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BankofMarquis (1832 KP) rated The Midnight Sky (2020) in Movies
Dec 26, 2020
Moody and Atmospheric
Ever since his stint on ER, I have been a fan of George Clooney’s - and not just because he is charming and charismatic on film - but because I find that he brings an interesting facet to whatever character he inhabits
.
And with his latest effort THE MIDNIGHT SKY (Directed by Mr. Clooney, as well) he does not disappoint as his performance - and his Direction - are fascinating to watch.
Based upon the novel by Lily Brooks-Dalton, THE MIDNIGHT SKY tells the tale of a lone scientist (Clooney) in a remote, arctic research station, who is one of the few remaining people on an Earth that has become uninhabitable. He rushes to warn some returning astronauts to avoid their home planet.
A thoughtful, moody film. THE MIDNIGHT SKY will not be everyone’s cup of tea - and you have to be in the mood for something somewhat slow and contemplative - but if you are, you will be rewarded with a rich tapestry of visuals and performances that will be, ultimately, fulfilling.
Let’s start with what works - George Clooney. His direction and his performance as Augustine, the scientist, are both sparse and compact. Neither of these facets have an extraneous movement or tone and they work hand-in-hand to deliver the film that Clooney, obviously intends to give us.
Visually, this film is beautiful to look at - inter cutting the vast emptiness of space to the vast, snowy emptiness of the Arctic. The images that Clooney was able to create was well worth watching this film for.
Clooney was also fortunate enough to cast a variety of stellar performers in a film that has very few roles, so the ones that are there better deliver the goods - and they do. From Ethan Peck (Spock in Star Trek:Discovery) who plays the young Clooney in a flashback (I am very glad they chose to do this as opposed to “de-aging” Clooney) to the Astronauts: Felicity Jones, David Oyelowo (who I continue to like more and more every time I see him), Kyle Chandler and Tiffany Boone. All strike the right tone for the moodiness of this film.
Special notice should be made for Damien Bechir’s astronaut, Sanchez. He was terrific in the limited screen time he had and elevated every scene he was in. Bechir has become one of those performers who I get excited about when I see that he is going to be involved in a screen project.
What doesn’t work? Well…as I stated before…the pacing. It is slow (almost coming to a stop) at times. Since this is a film that will be streamed via Netflix, I can see many, many folks grabbing their phones at times, which is too bad, for the moodiness - and pace - worked for me (or at least the for the mood I was in while watching this).
My other issue with this film is the contrived circumstances that both Clooney and the Astronauts find themselves in. It isn’t enough that Clooney has to journey across rugged Arctic terrain to find a more powerful antennae to communicate with the Astronauts, we have to throw in cracking and melting ice to it. And, of course, just as the Astronauts connect with Clooney, a surprise meteor shower damages the communication array. These contrivances just wasn’t need for the type of movie this film was trying to be. It’s almost as if the Studio Heads said “it’s too slow and talky - put some action in this thing”.
But, if you are able to stay with this film, the ending pays off very well, indeed. I found that it earned it’s ending and I walked away moved and satisfied.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(OfMarquis)
.
And with his latest effort THE MIDNIGHT SKY (Directed by Mr. Clooney, as well) he does not disappoint as his performance - and his Direction - are fascinating to watch.
Based upon the novel by Lily Brooks-Dalton, THE MIDNIGHT SKY tells the tale of a lone scientist (Clooney) in a remote, arctic research station, who is one of the few remaining people on an Earth that has become uninhabitable. He rushes to warn some returning astronauts to avoid their home planet.
A thoughtful, moody film. THE MIDNIGHT SKY will not be everyone’s cup of tea - and you have to be in the mood for something somewhat slow and contemplative - but if you are, you will be rewarded with a rich tapestry of visuals and performances that will be, ultimately, fulfilling.
Let’s start with what works - George Clooney. His direction and his performance as Augustine, the scientist, are both sparse and compact. Neither of these facets have an extraneous movement or tone and they work hand-in-hand to deliver the film that Clooney, obviously intends to give us.
Visually, this film is beautiful to look at - inter cutting the vast emptiness of space to the vast, snowy emptiness of the Arctic. The images that Clooney was able to create was well worth watching this film for.
Clooney was also fortunate enough to cast a variety of stellar performers in a film that has very few roles, so the ones that are there better deliver the goods - and they do. From Ethan Peck (Spock in Star Trek:Discovery) who plays the young Clooney in a flashback (I am very glad they chose to do this as opposed to “de-aging” Clooney) to the Astronauts: Felicity Jones, David Oyelowo (who I continue to like more and more every time I see him), Kyle Chandler and Tiffany Boone. All strike the right tone for the moodiness of this film.
Special notice should be made for Damien Bechir’s astronaut, Sanchez. He was terrific in the limited screen time he had and elevated every scene he was in. Bechir has become one of those performers who I get excited about when I see that he is going to be involved in a screen project.
What doesn’t work? Well…as I stated before…the pacing. It is slow (almost coming to a stop) at times. Since this is a film that will be streamed via Netflix, I can see many, many folks grabbing their phones at times, which is too bad, for the moodiness - and pace - worked for me (or at least the for the mood I was in while watching this).
My other issue with this film is the contrived circumstances that both Clooney and the Astronauts find themselves in. It isn’t enough that Clooney has to journey across rugged Arctic terrain to find a more powerful antennae to communicate with the Astronauts, we have to throw in cracking and melting ice to it. And, of course, just as the Astronauts connect with Clooney, a surprise meteor shower damages the communication array. These contrivances just wasn’t need for the type of movie this film was trying to be. It’s almost as if the Studio Heads said “it’s too slow and talky - put some action in this thing”.
