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85 Years of the Oscar: The Official History of the Academy Awards
Book
A deluxe, year-by-year chronicle of the Academy Awards, with an entertaining text, hundreds of...
LoganCrews (2861 KP) rated Half Baked (1998) in Movies
Jul 4, 2021
Ironically, not even that much better while high. I liked this for the majority of the runtime but that third act really tried my patience - falls into the exact line as other late 90s/early 00s buddy comedies in vein of 𝘋𝘶𝘥𝘦, 𝘞𝘩𝘦𝘳𝘦'𝘴 𝘔𝘺 𝘊𝘢𝘳? and the like that I just fucking hate, where the film completely gives up and a bunch of tiring 'wacky' stuff happens until it abruptly ends. Pretty typical hit-or-miss stoner comedy of the era but easy to forgive when the thing isn't even 85 minutes in length. It's agreeable enough with some seriously funny shit in it every now and again, mostly only holding its own in the sea of other similar movies due to its trio of three sharp, exuberant lead performances - Jim Breuer's final boss tie-dyed pothead steals the show with extreme prejudice (seriously, has anyone else in a movie ever exuded *more* stoner energy than this guy?). Can be lumped right in with 𝘔𝘪𝘴𝘴 𝘔𝘢𝘳𝘤𝘩 in the "kind of funny, semi-decent films written by people who are clearly above such work but also maybe that was the point of it to begin with?" pile. But Bob Saget's "I used to suck dick for coke!" bit remains as iconic and effortlessly hysterical as ever.
LoganCrews (2861 KP) rated The Reaping (2007) in Movies
Sep 21, 2020
You'd think a movie about Hilary Swank and Idris Elba fighting the ten biblical plagues would have been somewhat more exciting, no? Can't think of many other ways they could have made this less thrilling or scary (one of those lazy farts that actively tries to make its jumpscares predictable) - but points for God-tier southern bible-belt madman David Morrissey and frightening wounded animal-esque AnnaSophia Robb, neither of whom are used nearly enough. Might possibly be one of the most tame R-ratings in cinema history, purposefully skipping out on the gore and ick like it's trying desperately to hold onto the PG-13 rating it doesn't have. Has a couple nice-looking shots, and (finally) starts getting quite creepy + fun in the back end but it still looks like shit. Seriously, I hope that when the plagues do start hitting planet Earth they at least aren't this contrived and badly-rendered. I'm also convinced that this script was still on the first draft when this empty drag was made because not only is it full of holes but none of the numerous last-minute twists were climactic and just seemed to rush themselves right out the door. Not even that awful just... not really of any value.
Lenard (726 KP) rated Mank (2020) in Movies
Dec 6, 2020
David Fincher has spent two decades working to adapt his father's screenplay about Herman Mankiewicz. He succeeded in a major triumph. Gary Oldman plays the alcoholic washed up screenwriter hired by New York wunderkind Orson Welles to write the first draft of the screenplay for his first film. The resulting film, Citizen Kane, would change moviemaking for generations even if the battle to get it made, released, and seen lasted two industry cycles.
Mank is a wonder to behold technically. The production design, editing, and cinematography takes you back to an earlier Hollywood era. Its use of flashback, mirroring Kane, fills in the blank as to how Mank was in this world and why he was willing to burn it. The movie even foreshadows events that would.shape the screenplay Mank is writing.
My greatest pleasure was how its relevance continues today, but without the explicit shoutouts or manipulation of events. Do you know the parable of the organ grinder's monkey? If you don't, Mank tells you, but never exposes the reason it resonates. Also, even if you have seen other works about WRH, you still learn more about him. Mank is great and will get many Oscar nominations. Amanda Seyfried gives Marion Davies the star turn she never had in life.
Mank is a wonder to behold technically. The production design, editing, and cinematography takes you back to an earlier Hollywood era. Its use of flashback, mirroring Kane, fills in the blank as to how Mank was in this world and why he was willing to burn it. The movie even foreshadows events that would.shape the screenplay Mank is writing.
My greatest pleasure was how its relevance continues today, but without the explicit shoutouts or manipulation of events. Do you know the parable of the organ grinder's monkey? If you don't, Mank tells you, but never exposes the reason it resonates. Also, even if you have seen other works about WRH, you still learn more about him. Mank is great and will get many Oscar nominations. Amanda Seyfried gives Marion Davies the star turn she never had in life.
Emma @ The Movies (1786 KP) rated Mrs Lowry & Son (2019) in Movies
Jun 20, 2020
I seriously considered not reviewing this film, I knew that it probably wouldn't be something I'd ever watch again but I was hoping that with Timothy Spall and Vanessa Redgrave at the helm it would be a pleasant thing to watch.
