good.
Renner and Olsen are both fantastic in the two lead roles and are able to make scenes that are purely dialogue focused, engaging and entertaining. I like Jeremy Renner, but when he stars in blockbuster movies like Bourne or Avengers or Mission Impossible, it is easy to forget how good of an actor he really is, in this performance, he does a good job of reminding you of his ability as a performer.
Slight spoilers follow, nothing major, but some might rather not know anything going in, so if that's you stop reading now. Jon Bernthal's cameo towards the end of the movie was such a delight, he is only in the movie for a just shy of ten minutes, but he was fantastic as he always is. That guy is quickly turning into one of my favourite character actors working in Hollywood.
I won't spoil the end of the movie, but I will say that it is extremely satisfying and makes the slow burn leading up to that point totally worth it.
If you are a fan of mystery thrillers and gripping dramatic performances, then go and see this film.
Ross (3284 KP) rated Stranger Things - Season 2 in TV
Nov 17, 2017
A great series following on from the ground-breaking first. Extra characters are revealed and the current characters are explored in more detail as they grow and mature. The addition of Paul Reiser and Sean Astin was simply inspired, somehow managing to conjure up memories of Aliens, The Goonies, LoTR and ... erm ... My Two Dads.
There are the usual geeky references here and there (the boys dressed as ghostbusters and awkwardly discussing why Lucas should be Winston; Eleven wanting to wear the same Halloween costume as ET etc etc).
The action was a little slow to get going in the first few episodes, but it was still enjoyable viewing all the same, getting the chance to see the boys in action without the fear or tension from the events of the first series.
I feel a bit sorry for the actor playing Will - he is a bit like Doug from The Hangover - barely there and when he is there he is quite weedy and annoying.
For me Hopper was the star of the series showing his paternal side with Eleven while still being the strong leader/father figure that some of the boys don't have.
The only slight negative I had was the timeline of the DemaDog's growth - it seemed to take almost a year for the slug that Will coughed up to grow to the size of a frog and then from there it became dog-sized in a matter of days. Unless these were separate creatures and I have mistaken this but, a la Prometheus, this wasn't all that well explained. It could just be the incredible nutritious qualities of nougat.
All in all another excellent series and a taste of more to come, possibly with Max's brother (a dead-ringer for Jason Patric in The Lost Boys) and Dustin (with his Corey Haim hair at the Snow Ball) teaming up to battle vampires.
There are the usual geeky references here and there (the boys dressed as ghostbusters and awkwardly discussing why Lucas should be Winston; Eleven wanting to wear the same Halloween costume as ET etc etc).
The action was a little slow to get going in the first few episodes, but it was still enjoyable viewing all the same, getting the chance to see the boys in action without the fear or tension from the events of the first series.
I feel a bit sorry for the actor playing Will - he is a bit like Doug from The Hangover - barely there and when he is there he is quite weedy and annoying.
For me Hopper was the star of the series showing his paternal side with Eleven while still being the strong leader/father figure that some of the boys don't have.
The only slight negative I had was the timeline of the DemaDog's growth - it seemed to take almost a year for the slug that Will coughed up to grow to the size of a frog and then from there it became dog-sized in a matter of days. Unless these were separate creatures and I have mistaken this but, a la Prometheus, this wasn't all that well explained. It could just be the incredible nutritious qualities of nougat.
All in all another excellent series and a taste of more to come, possibly with Max's brother (a dead-ringer for Jason Patric in The Lost Boys) and Dustin (with his Corey Haim hair at the Snow Ball) teaming up to battle vampires.
Sheridan (209 KP) rated Life (2017) in Movies
Jul 9, 2017
Highly Intelligent Characters (4 more)
A Fresh Feel to Sci Fi Horror
Highly Intelligent Alien Species with an Unconventional Look
Fast Pace
1950s Noir Ending
Holy S**t!