But, if you are able to stay with this film, the ending pays off very well, indeed. I found that it earned it’s ending and I walked away moved and satisfied.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(OfMarquis)
Kirk Bage (1775 KP) rated The Last Dance in TV
Aug 6, 2020 (Updated Aug 6, 2020)
Some people’s worst nightmare isn’t just being forced to watch sport, but being forced to listen to commentary or analysis on sport. My passion for a competitive event, and appreciation for an acheivement at the highest level in any sport, is still there, but is a little cooler than it was when I was a younger man with the energy to get carried away, whooping and cheering on an underdog or applauding the very best in a discipline.
Basketball for me has never really been a thing. To be honest, I barely understand the rules beyond the basics. It just wasn’t something that was on British TV that often as I grew up, the Olympics being an exception. The skill level (and height above Sea level) needed to be good enough for NBA glory does not escape me though, and neither has the exceptional career of Michael Jordon, who is a clear contender for greatest sportsman of all time, in any sport.
What I do enjoy though is the drama of over-coming hurdles and records against all the odds. The underdog story really appeals to me, as does the story of an older athlete doing it one last time, when no one thinks it’s possible. The Last Dance is exactly that. But not told by actors in a Hollywood way, like the wonderfully under-rated Miracle starring Kurt Russell. This is a documentary, in ten parts, with the real guys, and some of the most comprehensive archive material you’d ever want!
In theory, the tale is about the whole team, and their final fling at winning a title before knowing the aging gang would be disbanded, with the key figures forced into retirement. But, it is about Jordan, of course it is. And as a document of a rise to fame, and how the man responded to that fame and increased pressure, it is simply the best sports documentary yet to be made.
Told in parallel timelines of the final year juxtaposed with the backstory of the previous 20 years, it shows in exquisite detail how a franchise was built, maintained and taken to the heights of being the greatest ever to play the game. There are tantrums, fall outs, walk outs, no shows, injuries, and some mind-bending successes riding on single moments of genius.
The main voices of Jordan himself, as he sits in retirement with a cigar and a single malt, Scottie Pippin, and bad boy Dennis Rodman, are in parts fascinating, eloquent and revealing. Even after many years have passed, the emotion of big moments and issues is still fresh. We see the joy, the pride and the exhilaration, but also the regret, the grudges and the pain. It shows every angle of what being an athlete at the very top means, and exposes what kind of mentality you have to have to be that person. To be a champion.
As with me, it really helps with the cliffhanger drama of it if you don’t remember, or never knew at all, the result of that “last dance” season in ’98. It also helps if watching sport raises the pulse, but I wouldn’t say it is essential, as it all plays like an ten part series full of drama, betrayals and gasp out loud moments. Ten hour long episodes is a lot. But this incredible production never out stays its welcome. Some acheivement, and testament to what a charismatic figure Jordan was and is on the context of sport history.
Of course, not every hero is a hero every minute of his life. And that is my final reason to recommend it. See for yourself what kind of personality virtual gods like these invent for themselves. Utterly compelling TV.
Basketball for me has never really been a thing. To be honest, I barely understand the rules beyond the basics. It just wasn’t something that was on British TV that often as I grew up, the Olympics being an exception. The skill level (and height above Sea level) needed to be good enough for NBA glory does not escape me though, and neither has the exceptional career of Michael Jordon, who is a clear contender for greatest sportsman of all time, in any sport.
What I do enjoy though is the drama of over-coming hurdles and records against all the odds. The underdog story really appeals to me, as does the story of an older athlete doing it one last time, when no one thinks it’s possible. The Last Dance is exactly that. But not told by actors in a Hollywood way, like the wonderfully under-rated Miracle starring Kurt Russell. This is a documentary, in ten parts, with the real guys, and some of the most comprehensive archive material you’d ever want!
In theory, the tale is about the whole team, and their final fling at winning a title before knowing the aging gang would be disbanded, with the key figures forced into retirement. But, it is about Jordan, of course it is. And as a document of a rise to fame, and how the man responded to that fame and increased pressure, it is simply the best sports documentary yet to be made.
Told in parallel timelines of the final year juxtaposed with the backstory of the previous 20 years, it shows in exquisite detail how a franchise was built, maintained and taken to the heights of being the greatest ever to play the game. There are tantrums, fall outs, walk outs, no shows, injuries, and some mind-bending successes riding on single moments of genius.
The main voices of Jordan himself, as he sits in retirement with a cigar and a single malt, Scottie Pippin, and bad boy Dennis Rodman, are in parts fascinating, eloquent and revealing. Even after many years have passed, the emotion of big moments and issues is still fresh. We see the joy, the pride and the exhilaration, but also the regret, the grudges and the pain. It shows every angle of what being an athlete at the very top means, and exposes what kind of mentality you have to have to be that person. To be a champion.
As with me, it really helps with the cliffhanger drama of it if you don’t remember, or never knew at all, the result of that “last dance” season in ’98. It also helps if watching sport raises the pulse, but I wouldn’t say it is essential, as it all plays like an ten part series full of drama, betrayals and gasp out loud moments. Ten hour long episodes is a lot. But this incredible production never out stays its welcome. Some acheivement, and testament to what a charismatic figure Jordan was and is on the context of sport history.
Of course, not every hero is a hero every minute of his life. And that is my final reason to recommend it. See for yourself what kind of personality virtual gods like these invent for themselves. Utterly compelling TV.
BankofMarquis (1832 KP) rated FIRESTARTER (2022) in Movies
May 21, 2022
Commits the Biggest Film Crime - It's Boring
Sometimes, I watch a movie, so you don’t have to.
I watched the remake of the Stephen King novel FIRESTARTER, so you don’t have to.