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
BankofMarquis (1832 KP) rated The Greatest Beer Run Ever (2022) in Movies
Oct 10, 2022
Touched Me In The End
The new Apple TV+ original film THE GREATEST BEER RUN EVER is being advertised as kind of a “wacky buddy comedy” with a bunch of New York slackers looking for beer in Viet Nam.
This advertisement is doing this film a great disservice for this movie is much, much more than that and deserves some attention - and eyeballs looking at it.
Starring Zach Efron (who has turned into an actor who is much, much more than Troy Bolton of HIGH SCHOOL MUSICAL fame) and directed by Peter Farrelly (one of the Farrelly brothers that brought you such comedies as THERE’S SOMETHING ABOUT MARY and KINGPIN), THE GREATEST BEER RUN EVER tells the tale of a New Yorker in the late 1960’s who is big on talk and little on action. To shut those around him up, Chickie Donohue (Efron) decides to bring his buddies that are fighting in Viet Nam some beer from home. What starts out as a lark, evolves into something much more serious…and meaningful…for both Chickie and the audience.
Efron is quite good in the central role as Chickie and this film needs his inherent charisma in the center of this film as he is in every scene. Efron exudes goodness and sincerity even though, at times, he his speaking out of the sides of his mouth - or a place much further down his anatomy. And, as his character learns more and more about what is really going on in the war in Vietnam, his bravado and bluster fade and we get a glimpse of the real person underneath who is horrified by what he sees in this war.
Russell Crowe - who is finding a career renaissance in Supporting Roles - is strong (naturally) as a war photographer who befriends Chickie and takes him under his wing while the myriad of young, unknown actors who play Chickie’s friends scattered across various theaters of action in Viet Nam are appropriately played as folks who think what Chickie is doing is hilarious to those who are horrified that Chickie would voluntarily enter this war zone.
The tone of the film shifts from fun and silly to deep and meaningful throughout it’s 2 hour, 6 minute run-time, all under the watchful eye of Farrelly. He really has a handle on the deeper war-torn aspects of this film, while he (purposefully, I would imagine) shies away from his expected comedy and zaniness that could have been the first part of this movie. IMHO, Farrelly could have imparted some more zaniness at the start - to give the film a better kickstart (the beginning is a little slow) while also more starkly contrasting the beginning and end of the film - and the change in Chickie because of this experience.
I was drawn in - and touched - by the latter part of this BEER RUN and would strongly encourage everyone to check out this fine film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
This advertisement is doing this film a great disservice for this movie is much, much more than that and deserves some attention - and eyeballs looking at it.
Starring Zach Efron (who has turned into an actor who is much, much more than Troy Bolton of HIGH SCHOOL MUSICAL fame) and directed by Peter Farrelly (one of the Farrelly brothers that brought you such comedies as THERE’S SOMETHING ABOUT MARY and KINGPIN), THE GREATEST BEER RUN EVER tells the tale of a New Yorker in the late 1960’s who is big on talk and little on action. To shut those around him up, Chickie Donohue (Efron) decides to bring his buddies that are fighting in Viet Nam some beer from home. What starts out as a lark, evolves into something much more serious…and meaningful…for both Chickie and the audience.
Efron is quite good in the central role as Chickie and this film needs his inherent charisma in the center of this film as he is in every scene. Efron exudes goodness and sincerity even though, at times, he his speaking out of the sides of his mouth - or a place much further down his anatomy. And, as his character learns more and more about what is really going on in the war in Vietnam, his bravado and bluster fade and we get a glimpse of the real person underneath who is horrified by what he sees in this war.
Russell Crowe - who is finding a career renaissance in Supporting Roles - is strong (naturally) as a war photographer who befriends Chickie and takes him under his wing while the myriad of young, unknown actors who play Chickie’s friends scattered across various theaters of action in Viet Nam are appropriately played as folks who think what Chickie is doing is hilarious to those who are horrified that Chickie would voluntarily enter this war zone.
The tone of the film shifts from fun and silly to deep and meaningful throughout it’s 2 hour, 6 minute run-time, all under the watchful eye of Farrelly. He really has a handle on the deeper war-torn aspects of this film, while he (purposefully, I would imagine) shies away from his expected comedy and zaniness that could have been the first part of this movie. IMHO, Farrelly could have imparted some more zaniness at the start - to give the film a better kickstart (the beginning is a little slow) while also more starkly contrasting the beginning and end of the film - and the change in Chickie because of this experience.