Contains spoilers, click to show
Many people didn't like this movie, but I freaking loved it! Here's why: The most popular character kicks the bucket first: This for me was a huge deal, you always expect the highest billing actor to be the main character but no, first to die, it was excellent because it gave a tone to the movie that absolutely anything could happen. Another reason to love it: The pure claustrophobia you are trapped in a metal tube in the middle of the vacuum of space with a highly intelligent killer alien, some people may say it's already been done which yes it has but the pace of the movie kept it interesting, in the first half of the movie the majority of the characters are either injured or dead, you barely have time to process each death before someone else is gone, it's exciting. The occasional glimmer of hope: Every time you think they are going to make it something else goes wrong. You know a regular horror you usually spend half the time yelling at the characters for being utter morons, but this movie, these people are highly intelligent and do everything possible to stop the alien without being utterly dumb, it's truly chilling to watch. The ending was a work of art: You get your hopes built up only to realise at the last possible second that everything has gone to s**t and the world is doomed. It was a beautiful 1950s noir film feel which was perfectly executed. No happy ending and endless speculations as to what would happen to the human race. Will it reproduce? How quickly? Just how evolved will it get with endless water and food supplies? Will conventional weapons work on it or will humanity be helpless? A perfect mix of science fiction, thriller, and horror. Will definitely watch again!
Sarah (7798 KP) rated Rocketman (2019) in Movies
May 29, 2019
I knew before watching this that it wasn’t your average biopic but that still didn’t prepare me for how truly wacky and wonderful it was. But then when you think of Elton John, would you really expect anything less flamboyant?
This is more like an Elton John musical complete with rather strange fantasy elements, and I have to admit that the fantasy is mostly the bit I didn’t like. Singing with younger versions of himself were fine, but the rest I just found a little too odd and ill fitting. However despite this, it’s still a rather good musical. All of the songs that you’d expect are in here and it was a struggle not to sing along. I do think that the general sound on the music in this didn’t seem quite as good as Bohemian Rhapsody, it didn’t feel quite as immersive and concert like and it was in the same screen!
Taron Egerton does a wonderful job, I’ve said before that he’s a marvellous actor and he proves it yet again here. Whilst he doesn’t look exactly like Elton John i can’t imagine anyone else playing this role and there were some moments later on in the film that I had to do a double take as he looked so like him! There are other great performances too, namely Richard Madden as the smarmy John Reid and Jamie Bell as Bernie Taupin. There are some scenes with Bernie and Elton that almost have me in tears. I know fairly little about Elton’s earlier life so for me this was rather an informative and fascinating film too, and I was beyond glad at the end to hear that Bernie is still going. I couldn’t have coped if he wasn’t!
This film isn’t faultless and I felt like it was rather drawn out, but it’s still a rather good musical biopic and definitely one I’d like to see again and sing along too. Indeed, wouldn’t this be marvellous as a musical stage show?
This is more like an Elton John musical complete with rather strange fantasy elements, and I have to admit that the fantasy is mostly the bit I didn’t like. Singing with younger versions of himself were fine, but the rest I just found a little too odd and ill fitting. However despite this, it’s still a rather good musical. All of the songs that you’d expect are in here and it was a struggle not to sing along. I do think that the general sound on the music in this didn’t seem quite as good as Bohemian Rhapsody, it didn’t feel quite as immersive and concert like and it was in the same screen!
Taron Egerton does a wonderful job, I’ve said before that he’s a marvellous actor and he proves it yet again here. Whilst he doesn’t look exactly like Elton John i can’t imagine anyone else playing this role and there were some moments later on in the film that I had to do a double take as he looked so like him! There are other great performances too, namely Richard Madden as the smarmy John Reid and Jamie Bell as Bernie Taupin. There are some scenes with Bernie and Elton that almost have me in tears. I know fairly little about Elton’s earlier life so for me this was rather an informative and fascinating film too, and I was beyond glad at the end to hear that Bernie is still going. I couldn’t have coped if he wasn’t!
This film isn’t faultless and I felt like it was rather drawn out, but it’s still a rather good musical biopic and definitely one I’d like to see again and sing along too. Indeed, wouldn’t this be marvellous as a musical stage show?
Kristy H (1252 KP) rated The Outcast Dead (Ruth Galloway, #6) in Books
Feb 8, 2018
Ruth Galloway is busy on yet another dig - this time digging up bones of what may be the famous murderess "Mother Hook," known for caring for children and then perhaps killing them. (And oh yes, for the hook she had on her hand.) Meanwhile, Nelson is busy on a case of a woman who has lost her third child, a young baby, to what looks like SIDS, or is it? And in the shadows, lurks someone who is taking children from their parents - a sinister force calling themselves "The Childminder."
If it sounds like there's a lot going on, there is. And yet, the plot in this one is a little thinner than in a typical Ruth Galloway book, hence the 3 (3.5) star rating. Still, it's pretty much impossible not to enjoy a Ruth Galloway novel. She's a dear friend by now - I love her slightly sarcastic personality and way of presenting her life. There are always moments when I laugh out loud. In this novel, we find Ruth asked to appear on a TV program about murder and archaeology (they are doing a show on "Mother Hook"), which certainly takes Ruth out of her comfort zone, and also introduces us to some new characters, including the American actor, Frank, who seems keen on Ruth.