The current “leader in the clubhouse” for the worst film of 2022, FIRESTARTER is based on the very good Stephen King novel that was published in 1980 and was made into a pretty cheesy, pretty ‘80s flick in 1984 that made Drew Barrymore (fresh off her work in ET) a bonafide movie star.
No such luck in this one.
Produced by Blum House, Directed by Keith Thomas (THE VIGIL) and adapted from King’s novel by Scott Teems (HALLOWEEN KILLS), this version of FIRESTARTER was dead on arrival, with a weak script, mediocre directing and less than stellar visual effects, consequently making a film that is the worst sort of film…boring. It doesn’t even have the ambition to be “so bad, it’s good”, it is just plodding and mediocre throughout.
But, at 1 hour 34 minutes, it is mercifully short, so it does have that going for it.
What it also has going for it is a “game” Zach Efron as “Firestarter’s Father” and he elevates the scenes he is in to something that comes close to watchable. And when Sydney Lemmon is along as “Firestarter’s Mom” the screen comes the closest to interesting. But the rest…”meh”.
Ryan Kiera Armstrong plays “Firestarter”, Charlie McGee - the young lady who can start fires with her telepathic powers - and she is “just fine”, but she does not have the star power or “it” factor that Barrymore brought to the proceedings previously. She is just not a compelling enough presence on screen to save this turkey. I don’t blame her, I blame the weak Direction by Thomas and the limp script by Teems.
The only other character/performance that sparks some interest in this film is Michael Grayeyes (TOGO) who plays a Native American tracker with his own telekinetic powers who is put on the trail of Charlie by the mysterious Institute (a shadowy Gov’t agency that chases after various “special” people - mostly kids - in quite a few Stephen King novels). Inexplicably, this role was played by an aging, pony-tailed George C. Scott (obviously chasing a paycheck) in the 1984 film. Grayeyes succeeds more.
But these glimmers of competence only aggravates more when the film bogs back down in cardboard villains (what has happened to your career, Gloria Ruben) and exposition spouting scientists (what a waste of Kurtwood Smith) and less than spectacular action sequences that, mostly, consist of Armstrong screaming while a wind machine blows her hair back while sub-par CGI flames engulf the screen.
And…adding insult to injury…the "guy in the asbestos suit” (a mainstay of any film involving fire) does not even get a day of stunt pay! It’s like going to see a Tom Cruise Mission Impossible film and Cruise doesn’t do some sort of crazy stunt!
After the success of IT, PART ONE in 2017, there was a renaissance, of sorts, of adaptations of Stephen King works and even though PET SEMATARY (2019) was pretty decent and IT, CHAPTER TWO and DOCTOR SLEEP (2019) were okay, THE DARK TOWER, the TV remake of THE STAND, LISEY’S STORY and now FIRESTARTER were all terrible, so maybe we’ve seen the end of this phase of King adaptations (I doubt it, but one can hope).
Save yourself and hour and a half of your life and skip this Firestarter. Instead, revisit the 1984 version - it plays like an Oscar-winner compared to this turkey. Or, better yet, read the original Stephen King work - it is the best of all of these.
Letter Grade: C- (and I’m being generous)
3 stars (out of 10) and you can take that to the Bank(ofMarquis).
I watched the remake of the Stephen King novel FIRESTARTER, so you don’t have to.
The current “leader in the clubhouse” for the worst film of 2022, FIRESTARTER is based on the very good Stephen King novel that was published in 1980 and was made into a pretty cheesy, pretty ‘80s flick in 1984 that made Drew Barrymore (fresh off her work in ET) a bonafide movie star.
No such luck in this one.
Produced by Blum House, Directed by Keith Thomas (THE VIGIL) and adapted from King’s novel by Scott Teems (HALLOWEEN KILLS), this version of FIRESTARTER was dead on arrival, with a weak script, mediocre directing and less than stellar visual effects, consequently making a film that is the worst sort of film…boring. It doesn’t even have the ambition to be “so bad, it’s good”, it is just plodding and mediocre throughout.
But, at 1 hour 34 minutes, it is mercifully short, so it does have that going for it.
What it also has going for it is a “game” Zach Efron as “Firestarter’s Father” and he elevates the scenes he is in to something that comes close to watchable. And when Sydney Lemmon is along as “Firestarter’s Mom” the screen comes the closest to interesting. But the rest…”meh”.
Ryan Kiera Armstrong plays “Firestarter”, Charlie McGee - the young lady who can start fires with her telepathic powers - and she is “just fine”, but she does not have the star power or “it” factor that Barrymore brought to the proceedings previously. She is just not a compelling enough presence on screen to save this turkey. I don’t blame her, I blame the weak Direction by Thomas and the limp script by Teems.
The only other character/performance that sparks some interest in this film is Michael Grayeyes (TOGO) who plays a Native American tracker with his own telekinetic powers who is put on the trail of Charlie by the mysterious Institute (a shadowy Gov’t agency that chases after various “special” people - mostly kids - in quite a few Stephen King novels). Inexplicably, this role was played by an aging, pony-tailed George C. Scott (obviously chasing a paycheck) in the 1984 film. Grayeyes succeeds more.
But these glimmers of competence only aggravates more when the film bogs back down in cardboard villains (what has happened to your career, Gloria Ruben) and exposition spouting scientists (what a waste of Kurtwood Smith) and less than spectacular action sequences that, mostly, consist of Armstrong screaming while a wind machine blows her hair back while sub-par CGI flames engulf the screen.
And…adding insult to injury…the "guy in the asbestos suit” (a mainstay of any film involving fire) does not even get a day of stunt pay! It’s like going to see a Tom Cruise Mission Impossible film and Cruise doesn’t do some sort of crazy stunt!
