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Charlie Cobra Reviews (1840 KP) rated Booksmart (2019) in Movies
Jul 7, 2020
"Superbad" For A New Generation
Booksmart is a 2019 coming-of-age comedy directed by Olivia Wilde from a screenplay by Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman. It was produced by Annapurna Pictures and Gloria Sanchez Productions and distributed by United Artists Releasing. The movie stars Jessica Williams, Will Forte, Lisa Kudrow, and Jason Sudeikis.
Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are high school seniors and best friends. Molly confronts some of her peers when she overhears them making fun of her in the bathroom and tells them how she got into a good school. They, however, reveal that despite partying, they too got into good colleges. Angered, Molly tells Amy that they should have enjoyed their time in high school more and convinces her to go to an end-of-year party. Determined to make up for lost time, they decide to cram four years of fun into one night.
This movie was hilariously funny and full of funny relatable characters. It reminded me a lot of Superbad, but a female version. The main characters had awesome chemistry and you wind up liking them right away and the situations they find themselves in border on the absurd. This film definitely delivers on the laughs but it also makes some solid points about friendship and acceptance. It's full of femininity being that both the main characters, the director, and writers were all women, but I'm sure anyone would think this film is humorous. Olivia Wilde did an amazing job in her directorial debut.
Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are high school seniors and best friends. Molly confronts some of her peers when she overhears them making fun of her in the bathroom and tells them how she got into a good school. They, however, reveal that despite partying, they too got into good colleges. Angered, Molly tells Amy that they should have enjoyed their time in high school more and convinces her to go to an end-of-year party. Determined to make up for lost time, they decide to cram four years of fun into one night.
This movie was hilariously funny and full of funny relatable characters. It reminded me a lot of Superbad, but a female version. The main characters had awesome chemistry and you wind up liking them right away and the situations they find themselves in border on the absurd. This film definitely delivers on the laughs but it also makes some solid points about friendship and acceptance. It's full of femininity being that both the main characters, the director, and writers were all women, but I'm sure anyone would think this film is humorous. Olivia Wilde did an amazing job in her directorial debut.
Ring
Koji Suzuki, Glynne Walley and Robert B. Rohmer
9.0
Rate It
Book
Stunning Japanese thriller with a chilling supernatural twist. The novel that inspired the cult...
Kim Pook (101 KP) rated Heartthrob (2017) in Movies
Sep 10, 2020
Contains spoilers, click to show
After a classmate dies, Sam bumps into a guy from school, Henry, on the beach after the memorial. They don't really get along and she storms off after belittling him. A while later she bumps into him again after work and he offers her a lift home, where she apologises and agrees to go on a date with him, which leads to them becoming a couple.
They seem like a very odd couple from the get go though, Henry comes across as very awkward and you keep expecting something bad to happen, eventually something bad does happen but it seems to take ages to get there just like many other parts of the film.
After a very awkward and way too long pool scene, we find out that Henry is listening to Sam's conversations through what I can only assume is an app on her phone, and that's just the start of the creepiness, as we also discover he is capable of murder when he kills one of Sam's ex boyfriends out of jealousy.
I lost interest very quickly if I'm honest, keir Gilchrist did a good job playing a crazy jealous boyfriend, but the movie wasn't all that great. I don't know if it's the writing or what but it could have been so much better. It was disappointing really as the concept sounded good.
They seem like a very odd couple from the get go though, Henry comes across as very awkward and you keep expecting something bad to happen, eventually something bad does happen but it seems to take ages to get there just like many other parts of the film.
After a very awkward and way too long pool scene, we find out that Henry is listening to Sam's conversations through what I can only assume is an app on her phone, and that's just the start of the creepiness, as we also discover he is capable of murder when he kills one of Sam's ex boyfriends out of jealousy.
I lost interest very quickly if I'm honest, keir Gilchrist did a good job playing a crazy jealous boyfriend, but the movie wasn't all that great. I don't know if it's the writing or what but it could have been so much better. It was disappointing really as the concept sounded good.
Amazing
Absolute brilliant T.V program!!
This old fashioned Netflix original couldn't be more perfect showing every ounce of natural everyday life and problems and how life was for everyone with a secret or goals that were frowned apon.
This starts out following a man and his wife after the war and he is home she falls pregnant but with him not working they are desperate for money and his acting career is yet to start. He manages to get a job at a gas station where he takes his customers to 'dreamland' the program is very cleaver how it introduces the rest of the cast. With people being gay and black it's a struggle for people trying to make it in the big city! It does focus in the gay side quite a bit and gets every side of how life was with the secret parties and how people snuck around. With everyone's dreams coming true they all battle with the real world to get a movie released with a black gay writer and main actress also being black they have alot of people fighting to stop that happening. Brilliant show on how hard it was for people back in the day, very good acting! This is a must see for people who are into a bit of romance and drama!
This old fashioned Netflix original couldn't be more perfect showing every ounce of natural everyday life and problems and how life was for everyone with a secret or goals that were frowned apon.
