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Movie Metropolis (309 KP) rated Batman v Superman: Dawn of Justice (2016) in Movies
Jun 10, 2019
The Transformers of the superhero genre
It feels like eons ago that Batman v Superman was announced as a genuine movie. Way back in 2007 there was a poster that seemed to signify DC Comic’s plans in I am Legend, but fans just thought of it as a pipedream.
Now, in 2016, the moment has finally arrived. The marketing campaign has been relentless, the trailers have been criticised for showing far too much (which they have), and Ben Affleck’s casting as Batman was met with disdain rather than joy. So what is the finished product like?
Superman has now become a controversial figure after his climactic battle with General Zod, with Batman in particular being cautious of his true plans for Earth. After a new threat is created, Doomsday, they must put aside their differences to save the planet.
Following on directly from the events of Man of Steel, director Zak Snyder brings together DC Comics’ biggest superheroes in a film as loud as anything Michael Bay served up in the Transformers series.
Henry Cavill returns as the god from above with Ben Affleck taking over duties from Christian Bale as the Dark Knight. Both of them give great performances with Cavill in particular impressing. Affleck proves his doubters wrong and is more than a match for Bale, though his one facial expression wears thin over the course of the film.
Elsewhere, Jesse Eisenberg takes on the role of Lex Luthor in a portrayal reminiscent of Johnny Depp’s Willy Wonka – eerily creepy and well-acted but just trying that little bit too hard. Amy Adams makes a welcome return as Lois Lane and gets much more screen time here than she did in Man of Steel.
However, the most praise has to go to Gal Gadot. Her exceptional characterisation of Wonder Woman is one of the movie’s highlights and it’s such a shame she takes a backseat to the two titular characters. It’s clear the filmmakers thought highly of her too, as she gets her own thundering theme tune whenever she appears.
Unfortunately, the plot is just too nondescript and completely incomprehensible at times, with Lex Luthor’s motives remaining unclear throughout the 150 minute running time. This proves increasingly hard to swallow as the film progresses and makes his villain feel less menacing than he should be.
Nevertheless, Batman v Superman is visually spectacular. Snyder bombards the audience with breath-taking set pieces, dispersing them well enough to ensure the plot only drags in a few areas, namely at the beginning – though the film’s flabby length is a sticking point; it simply doesn’t need to be nearly three hours long.
It may all sound pretty negative, but the exciting and beautifully filmed final act almost makes up for these shortcomings. We also get to see an emotional side to the genre, something that has been sorely lacking more recently with the constant quipping of the Marvel Universe.
Overall, Batman v Superman was never going to live up to the hype and in some ways it does fall short. The battle between Bat of Gotham and Son of Krypton is disappointingly brief and the story lacks any real weight, until the final 30 minutes. But it’s filmed in such a unique fashion and with such confidence; it’s quite possible you may not see anything like it in the genre again.
https://moviemetropolis.net/2016/03/27/the-transformers-of-the-superhero-genre-batman-v-superman-review/
Now, in 2016, the moment has finally arrived. The marketing campaign has been relentless, the trailers have been criticised for showing far too much (which they have), and Ben Affleck’s casting as Batman was met with disdain rather than joy. So what is the finished product like?
Superman has now become a controversial figure after his climactic battle with General Zod, with Batman in particular being cautious of his true plans for Earth. After a new threat is created, Doomsday, they must put aside their differences to save the planet.
Following on directly from the events of Man of Steel, director Zak Snyder brings together DC Comics’ biggest superheroes in a film as loud as anything Michael Bay served up in the Transformers series.
Henry Cavill returns as the god from above with Ben Affleck taking over duties from Christian Bale as the Dark Knight. Both of them give great performances with Cavill in particular impressing. Affleck proves his doubters wrong and is more than a match for Bale, though his one facial expression wears thin over the course of the film.
Elsewhere, Jesse Eisenberg takes on the role of Lex Luthor in a portrayal reminiscent of Johnny Depp’s Willy Wonka – eerily creepy and well-acted but just trying that little bit too hard. Amy Adams makes a welcome return as Lois Lane and gets much more screen time here than she did in Man of Steel.