After the success of IT, PART ONE in 2017, there was a renaissance, of sorts, of adaptations of Stephen King works and even though PET SEMATARY (2019) was pretty decent and IT, CHAPTER TWO and DOCTOR SLEEP (2019) were okay, THE DARK TOWER, the TV remake of THE STAND, LISEY’S STORY and now FIRESTARTER were all terrible, so maybe we’ve seen the end of this phase of King adaptations (I doubt it, but one can hope).
Save yourself and hour and a half of your life and skip this Firestarter. Instead, revisit the 1984 version - it plays like an Oscar-winner compared to this turkey. Or, better yet, read the original Stephen King work - it is the best of all of these.
Letter Grade: C- (and I’m being generous)
3 stars (out of 10) and you can take that to the Bank(ofMarquis).
Acanthea Grimscythe (300 KP) rated The Girl with the Dragon Tattoo in Books
May 16, 2018
Several years ago, I watched both film adaptations of Stieg Larsson's book, The Girl with the Dragon Tattoo, and I loved them. It was only natural that at that point, I told myself I would read the book. As all bibliophiles like myself know our to-be-read piles are constantly growing, and sometimes we tend to add books to it faster than we'll ever read them. The result of that is, ultimately, we don't get around to the books we really want to read, because there are just too many of them. That was precisely the case with The Girl with the Dragon Tattoo until I found it at one of my local thrift stores. It might have been the library too, I really don't recall. I do know that I paid no more than a dollar for my copy, and it is undoubtedly the best dollar I have ever spent.
The Girl with the Dragon Tattoo is an utterly enthralling crime thriller, centered around Mikael Blomkvist, a journalist convicted of libel, Lisbeth Salander, a ward of the government with a penchant for hacking, and the age-old mystery of what happened to Harriet Vanger: a daughter of the prominent Vanger family that went missing in 1966 and is presumed to have been murdered. Filled to the brim with corporate corruption, misogynistic views, and sharp twists that could not be done justice by the films, Larsson has undoubtedly woven a masterpiece - one that I was unable to put down until the last page was read. I mean that quite literally, as I didn't go to bed until after five this morning.
It's not very often that a book snares me so strongly that I cannot stop myself from turning its pages, and the way in which this one sunk its claws into me has not happened in a very, very long time. The plot is complicated and filled with dead ends, but every single bit of information is also vital to the progression of the story. At first read, that might sound a bit contradictory, and in a way it truly is. When Blomkvist is hired by the aging Henrik Vanger to look into Harriet's disappearance, he is given a cold case with no open leads. Each and every time he finds something promising, it fails to work out. In many cases, this is not an easy style to pull off. Other books that have created this sense of hopelessness have largely succeeded in boring me half to death, and in some cases I've dropped them.
When it comes to the characters in a book, the way in which they are written can easily make or break the story. Extreme distaste, in some cases, can lead to difficulty in finishing a book for some readers, while others loath the so-called "Mary Sue" character. In The Girl with the Dragon Tattoo, Larsson's characters are part of relationships that are largely unconventional, especially to the mind of a girl raised in the conservative Southern United States and. The interaction that results from these relationships help to drive the story forward by not only introducing the reader to a wide range of characters, but by also providing those characters, some of which are deeply flawed, with an impressive amount of depth.
While some of the content is, without a doubt, sensitive material for some readers, Larsson also uses The Girl with the Dragon Tattoo as an opportunity to highlight statistics on sexual assault in Sweden, and for that I must give him props. Even in America, there is a lack of seriousness when it comes to allegations of rape and, more recently, things tend to get brushed under the rug, for lack of a better term, if the perpetrator of the crime has any reputation that could be deemed worthwhile. It is a disgusting, dehumanizing way of treating a very real issue, and Larsson hones in on this while simultaneously creating a very strong, independent heroine that readers like myself can relate to, sometimes unfortunately so.
The next book is definitely on my to-read list, but I don't know when I'll get around to it. Hopefully, I'll be fortunate enough to cross it on one of my thrift-shopping trips. It was most definitely worth my sleepless night.
The Girl with the Dragon Tattoo is an utterly enthralling crime thriller, centered around Mikael Blomkvist, a journalist convicted of libel, Lisbeth Salander, a ward of the government with a penchant for hacking, and the age-old mystery of what happened to Harriet Vanger: a daughter of the prominent Vanger family that went missing in 1966 and is presumed to have been murdered. Filled to the brim with corporate corruption, misogynistic views, and sharp twists that could not be done justice by the films, Larsson has undoubtedly woven a masterpiece - one that I was unable to put down until the last page was read. I mean that quite literally, as I didn't go to bed until after five this morning.
It's not very often that a book snares me so strongly that I cannot stop myself from turning its pages, and the way in which this one sunk its claws into me has not happened in a very, very long time. The plot is complicated and filled with dead ends, but every single bit of information is also vital to the progression of the story. At first read, that might sound a bit contradictory, and in a way it truly is. When Blomkvist is hired by the aging Henrik Vanger to look into Harriet's disappearance, he is given a cold case with no open leads. Each and every time he finds something promising, it fails to work out. In many cases, this is not an easy style to pull off. Other books that have created this sense of hopelessness have largely succeeded in boring me half to death, and in some cases I've dropped them.
When it comes to the characters in a book, the way in which they are written can easily make or break the story. Extreme distaste, in some cases, can lead to difficulty in finishing a book for some readers, while others loath the so-called "Mary Sue" character. In The Girl with the Dragon Tattoo, Larsson's characters are part of relationships that are largely unconventional, especially to the mind of a girl raised in the conservative Southern United States and. The interaction that results from these relationships help to drive the story forward by not only introducing the reader to a wide range of characters, but by also providing those characters, some of which are deeply flawed, with an impressive amount of depth.