This starts out following a man and his wife after the war and he is home she falls pregnant but with him not working they are desperate for money and his acting career is yet to start. He manages to get a job at a gas station where he takes his customers to 'dreamland' the program is very cleaver how it introduces the rest of the cast. With people being gay and black it's a struggle for people trying to make it in the big city! It does focus in the gay side quite a bit and gets every side of how life was with the secret parties and how people snuck around. With everyone's dreams coming true they all battle with the real world to get a movie released with a black gay writer and main actress also being black they have alot of people fighting to stop that happening. Brilliant show on how hard it was for people back in the day, very good acting! This is a must see for people who are into a bit of romance and drama!
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Kristy H (1252 KP) rated Wishful Thinking in Books
Feb 13, 2018
Jennifer is a busy single mom, struggling to keep up at work while still spending enough time with her two young boys. One day her lost smartphone shows up on her doorstep and Jennifer discovers a new app has been installed. This app, she soon comes to realize, allows her to time travel -- to basically be in two places at the same time. Suddenly Jennifer is able to keep the long hours her boss is demanding, while still picking her boys up from school and getting in quality time Mom/kid time. She is the superwoman she's always dreamed of being. But is it too good to be true?
I'll confess that a good portion of this book made me cringe. Not because it's bad. In fact, it's the opposite. It's a smartly written, captivating novel with a harried heroine who captures your heart pretty quickly. For me, the book was stressful because it hit home! A busy working mother who has demands at the office, but who also wants to spend time with her kids? That certainly describes a lot of us. Much like when I'm watching an action or horror movie for a first time, I felt myself tensing, anxiously wondering what was going to happen to Jennifer. Was she going to get caught using the app? Was the Jennifer at the office going to somehow show up with her kids? Would her co-workers find out? Her kids? Would the app make her sick? This couldn't go on forever, right?
And that's basically the premise behind Wicoff's clever novel. Of course, being in two (and over time, as Jennifer becomes dependent on the app, three places) places isn't all it's cracked up to be. Jennifer is tired, experiencing some strange sensations, potentially losing friendships, and wait, is she aging rapidly when she's living two days in the span of what should only be one?
Wicoff does a great job of showing the pressures many working parents feel. It's true - sometimes you do feel like you have to be a superwoman! Her book is also populated with fun characters -- in particular, Dr. Sexton, Jennifer's kooky neighbor, who also happens to be a genius scientist and inventor of said app.
If it all sounds a little improbable, it is, and you'll have to be prepared to suspend disbelief a bit, but Wicoff does such a great job, that it isn't really that hard. The book veers off a bit in its final quarter, turning more from the harried working mom scene, to a bit of an almost mystery/avenger plot, which is also completely improbable, and a very strange twist, but it's fun, too. You can't help but rooting for Jennifer (and Dr. Sexton, too). Overall, a crazy 3.5 star rating.
(Note, I received an advanced copy of this book in return for an unbiased review.)
I'll confess that a good portion of this book made me cringe. Not because it's bad. In fact, it's the opposite. It's a smartly written, captivating novel with a harried heroine who captures your heart pretty quickly. For me, the book was stressful because it hit home! A busy working mother who has demands at the office, but who also wants to spend time with her kids? That certainly describes a lot of us. Much like when I'm watching an action or horror movie for a first time, I felt myself tensing, anxiously wondering what was going to happen to Jennifer. Was she going to get caught using the app? Was the Jennifer at the office going to somehow show up with her kids? Would her co-workers find out? Her kids? Would the app make her sick? This couldn't go on forever, right?
And that's basically the premise behind Wicoff's clever novel. Of course, being in two (and over time, as Jennifer becomes dependent on the app, three places) places isn't all it's cracked up to be. Jennifer is tired, experiencing some strange sensations, potentially losing friendships, and wait, is she aging rapidly when she's living two days in the span of what should only be one?
Wicoff does a great job of showing the pressures many working parents feel. It's true - sometimes you do feel like you have to be a superwoman! Her book is also populated with fun characters -- in particular, Dr. Sexton, Jennifer's kooky neighbor, who also happens to be a genius scientist and inventor of said app.
If it all sounds a little improbable, it is, and you'll have to be prepared to suspend disbelief a bit, but Wicoff does such a great job, that it isn't really that hard. The book veers off a bit in its final quarter, turning more from the harried working mom scene, to a bit of an almost mystery/avenger plot, which is also completely improbable, and a very strange twist, but it's fun, too. You can't help but rooting for Jennifer (and Dr. Sexton, too). Overall, a crazy 3.5 star rating.
(Note, I received an advanced copy of this book in return for an unbiased review.)
5 Minute Movie Guy (379 KP) rated A Walk Among the Tombstones (2014) in Movies
Jun 28, 2019 (Updated Jun 28, 2019)
Liam Neeson puts in a commanding performance and is a natural as a detective. (2 more)
The film has great visual flair and creates an effectively dark and moody atmosphere.
The solid supporting cast strengthen an otherwise dull and derivative film.
The heavy graphic content of rape, mutilation, and murder is extremely off-putting. (1 more)
There's not a single likeable character to be found in the whole movie.