However, the most praise has to go to Gal Gadot. Her exceptional characterisation of Wonder Woman is one of the movie’s highlights and it’s such a shame she takes a backseat to the two titular characters. It’s clear the filmmakers thought highly of her too, as she gets her own thundering theme tune whenever she appears.
Unfortunately, the plot is just too nondescript and completely incomprehensible at times, with Lex Luthor’s motives remaining unclear throughout the 150 minute running time. This proves increasingly hard to swallow as the film progresses and makes his villain feel less menacing than he should be.
Nevertheless, Batman v Superman is visually spectacular. Snyder bombards the audience with breath-taking set pieces, dispersing them well enough to ensure the plot only drags in a few areas, namely at the beginning – though the film’s flabby length is a sticking point; it simply doesn’t need to be nearly three hours long.
It may all sound pretty negative, but the exciting and beautifully filmed final act almost makes up for these shortcomings. We also get to see an emotional side to the genre, something that has been sorely lacking more recently with the constant quipping of the Marvel Universe.
Overall, Batman v Superman was never going to live up to the hype and in some ways it does fall short. The battle between Bat of Gotham and Son of Krypton is disappointingly brief and the story lacks any real weight, until the final 30 minutes. But it’s filmed in such a unique fashion and with such confidence; it’s quite possible you may not see anything like it in the genre again.
https://moviemetropolis.net/2016/03/27/the-transformers-of-the-superhero-genre-batman-v-superman-review/
Movie Metropolis (309 KP) rated American Sniper (2015) in Movies
Jun 10, 2019
Incredibly Harrowing
There’s something about Clint Eastwood’s varied directing career that puts him among the greats of the craft. Along with Spielberg, Scott and Fincher, Eastwood has created some of cinema’s greatest films – yet he goes about it in a completely different fashion to his peers, he doesn’t shout about it.
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Gareth von Kallenbach (980 KP) rated Captain America: Civil War (2016) in Movies
Jun 19, 2019
The summer 2016 movie season has launched in a big way with Marvel Studios offering up the eagerly awaited “Captain America” Civil War” which once again stars Chris Evans and the title character.
The film is set in the aftermath of “The Avengers: Age of Ultron” where the governments of the world have grown fearful of the devastation that can be unleashed by their super-powered protectors and their enemies and devises a plan of action.
A law is introduced that requires heroes to register and be held accountable to governing bodies which for the most part would also control their activities.
Tony Stark (Robert Downey Jr.), is still reeling from his part in the Ultron threat and the usually smug and cocky Iron Man is all in favor of the new legislation proposal.
Captain America/Steve Rogers on the other hand remembers the evils of making various groups register and answer to the government during World War II and he is very opposed to this new development.
As if this was not enough for the heroes to deal with, a villain named Crossbones (Frank Grillo) is causing trouble and then there is the matter of The Winter Soldier (Sebastian Stan), which is like adding gasoline on a raging fire.
The Winter Soldier is blamed for a horrific tragedy and the forces of the world are poised to bring him to a final justice no matter the cost.
Rogers believes that his former friend can be saved and as such is willing to take great risks to do so. Stark and his supporters believe that The Winter Soldier is a threat that must be stopped at all costs. This combined with the already growing tensions over the new legislation divides the former allies and puts friends and allies at odds with one another.
The resulting backlash is a battle that threatens to destabilize those sworn to protect society and makes the world an even more dangerous and volatile place especially with an ever darker threat looming in the shadows.
The film does a great job mixing in intense action sequences that are visual effect spectacles, yet never losing the fact that is story powered by real characters with real issues.
The characters may be super powered, but they are dealing with real issues ranging from trust, loyalty, betrayal, and accountability in an ever changing world that seems to be caught in the crossfire of their heroic deeds.
The large ensemble cast works very well with one another and this is the key to making a film like this work. This is not simply pitting characters against one another in a conflict; this is a well-developed story that sets up future films very well but uses compelling and interesting characters with some timely humor to carry the film.
There are plenty of surprise moments in the film and Directors Anthony and Joe Russo proved that their last Captain America outing was no fluke, as they have delivered an action-packed and gripping film with some very mature content and themes set against some dazzling and intense action sequences which have become a trademark of the Marvel Film Franchise.
http://sknr.net/2016/05/03/captain-america-civil-war/
The film is set in the aftermath of “The Avengers: Age of Ultron” where the governments of the world have grown fearful of the devastation that can be unleashed by their super-powered protectors and their enemies and devises a plan of action.