While some of the content is, without a doubt, sensitive material for some readers, Larsson also uses The Girl with the Dragon Tattoo as an opportunity to highlight statistics on sexual assault in Sweden, and for that I must give him props. Even in America, there is a lack of seriousness when it comes to allegations of rape and, more recently, things tend to get brushed under the rug, for lack of a better term, if the perpetrator of the crime has any reputation that could be deemed worthwhile. It is a disgusting, dehumanizing way of treating a very real issue, and Larsson hones in on this while simultaneously creating a very strong, independent heroine that readers like myself can relate to, sometimes unfortunately so.
The next book is definitely on my to-read list, but I don't know when I'll get around to it. Hopefully, I'll be fortunate enough to cross it on one of my thrift-shopping trips. It was most definitely worth my sleepless night.
BankofMarquis (1832 KP) rated Stand by Me (1986) in Movies
Jun 15, 2018
A Modern Classic
Remember the days of your youth, when Summer was just one long vacation - where you and your buddies would take off and let the day unfold as it presents itself - no schedules, no meetings and the only clock was the rising and setting of the sun?
Such, nostalgic, feelings and remembrances is at the heart of the 1986 Rob Reiner film, STAND BY ME, a "coming of age" tale of boys on the cusp of leaving boyhood behind.
Based on a Stephen King novella, STAND BY ME follows the adventures of Gordie LaChance and his pals Vern, Teddy and Chris as they set off to find the body of a young man who has been missing - and presumed dead.
But it is not the destination that is at the heart of this story, it is the journey - and what a journey, filled with heart, it is. We join in with these 4 boys as the walk towards the unknown - both physically and (more importantly) metaphorically, growing and developing in front of our eyes.
Credit for this film has to start with Director Rob Reiner - mainly known before this film as "Meathead" on the classic TV Series ALL IN THE FAMILY. This was Reiner's 5th film as a Director and, I believe, announced his "arrival" as a signature Director. Look at the run Reiner had. In order, he directed THIS IS SPINAL TAP, THE SURE THING, STAND BY ME, THE PRINCESS BRIDE, WHEN HARRY MET SALLY, MISERY and A FEW GOOD MEN. I would also include THE AMERICAN PRESIDENT and GHOSTS OF MISSISSIPPI in this list, but they come after the misfire NORTH. But, 9 out of 10 good films is quite the track record.
What struck me in this showing of the film (seen on the big screen for the first time by me since 1986) is the contrast between intimacy and enormity. When the boys are on their trek, Reiner shoots a good deal of these scenes from a distance - showing how small these boys are in comparison to the world around them. But, when the scene is an intimate, dialogue, character-driven scene, he tightens his shots right into the faces of the 4 leads, creating an intimacy that draws us into these characters.
The other credit has to go to whomever cast this film - for the 4 unknown boys that were cast in the leads were well cast, indeed.
Start with Wil Wheaton as Gordie. Gordie has spent his whole life in the shadow of his over-achieving "All American" brother, trying to be noticed for who - and what - he is, an author, not an athlete. Wheaton brings the right combination of determination, intelligence and vulnerability to Gordie, giving us a protagonist we can root for. Jerry O'Connell was funnier than I remembered as the "fat kid", Vern, who just wants to play by the rules, but always goes along with his friends, despite his better judgement. Corey Feldman has never been better than he is here as Teddy Duchamp - a young boy with a troubled home life - and a troubled life - that is trying to control, and understand, the rage inside of him.
But it is the work of the late River Phoenix as Chris Chambers, the "leader" of this group that really shines. He is the glue that keeps this foursome together, strong but showing a vulnerability and a "realistic" view of what it is to be a misunderstood youth - the hurt that comes with that and the walls that one puts up to combat that. Phoenix commands the screen in every scene that he is in and when the scene is just Phoenix and Wheaton, you are drawn into a real friendship.
I was surprised, at this viewing, at how serious this film is - and the topics that this film addresses - but those moments are wisely balanced by scenes of action/adventure (like the train tressel scene), comedy (like the the "lard-ass" pie eating scene) and "other" moments (the leaches!).
This is one of those films that is getting better with time - it is aging well - and, rightfully, fits in the category of "Modern Classic".
Letter Grade: A
Such, nostalgic, feelings and remembrances is at the heart of the 1986 Rob Reiner film, STAND BY ME, a "coming of age" tale of boys on the cusp of leaving boyhood behind.
Based on a Stephen King novella, STAND BY ME follows the adventures of Gordie LaChance and his pals Vern, Teddy and Chris as they set off to find the body of a young man who has been missing - and presumed dead.
But it is not the destination that is at the heart of this story, it is the journey - and what a journey, filled with heart, it is. We join in with these 4 boys as the walk towards the unknown - both physically and (more importantly) metaphorically, growing and developing in front of our eyes.
Credit for this film has to start with Director Rob Reiner - mainly known before this film as "Meathead" on the classic TV Series ALL IN THE FAMILY. This was Reiner's 5th film as a Director and, I believe, announced his "arrival" as a signature Director. Look at the run Reiner had. In order, he directed THIS IS SPINAL TAP, THE SURE THING, STAND BY ME, THE PRINCESS BRIDE, WHEN HARRY MET SALLY, MISERY and A FEW GOOD MEN. I would also include THE AMERICAN PRESIDENT and GHOSTS OF MISSISSIPPI in this list, but they come after the misfire NORTH. But, 9 out of 10 good films is quite the track record.
What struck me in this showing of the film (seen on the big screen for the first time by me since 1986) is the contrast between intimacy and enormity. When the boys are on their trek, Reiner shoots a good deal of these scenes from a distance - showing how small these boys are in comparison to the world around them. But, when the scene is an intimate, dialogue, character-driven scene, he tightens his shots right into the faces of the 4 leads, creating an intimacy that draws us into these characters.