Some of the zig zagging cases are a little crazy, and "The Childminder" line ties itself up very quickly and neatly by the end, but it's still an interesting read from a mystery perspective. The introduction of Frank adds some tension to Ruth and Nelson's drama, as well. Further, the book has some good insights on childcare in the modern day - working motherhood and the like. I find myself identifying with Ruth in a multitude of ways, and she just remains a likable character who can carry a book, no matter the plot. To date, any Ruth Galloway book is worth a read.
If it sounds like there's a lot going on, there is. And yet, the plot in this one is a little thinner than in a typical Ruth Galloway book, hence the 3 (3.5) star rating. Still, it's pretty much impossible not to enjoy a Ruth Galloway novel. She's a dear friend by now - I love her slightly sarcastic personality and way of presenting her life. There are always moments when I laugh out loud. In this novel, we find Ruth asked to appear on a TV program about murder and archaeology (they are doing a show on "Mother Hook"), which certainly takes Ruth out of her comfort zone, and also introduces us to some new characters, including the American actor, Frank, who seems keen on Ruth.
Some of the zig zagging cases are a little crazy, and "The Childminder" line ties itself up very quickly and neatly by the end, but it's still an interesting read from a mystery perspective. The introduction of Frank adds some tension to Ruth and Nelson's drama, as well. Further, the book has some good insights on childcare in the modern day - working motherhood and the like. I find myself identifying with Ruth in a multitude of ways, and she just remains a likable character who can carry a book, no matter the plot. To date, any Ruth Galloway book is worth a read.
Mike Wilder (20 KP) rated The Descendants (2011) in Movies
May 30, 2018
It's a good movie for a quiet afternoon.
Contains spoilers, click to show
I wanted to see this mainly to see if George Clooney was truly deserving of the best actor nomination. I'm a fan of his but he usually always plays the same kind of characters, a flawed and/or ruthless person who has an experience and realises the error of his ways. And this is no different.
George Clooney plays Matt King who along with his family owns a large piece of land on a Hawaiian island. His wife is in a boating accident and is left in a coma. Matt has to put his professional life on hold to take care of his two daughters. He also discovers his wife was seeing another man and wanted to leave him.
This is a good film with every cast member, Shailene Woodley, Amara Miller, Beau Bridges, Matthew Lillard and Judy Greer, doing an excellent job. But it is the performance of Nick Krause as Sid who steals the scene every time he speaks. He adds a needed element of comedy in an otherwise serious film.
So does George Clooney's performance deserve the Oscar nomination and the Golden Globe win? Having not yet watched all the nominated films I can't say. But he is great in this film. He is better than usual showing more emotion and vulnerability than he normally does. But it is the cast as a whole that makes this film work so well. Even though he is in pretty much every scene and it is his story, the cast brings this film to life and helps give his character added dimension.
The film itself is one of those that doesn't really go anywhere. It tells the story that takes place over a few days well. There is no need for character development and no one really learns a life lesson. But the story is good and the characters realistic and interesting.
This is a good film and I enjoyed watching it. It's a good movie for a quiet afternoon.
George Clooney plays Matt King who along with his family owns a large piece of land on a Hawaiian island. His wife is in a boating accident and is left in a coma. Matt has to put his professional life on hold to take care of his two daughters. He also discovers his wife was seeing another man and wanted to leave him.
This is a good film with every cast member, Shailene Woodley, Amara Miller, Beau Bridges, Matthew Lillard and Judy Greer, doing an excellent job. But it is the performance of Nick Krause as Sid who steals the scene every time he speaks. He adds a needed element of comedy in an otherwise serious film.
So does George Clooney's performance deserve the Oscar nomination and the Golden Globe win? Having not yet watched all the nominated films I can't say. But he is great in this film. He is better than usual showing more emotion and vulnerability than he normally does. But it is the cast as a whole that makes this film work so well. Even though he is in pretty much every scene and it is his story, the cast brings this film to life and helps give his character added dimension.
The film itself is one of those that doesn't really go anywhere. It tells the story that takes place over a few days well. There is no need for character development and no one really learns a life lesson. But the story is good and the characters realistic and interesting.
This is a good film and I enjoyed watching it. It's a good movie for a quiet afternoon.