A law is introduced that requires heroes to register and be held accountable to governing bodies which for the most part would also control their activities.
Tony Stark (Robert Downey Jr.), is still reeling from his part in the Ultron threat and the usually smug and cocky Iron Man is all in favor of the new legislation proposal.
Captain America/Steve Rogers on the other hand remembers the evils of making various groups register and answer to the government during World War II and he is very opposed to this new development.
As if this was not enough for the heroes to deal with, a villain named Crossbones (Frank Grillo) is causing trouble and then there is the matter of The Winter Soldier (Sebastian Stan), which is like adding gasoline on a raging fire.
The Winter Soldier is blamed for a horrific tragedy and the forces of the world are poised to bring him to a final justice no matter the cost.
Rogers believes that his former friend can be saved and as such is willing to take great risks to do so. Stark and his supporters believe that The Winter Soldier is a threat that must be stopped at all costs. This combined with the already growing tensions over the new legislation divides the former allies and puts friends and allies at odds with one another.
The resulting backlash is a battle that threatens to destabilize those sworn to protect society and makes the world an even more dangerous and volatile place especially with an ever darker threat looming in the shadows.
The film does a great job mixing in intense action sequences that are visual effect spectacles, yet never losing the fact that is story powered by real characters with real issues.
The characters may be super powered, but they are dealing with real issues ranging from trust, loyalty, betrayal, and accountability in an ever changing world that seems to be caught in the crossfire of their heroic deeds.
The large ensemble cast works very well with one another and this is the key to making a film like this work. This is not simply pitting characters against one another in a conflict; this is a well-developed story that sets up future films very well but uses compelling and interesting characters with some timely humor to carry the film.
There are plenty of surprise moments in the film and Directors Anthony and Joe Russo proved that their last Captain America outing was no fluke, as they have delivered an action-packed and gripping film with some very mature content and themes set against some dazzling and intense action sequences which have become a trademark of the Marvel Film Franchise.
http://sknr.net/2016/05/03/captain-america-civil-war/
Gareth von Kallenbach (980 KP) rated Rio 2 (2014) in Movies
Jun 19, 2019
Three years ago, my wife and I moved down to Arizona to open the second office of Skewed and Reviewed. I remember clearly getting into town on a Tuesday evening and the following Saturday morning we had our first assignment in AZ, screening the movie “RIO”.
As we marked the anniversary of our arrival in the Valley of the Sun, it was ironic that “Rio 2” was flying into theaters at the same time and once again, we had a Saturday morning screening for the film albeit at different theaters.
The sequel picks up shortly after the events of the first film with Blu (Jess Eisenberg), and Jewel (Anne Hathaway), raising their children in a sanctuary in Rio. Their musical and colorful friends are all around them and are preparing for the upcoming carnival and the festivities that go along with it.
Blu learns that his former owner Linda (Leslie Mann), and her husband may have discovered others of Blu’s species in the deep jungle, which in turn leads Jewel to suggest a family vacation into the wild to help out.
For a city bird like Blu, venturing into the wild requires a fanny pack with items ranging from a G.P.S. to a utility knife and other modern items much to the chagrin of those around him.
The distant journey seems to be going well, until Blu crosses paths with Nigel (Jemaine Clement), who is still seething over his last encounter with Blu and schemes his revenge.
Blu and his family stumble upon a whole flock of their species and they eagerly embrace Jewel as she has returned home. Blu despite his best efforts does not fit in and struggles to gain acceptance from Jewel’s dad who is also the leader of the flock.
As if this was not enough problems for one bird to handle, an illegal organization is cutting down the forest which threatens the flock as well as Lind and her husband.
What follows is a madcap mix of comedy, music, and adventure as the film mixes very good lessons about environmental awareness and acceptance without ever being preachy.
The animation and 3D is solid and the supporting cast which included Bruno Mars, George Lopez, Jaime Foxx, Will I Am, Tracy Morgan, Andy Garcia and many others does a solid job.