The other credit has to go to whomever cast this film - for the 4 unknown boys that were cast in the leads were well cast, indeed.
Start with Wil Wheaton as Gordie. Gordie has spent his whole life in the shadow of his over-achieving "All American" brother, trying to be noticed for who - and what - he is, an author, not an athlete. Wheaton brings the right combination of determination, intelligence and vulnerability to Gordie, giving us a protagonist we can root for. Jerry O'Connell was funnier than I remembered as the "fat kid", Vern, who just wants to play by the rules, but always goes along with his friends, despite his better judgement. Corey Feldman has never been better than he is here as Teddy Duchamp - a young boy with a troubled home life - and a troubled life - that is trying to control, and understand, the rage inside of him.
But it is the work of the late River Phoenix as Chris Chambers, the "leader" of this group that really shines. He is the glue that keeps this foursome together, strong but showing a vulnerability and a "realistic" view of what it is to be a misunderstood youth - the hurt that comes with that and the walls that one puts up to combat that. Phoenix commands the screen in every scene that he is in and when the scene is just Phoenix and Wheaton, you are drawn into a real friendship.
I was surprised, at this viewing, at how serious this film is - and the topics that this film addresses - but those moments are wisely balanced by scenes of action/adventure (like the train tressel scene), comedy (like the the "lard-ass" pie eating scene) and "other" moments (the leaches!).
This is one of those films that is getting better with time - it is aging well - and, rightfully, fits in the category of "Modern Classic".
Letter Grade: A
Hazel (1853 KP) rated Red Rising in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
BankofMarquis (1832 KP) rated A Star Is Born (2018) in Movies
Oct 9, 2018
4th time IS the charm
I, like many, rolled my eyes when I heard that Bradley Cooper (of all people) was tabbed to write, direct and star in the 4th film adaptation of A STAR IS BORN. I was not a big fan of the Streisand/Kristofferson version from the 1970's, have vague memories of the Garland/Mason version from the 1950's and never saw the original Gaynor/March version from the 1930's. But when I heard that Lady Gaga was cast in the female lead of this film, I was intrigued and decided to check it out.
And...I'm glad I did as A STAR IS BORN now resides atop my list of BEST PICTURES OF 2018!. The music, acting, directing and story all work well in conjunction with each other to bring this tearjerker new, relevant life for a whole new audience.
For those of you not familiar with the plot, A STAR IS BORN tells the tale of an up and coming performing talent who is taken under the wing of an aging, on the decline, alcoholic superstar performer. We watch her rise and his fall.
In the lead role of Ally, Lady Gaga is outstanding. From her first musical performance to the last, you can clearly see that she has the musical chops, bravura and heart to pull off these scenes and this character. She really brings it here and you are drawn in whenever her character is on-stage, performing. As an actress she is better than "fine". You can see some moments of acting skill and depth, but you do see some of her lack of experience in her acting in some of the quieter scenes. All that said, I will be shocked if she is NOT nominated for an Oscar for this performance - she certainly is going to be nominated (and will probably win) as well for Best Song.
Complimenting her - and holding the screen, and our attention throughout - is Bradley Cooper's performance of Superstar-on-the-decline Jackson Maine. His Country/Rock legend lives up to the billing in voice, musical performance and attitude. This is Cooper's finest performance of his career, nuanced and crushing, drawing us in while simultaneously pushing us away. He is, easily, the front-runner for the Best Actor Oscar.
Complimenting these two are Andrew Dice Clay (interestingly enough) as Ally's father , who brings a multi-faceted character to life. He is star-struck, hopeful, protective and angry - always wishing for the best for his daughter, and protecting her from those that will prey on her. I would say he could be nominated for Best Supporting Actor, but he is not the Best Supporting Actor in this film, not by a long shot.
That Best Support Actor performance belongs to Sam Elliott who plays Cooper's (much) older brother. Cooper and Elliott's characters have a love/hate relationship with deep familial scars. As often happens with Supporting Roles, Elliot's performance shines and then is elevated to another level from one scene late in the film. He'll easily get an Oscar nomination - and will probably, finally, earn the Oscar he deserves.
But this film isn't all about acting. The Direction by Cooper (who will probably be nominated in all 3 categories - acting, writing and directing) is sharp and to the point. He films the musical scenes with skill and doesn't let the camera get too crazy while driving his lens close in to the actor's faces during the quiet scenes, drawing us in to this pair.
And of course, with this type of film, it will hinge on how good the music, and the musical performances, are - and this film delivers the goods in that space. There is memorable song after memorable song, performed strongly by both Cooper and Lady Gaga. They are good separately, but are INCREDIBLE when they perform together.
I cannot say enough good things about this film - it IS that good. Check this film out, you'll be glad you did, and you'll be able to say that you've seen the front-runner for all the OSCARS of 2018.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
And...I'm glad I did as A STAR IS BORN now resides atop my list of BEST PICTURES OF 2018!. The music, acting, directing and story all work well in conjunction with each other to bring this tearjerker new, relevant life for a whole new audience.
For those of you not familiar with the plot, A STAR IS BORN tells the tale of an up and coming performing talent who is taken under the wing of an aging, on the decline, alcoholic superstar performer. We watch her rise and his fall.
In the lead role of Ally, Lady Gaga is outstanding. From her first musical performance to the last, you can clearly see that she has the musical chops, bravura and heart to pull off these scenes and this character. She really brings it here and you are drawn in whenever her character is on-stage, performing. As an actress she is better than "fine". You can see some moments of acting skill and depth, but you do see some of her lack of experience in her acting in some of the quieter scenes. All that said, I will be shocked if she is NOT nominated for an Oscar for this performance - she certainly is going to be nominated (and will probably win) as well for Best Song.