A Walk Among the Tombstones is unsettling but never really all that compelling. It's a decent detective movie, but your enjoyment of it may depend on how well you can handle its grimy setting and extreme violence.
After watching A Walk Among the Tombstones, I literally felt like I was going to puke. This mystery-thriller, based on Lawrence Block’s popular novel, is a gross and grisly foray into the criminal underworld in search of sadistic kidnappers. Director Scott Frank paints a portrait of a dark and twisted 1990s New York City where women are disappearing, only to later show up chopped into pieces. The film is grim without remorse or reason, and if you’re anything like me, you’ll be eager for it to end so you can wash your hands of it entirely. It stars Liam Neeson as an unlicensed private detective named Matthew Scudder who leads an investigation to find the people responsible for these horrific murders. While it may appear from the trailers to be another entry in Neeson’s growing lineup of ass-kicking action-thrillers, it’s actually far from it. A Walk Among the Tombstones plays out more like a brooding, slow-paced horror film. If you’re expecting Taken, then you’re walking right into the wrong movie.
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Awix (3310 KP) rated Anon (2018) in Movies
May 14, 2018 (Updated May 14, 2018)
Anon Starter
Well-styled but ultimately sluggish, laborious and derivative sci-fi thriller. Clive Owen plays a troubled cop in a somewhat dystopian future where (basically) attaching everyone's audio-visual sensory centres to the internet has eliminated crime. Or has it? Someone has come up with a way of editing themselves out of the system, allowing them to kill with impunity.
A decent idea, I suppose, but rather implausible and also not nearly as original as everyone seems to think; the thriller plotline is largely neglected in favour of ruminations on the nature of fact and truth, secrecy and privacy, guilt and memory: none of these produce any insights or anything really memorable, and the film's pretensions to being a serious movie are kind of undermined by the gratuitous nudity required of many of the female cast. Looks okay, and Owen is always watchable, of course, but I was waiting impatiently for it to end well before it actually did. I'll choose an interesting bad film over a boring one any day of the week, and Anon's worst crime is that it's simply really dull.
A decent idea, I suppose, but rather implausible and also not nearly as original as everyone seems to think; the thriller plotline is largely neglected in favour of ruminations on the nature of fact and truth, secrecy and privacy, guilt and memory: none of these produce any insights or anything really memorable, and the film's pretensions to being a serious movie are kind of undermined by the gratuitous nudity required of many of the female cast. Looks okay, and Owen is always watchable, of course, but I was waiting impatiently for it to end well before it actually did. I'll choose an interesting bad film over a boring one any day of the week, and Anon's worst crime is that it's simply really dull.
Awix (3310 KP) rated Terminator: Dark Fate (2019) in Movies
Oct 25, 2019 (Updated Oct 25, 2019)
Expectations for this sixth Terminator movie were so low that even with a breathe-on-it-and-it-collapses plot, this is an startlingly effective sequel. A young girl finds herself the target of an assassination machine from the future, but a cyborg soldier has also been sent back to protect her. But this is not the first time round the time loop, and survivors from a previous version of this story find themselves drawn into the conflict...
So, yes, the plot only just manages to hold together, and the film is saddled with a leadenly reductionist message to put across - but it smartly identifies the one reproducible element of Terminator 2 that was really distinctive (Sarah Connor's transformation into an unhinged bad-ass) and plays that for all it's worth, accompanying it with some cracking action and fight sequences. Arnie doesn't show up until quite late on, but is so effective when he does it really unbalances the film (he plays the comedy inherent in his role as a Terminator who's been living undercover in suburbia for decades with great aplomb). Still not exactly brilliant, but streets ahead of the ones with Christian Bale and Jason Clarke.
So, yes, the plot only just manages to hold together, and the film is saddled with a leadenly reductionist message to put across - but it smartly identifies the one reproducible element of Terminator 2 that was really distinctive (Sarah Connor's transformation into an unhinged bad-ass) and plays that for all it's worth, accompanying it with some cracking action and fight sequences. Arnie doesn't show up until quite late on, but is so effective when he does it really unbalances the film (he plays the comedy inherent in his role as a Terminator who's been living undercover in suburbia for decades with great aplomb). Still not exactly brilliant, but streets ahead of the ones with Christian Bale and Jason Clarke.
Zach Smith (62 KP) rated Bad Boys for Life (2020) in Movies
Jan 27, 2020
Another chapter
Contains spoilers, click to show
The bad boys series is a buddy cop movie all cultures can enjoy, unless your a skinhead and then well you can fuck off. Now what bugged me was the brutal murder of a detention officer and three ambulance workers. That shit was not necessary, you can establish you character being evil another way. They also killed off the Captain which I though was as good Will and Marten's character. So the main bad guy is turns out to be Will Smith's son and he survives having killed at least five law enforcement however in the end they set it up where he may "work off some of his time to society" supposedly setting up for the next. So they gonna let a mass murderer of the Captain and others work for the police undercover? Come on man, that's just shitty writing. Yes I am what hippies call a "boot licker" meaning I support law and order, however Id like to point out that I am not a Trump supporter.
Snore Factor 0/10 Action Packed
Snore Factor 0/10 Action Packed