The film took a while to get going and while the final 30 minutes pays off, the biggest trouble was staying with the film during the slower moments.
While it was very well presented and produced it does make me appreciate just how dialed in Disney is with their films as no matter how much they tried, none of the musical numbers in “Rio 2” were memorable and I stuggled to remember a single song shortly after the screener.
Since Disney is the leader in the industry for animated films and have been so for over 75 years, it would be unfair to expect the company behind the “Ice Age” series to meet the same standards.
While it may not be a timeless classic, “Rio 2” still has enough charm and enjoyment to make it an enjoyable film for younger viewers and fans of the first film, just as long as you temper your expectations.
http://sknr.net/2014/04/11/rio-2/
As we marked the anniversary of our arrival in the Valley of the Sun, it was ironic that “Rio 2” was flying into theaters at the same time and once again, we had a Saturday morning screening for the film albeit at different theaters.
The sequel picks up shortly after the events of the first film with Blu (Jess Eisenberg), and Jewel (Anne Hathaway), raising their children in a sanctuary in Rio. Their musical and colorful friends are all around them and are preparing for the upcoming carnival and the festivities that go along with it.
Blu learns that his former owner Linda (Leslie Mann), and her husband may have discovered others of Blu’s species in the deep jungle, which in turn leads Jewel to suggest a family vacation into the wild to help out.
For a city bird like Blu, venturing into the wild requires a fanny pack with items ranging from a G.P.S. to a utility knife and other modern items much to the chagrin of those around him.
The distant journey seems to be going well, until Blu crosses paths with Nigel (Jemaine Clement), who is still seething over his last encounter with Blu and schemes his revenge.
Blu and his family stumble upon a whole flock of their species and they eagerly embrace Jewel as she has returned home. Blu despite his best efforts does not fit in and struggles to gain acceptance from Jewel’s dad who is also the leader of the flock.
As if this was not enough problems for one bird to handle, an illegal organization is cutting down the forest which threatens the flock as well as Lind and her husband.
What follows is a madcap mix of comedy, music, and adventure as the film mixes very good lessons about environmental awareness and acceptance without ever being preachy.
The animation and 3D is solid and the supporting cast which included Bruno Mars, George Lopez, Jaime Foxx, Will I Am, Tracy Morgan, Andy Garcia and many others does a solid job.
The film took a while to get going and while the final 30 minutes pays off, the biggest trouble was staying with the film during the slower moments.
While it was very well presented and produced it does make me appreciate just how dialed in Disney is with their films as no matter how much they tried, none of the musical numbers in “Rio 2” were memorable and I stuggled to remember a single song shortly after the screener.
Since Disney is the leader in the industry for animated films and have been so for over 75 years, it would be unfair to expect the company behind the “Ice Age” series to meet the same standards.
While it may not be a timeless classic, “Rio 2” still has enough charm and enjoyment to make it an enjoyable film for younger viewers and fans of the first film, just as long as you temper your expectations.
http://sknr.net/2014/04/11/rio-2/
Darren (1599 KP) rated Rabid (2019) in Movies
Oct 14, 2019
Characters – Rose is the quiet assistant to a fashion designer, she has her own ideas that she does want to see made, the girls come to her to get small adjustments, but the designer treats her like a carpet. She isn’t seen in the same light as the models and often keeps to herself. She gets involved in an accident which first sees her horribly disfigured and secondly lose her job, desperate to fix this, she turns to an experimental procedure which fixes everything, giving her a new lease for life and a taste for blood. Brad is one of the co-workers that does try to help Rose come out of her shell by inviting her to the party before the accident. Chelsea is the foster sister to Rose that has been working with her too, she is the one that opens up her home after the accident, helping her get back on her feet, supporting her through the treatment, not looking away like most the others in her life would.
Performances – Laura Vandervoort does give us a strong performance throughout, being able to balance the losing her mind and determined personality. Hanneke Talbot is strong too and the supportive friend, that does get to show the pushy personality her character has around Rose. Benjamin Hollingsworth does show us a strong friend or potential love interest in the film, while big names like Stephen McHattie and C.M. Punk make entertaining supporting appearance.