Complimenting her - and holding the screen, and our attention throughout - is Bradley Cooper's performance of Superstar-on-the-decline Jackson Maine. His Country/Rock legend lives up to the billing in voice, musical performance and attitude. This is Cooper's finest performance of his career, nuanced and crushing, drawing us in while simultaneously pushing us away. He is, easily, the front-runner for the Best Actor Oscar.
Complimenting these two are Andrew Dice Clay (interestingly enough) as Ally's father , who brings a multi-faceted character to life. He is star-struck, hopeful, protective and angry - always wishing for the best for his daughter, and protecting her from those that will prey on her. I would say he could be nominated for Best Supporting Actor, but he is not the Best Supporting Actor in this film, not by a long shot.
That Best Support Actor performance belongs to Sam Elliott who plays Cooper's (much) older brother. Cooper and Elliott's characters have a love/hate relationship with deep familial scars. As often happens with Supporting Roles, Elliot's performance shines and then is elevated to another level from one scene late in the film. He'll easily get an Oscar nomination - and will probably, finally, earn the Oscar he deserves.
But this film isn't all about acting. The Direction by Cooper (who will probably be nominated in all 3 categories - acting, writing and directing) is sharp and to the point. He films the musical scenes with skill and doesn't let the camera get too crazy while driving his lens close in to the actor's faces during the quiet scenes, drawing us in to this pair.
And of course, with this type of film, it will hinge on how good the music, and the musical performances, are - and this film delivers the goods in that space. There is memorable song after memorable song, performed strongly by both Cooper and Lady Gaga. They are good separately, but are INCREDIBLE when they perform together.
I cannot say enough good things about this film - it IS that good. Check this film out, you'll be glad you did, and you'll be able to say that you've seen the front-runner for all the OSCARS of 2018.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Lucy Buglass (45 KP) rated A Star Is Born (2018) in Movies
Jun 20, 2019
A haunting look at fame, love and addiction
As a fan of both Lady Gaga and Bradley Cooper, I was intrigued when a new remake of A Star Is Born was announced. Despite not having seen either of its predecessors, I vaguely knew what the story was about and was interested by the chosen pairing, especially since this is Cooper’s directorial debut. I went into this film with an open heart and mind.
Whilst I rate both of their performances highly, it was Gaga who really stood out to me. Despite the fact she’s a very famous, very well-respected artist in real life, when I watched the film, I saw her character, Ally, and not Lady Gaga. She truly brought Ally to life on-screen, showing us the highs and lows of a former ‘average girl’ turned superstar. She was absolutely fantastic. I could really feel everything Ally was feeling, from elation to pain. I adored her performance and it kept me hooked throughout. Unsurprisingly, her vocals were stunning too, and listening to her performances on the big screen was a real treat. She is so utterly talented and has proven she can go far beyond her singing career, and into new territories.
A Star Is Born features some great cameos too; mainly RuPaul’s Drag Race stars Willam Belli and Shangela. It was really cool to see them in a feature film, and I loved what they brought to the story. Their relationship with Ally, especially, was really lovely and highlights the inclusivity most of us strive to achieve in modern society. Their characters meant a lot to me.
In terms of Cooper’s portrayal of Jackson, he was also very convincing as an aging star battling addiction. What I loved most about his character was the sheer complexity of it, and how you didn’t know whether to feel sorry for him or berate him. The opinion of Jackson is left entirely up to the viewer, and I really respected that about the film. It has opened a lot of debates about his character’s behaviour, and it’s wonderful when a film causes audiences to do that. He is clearly very troubled but that doesn’t always excuse some of his appalling behaviour, which is presented to us in a very raw and honest way. Because of this, the film is not an easy watch, but I believe it’s an important one all the same. It was also wonderful to hear him sing, as he has a stunning voice that complements Gaga’s throughout. Together, they’ve really made something special. I’ve been listening to the soundtrack a lot since seeing the film.
I also loved the contrast in visual style throughout A Star Is Born. The choice of set design, lighting and colours perfectly reflect what the characters are feeling in that moment in time. We go from glamorous performances on stage, to grittier, intense territories. I was certainly impressed by Cooper’s first film and look forward to seeing where his journey towards directing will take him next. He’s put so much work into this and it really has paid off, giving us an emotional, heartfelt and honest story. If you’re wondering if I cried at any point, the answer is yes. That final song though…
A Star Is Born gives us an honest look into the darker side of fame, the highs and lows, what goes on behind the scenes, all of it. Whilst most of us aren’t ignorant about the fact these issues go on, this film really presents them to us in a brilliant way. The songs themselves are a huge part of this, telling their own stories and adding to the characters’ mindset. The lyrics are fantastic, and bring so much to the film. Listen closely and it’ll be easy to see why. I would definitely recommend it even if you’re not usually a lover of musical film, based on the story alone. It’s a rollercoaster of emotions from start to finish.
https://lucygoestohollywood.com/2018/10/14/a-haunting-look-at-fame-love-and-addiction-my-thoughts-on-a-star-is-born/
Whilst I rate both of their performances highly, it was Gaga who really stood out to me. Despite the fact she’s a very famous, very well-respected artist in real life, when I watched the film, I saw her character, Ally, and not Lady Gaga. She truly brought Ally to life on-screen, showing us the highs and lows of a former ‘average girl’ turned superstar. She was absolutely fantastic. I could really feel everything Ally was feeling, from elation to pain. I adored her performance and it kept me hooked throughout. Unsurprisingly, her vocals were stunning too, and listening to her performances on the big screen was a real treat. She is so utterly talented and has proven she can go far beyond her singing career, and into new territories.