I was drawn in - and touched - by the latter part of this BEER RUN and would strongly encourage everyone to check out this fine film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Acanthea Grimscythe (300 KP) rated Death Note (2017) in Movies
May 12, 2018
Netflix has done a damn good job with its house produced movies and shows – except for Death Note. This movie is complete and utter trash. For those of you that don’t know, I ran a site that focused largely on anime for several years. The site was called Project Otaku and served as a press outlet as well (I was able to attend Japan Expo as press and one of my writers attended NYCC). So naturally, I’ve seen the anime and I had high expectations.
First, it should be noted that with this film, Netflix joined the ranks of the Hollywood studios that have white-washed and bastardized several remakes of Asian horror films. From Oldboy to The Grudge to Ghost in the Shell (and countless others), it’s like these companies have an aversion to actually remaining faithful in any degree to the source material. (There’s rumors that my favorite Japanese horror flick, Audition, will soon fall prey to this too.) Honestly, they should just stop.
This version of Death Note takes place in Seattle, thus localizing it to the US. There is also no second notebook, which in the anime and manga are used to misdirect law enforcement. Because there’s only one notebook, there’s no Shinigami Rem, either. There are plot holes out the wazoo in Netflix’s adaptation, including modification of rules for no apparent reason (such as the days the Death Note can be lost).
Overall, I regret watching this. It was a waste of my time.
First, it should be noted that with this film, Netflix joined the ranks of the Hollywood studios that have white-washed and bastardized several remakes of Asian horror films. From Oldboy to The Grudge to Ghost in the Shell (and countless others), it’s like these companies have an aversion to actually remaining faithful in any degree to the source material. (There’s rumors that my favorite Japanese horror flick, Audition, will soon fall prey to this too.) Honestly, they should just stop.
This version of Death Note takes place in Seattle, thus localizing it to the US. There is also no second notebook, which in the anime and manga are used to misdirect law enforcement. Because there’s only one notebook, there’s no Shinigami Rem, either. There are plot holes out the wazoo in Netflix’s adaptation, including modification of rules for no apparent reason (such as the days the Death Note can be lost).
Overall, I regret watching this. It was a waste of my time.
LeftSideCut (3778 KP) rated Star Wars: Episode II – Attack of the Clones (2002) in Movies
Nov 20, 2019 (Updated Dec 19, 2019)
Attack of the Clones is easily my least favourite Star Wars movie, but still, I can't bring myself to completely hate it. It's still Star Wars. It's still a big part of my childhood.
The main issues for me lie within the story, and perhaps most infamously, the romance plot between Anakin and Padme. It's an integral part of the story for sure, but the dialogue is horrible, Hayden Christensen is oddly wooden, and unfortunately, it takes up a big part of Episode II's runtime.
I also find the action set pieces in AOTC a very mixed bag. Nothing particularly stands out, except maybe the arena fight scene with hundreds of Jedis, and the potentially great chase scene near the start is soiled by the needlessly quippy script work.
It's not all bad though. There are some great actors involved - Ewan McGregor is still awesome as Obi Wan, and of course, we're introduced to Count Dooku, played by the ever incredible Christopher Lee (although is character is ultimately pointless).
Locations such as Kamino are something new and different and great to look at, and then of course, the single most important thing about AOTC - it paved the way for the Clone Wars TV show, so it definitely deserves credit for that.
Unfortunately, Episode II feels overstuffed with a while lot of nothing, and is no where the same quality as Star Wars at it's very best, but like I said, I can't hate on it too much. For better or worse, it's part of the Star Wars experience.
The main issues for me lie within the story, and perhaps most infamously, the romance plot between Anakin and Padme. It's an integral part of the story for sure, but the dialogue is horrible, Hayden Christensen is oddly wooden, and unfortunately, it takes up a big part of Episode II's runtime.
I also find the action set pieces in AOTC a very mixed bag. Nothing particularly stands out, except maybe the arena fight scene with hundreds of Jedis, and the potentially great chase scene near the start is soiled by the needlessly quippy script work.
It's not all bad though. There are some great actors involved - Ewan McGregor is still awesome as Obi Wan, and of course, we're introduced to Count Dooku, played by the ever incredible Christopher Lee (although is character is ultimately pointless).
Locations such as Kamino are something new and different and great to look at, and then of course, the single most important thing about AOTC - it paved the way for the Clone Wars TV show, so it definitely deserves credit for that.
Unfortunately, Episode II feels overstuffed with a while lot of nothing, and is no where the same quality as Star Wars at it's very best, but like I said, I can't hate on it too much. For better or worse, it's part of the Star Wars experience.
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