A Star Is Born features some great cameos too; mainly RuPaul’s Drag Race stars Willam Belli and Shangela. It was really cool to see them in a feature film, and I loved what they brought to the story. Their relationship with Ally, especially, was really lovely and highlights the inclusivity most of us strive to achieve in modern society. Their characters meant a lot to me.
In terms of Cooper’s portrayal of Jackson, he was also very convincing as an aging star battling addiction. What I loved most about his character was the sheer complexity of it, and how you didn’t know whether to feel sorry for him or berate him. The opinion of Jackson is left entirely up to the viewer, and I really respected that about the film. It has opened a lot of debates about his character’s behaviour, and it’s wonderful when a film causes audiences to do that. He is clearly very troubled but that doesn’t always excuse some of his appalling behaviour, which is presented to us in a very raw and honest way. Because of this, the film is not an easy watch, but I believe it’s an important one all the same. It was also wonderful to hear him sing, as he has a stunning voice that complements Gaga’s throughout. Together, they’ve really made something special. I’ve been listening to the soundtrack a lot since seeing the film.
I also loved the contrast in visual style throughout A Star Is Born. The choice of set design, lighting and colours perfectly reflect what the characters are feeling in that moment in time. We go from glamorous performances on stage, to grittier, intense territories. I was certainly impressed by Cooper’s first film and look forward to seeing where his journey towards directing will take him next. He’s put so much work into this and it really has paid off, giving us an emotional, heartfelt and honest story. If you’re wondering if I cried at any point, the answer is yes. That final song though…
A Star Is Born gives us an honest look into the darker side of fame, the highs and lows, what goes on behind the scenes, all of it. Whilst most of us aren’t ignorant about the fact these issues go on, this film really presents them to us in a brilliant way. The songs themselves are a huge part of this, telling their own stories and adding to the characters’ mindset. The lyrics are fantastic, and bring so much to the film. Listen closely and it’ll be easy to see why. I would definitely recommend it even if you’re not usually a lover of musical film, based on the story alone. It’s a rollercoaster of emotions from start to finish.
https://lucygoestohollywood.com/2018/10/14/a-haunting-look-at-fame-love-and-addiction-my-thoughts-on-a-star-is-born/
The Secret Diary of Hendrik Groen, 83 Years Old
Hendrik Groen and Hester Velmans
8.7
Rate It
Book
** THE INTERNATIONAL PHENOMENON ** 'There are many laughs in this book but it's so much more than...
James P. Sumner (65 KP) rated Angel Has Fallen (2019) in Movies
Aug 21, 2019
Is the third time a charm for Mr. Butler's action thriller series?
Gerard Butler returns as Secret Service agent Mike Banning in the third entry of the "Fallen" series, picking up where London Has Fallen left off.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.
We see an aging and sore Banning, struggling with the rigors of his profession, torn between his love for his duty to protect the President and the smart, semi-retirement position as Secret Service Director.
This takes a little while to get going compared to most films in the genre, but it isn't too long before everything goes sideways and Banning finds himself on the run from everyone, framed for something we all know he didn't do. The question is: who did it?
Drawing obvious inspiration from classic genre entries like Die Hard, as well as more modern offerings like John Wick, Gerard Butler takes on everyone from both sides of the law as he tries to get to the bottom of the conspiracy.
Aside from the slightly slow start, the pacing of this film is spot-on, mixing balls-to-the-wall action with gripping tension - accompanied by a very clever soundtrack that enhances the experience well.
The dialogue feels real and meaningful. There's nothing cheesy, no scene-filling conversations or anything, which is always a genuine concern with this type of film. Everything is done with a purpose.
I think perhaps too much effort was made to make this a 15-certificate (an R-rating for you lovely Americans). It was more for the language than anything. The violence and fighting was well-choreographed, taking the up-close, gritty approach akin to the Bourne movies, but there was nothing here that wouldn't have made the cut for a 12A. I think they gambled with the post-Deadpool debate of having a wider audience for a 12A vs. the "it's a 15, therefore it must be good because kids aren't allowed" appeal. I'm not saying it ruins the movie, I just think it was unnecessary. The aforementioned Deadpool, for example, absolutely wouldn't have worked if it was less than a 15, so I get why they made it the way the did. But with this, it would've been the exact same film either way, so why cut out a sizable portion of cinema-goers?
That being said, I did really, really enjoy this film. Is it predictable? Sadly, yes. That probably isn't THAT shocking of a revelation, as these types of films tend to follow a similar (and usually winning) formula, but I confess to being a little disappointed that I was able to figure out the main antagonist and the overall "big bad" within three minutes of the film starting. However, to this film's credit, this predictability doesn't take away from the experience at all. It's quite honest about what it is from the get-go, and it simply doesn't care. It does what it sets out to do, and it does it very well - better than a lot of similar movies in recent times. As with all films in this genre, people tend to watch them knowing what they're getting themselves in for, so you can just relax, switch off, and enjoy the ride for a couple of hours.
I can't sign off without mentioning Nick Nolte's turn as Butler's father. His performance, while not surprising, feels almost out-of-place, as it's so damn good he deserves an Oscar nod. He probably won't get one, as films like this tend not to get noticed by the Academy, but let me tell you, he steals every scene he's in, and you feel every word he says. There's an obvious comparison to the character he portrayed in Warrior, alongside Tom Hardy and Joel Edgerton. While he gets nowhere near as much screen time here, he makes the most of what he does get, and it truly is the stand-out performance of the year so far, by a long way.
This film is a solid 7/10, and I highly recommend it. I bumped it to an 8/10 because of Nick Nolte. If I could go back and just watch his scenes again, I would. Grab the popcorn, forget about the outside world... you could do a lot worse at the cinema right now than this.