Story – The story here follows a young lady that sees her life turned upside down after an accident leaves her disfigured, only for an experiment procedure bringing out a new version of herself and an unwanted side effect along the way. This is a remake and one story that can remain similar is places, while bringing the social side of the film to new heights, the fashion world does make a wonderful backdrop for the story because it reflects the world that image needs to be fix with surgery. There are certain ways the story does feel weaker, that is mostly seeing how everything is spreading, which is important, but it doesn’t follow Rose, which is the important side of the story.
Horror/Sci-Fi – The horror side of the film comes from the real world situation that Rose goes through, with the accident before hitting the graphic violence of what is happening to Rose, which is also the sci-fi side of the film, the changes Rose goes through.
Settings – The film uses the fashion world as the main settings backdrop, it shows us just how important image is to Rose and the people close to her.
Special Effects – The complete highlight of this film comes from the practical effects, which look as graphic as they can, the injury suffered by Rose is one of the worst wounds you will see in this year’s horror films. We should give a shout out to the team (According to IMDB) Graham Chivers, Jeff Derushie, Anahita Loghmanifar, Emily O’Quinn and Omar Roessler
Scene of the Movie – The first reveal from the injury.
That Moment That Annoyed Me – We do move away from Rose, as the bigger problems spread around the city, we could have been given more fear from not seeing this, only hearing about it.
Final Thoughts – This is a practical effects masterclass in horror, it will use some of the best you will see this year even if the story is a modernised look at a cult classic.
Overall: Bloody graphic horror.
Performances – Laura Vandervoort does give us a strong performance throughout, being able to balance the losing her mind and determined personality. Hanneke Talbot is strong too and the supportive friend, that does get to show the pushy personality her character has around Rose. Benjamin Hollingsworth does show us a strong friend or potential love interest in the film, while big names like Stephen McHattie and C.M. Punk make entertaining supporting appearance.
Story – The story here follows a young lady that sees her life turned upside down after an accident leaves her disfigured, only for an experiment procedure bringing out a new version of herself and an unwanted side effect along the way. This is a remake and one story that can remain similar is places, while bringing the social side of the film to new heights, the fashion world does make a wonderful backdrop for the story because it reflects the world that image needs to be fix with surgery. There are certain ways the story does feel weaker, that is mostly seeing how everything is spreading, which is important, but it doesn’t follow Rose, which is the important side of the story.
Horror/Sci-Fi – The horror side of the film comes from the real world situation that Rose goes through, with the accident before hitting the graphic violence of what is happening to Rose, which is also the sci-fi side of the film, the changes Rose goes through.
Settings – The film uses the fashion world as the main settings backdrop, it shows us just how important image is to Rose and the people close to her.
Special Effects – The complete highlight of this film comes from the practical effects, which look as graphic as they can, the injury suffered by Rose is one of the worst wounds you will see in this year’s horror films. We should give a shout out to the team (According to IMDB) Graham Chivers, Jeff Derushie, Anahita Loghmanifar, Emily O’Quinn and Omar Roessler
Scene of the Movie – The first reveal from the injury.
That Moment That Annoyed Me – We do move away from Rose, as the bigger problems spread around the city, we could have been given more fear from not seeing this, only hearing about it.
Final Thoughts – This is a practical effects masterclass in horror, it will use some of the best you will see this year even if the story is a modernised look at a cult classic.
Overall: Bloody graphic horror.
Film tie-in
I received this book for free through Goodreads First Reads.
Nominated for an Oscar, BAFTA and Golden Globe,Trumbo is a recent film based on the original biography Dalton Trumbo written by Bruce Cook in 1977. Its adaptation to film provided the perfect opportunity to republish this extremely well researched book. With a forward written by John McNamara, the screenwriter of the motion picture, the story of Dalton Trumbo’s life is just as intriguing as it was almost forty years ago. But who is Trumbo?
If, like me, you have never heard of Trumbo or even the infamous “Hollywood Ten,” it may take a while for it to become clear as to why it was worth Cook’s time to produce a book about the man. Dalton Trumbo was a well-known screenwriter of films such as Papillon, Lonely Are The Brave and Roman Holiday as well as author of the novel Johnny Got His Gun. However these are not all he is famous for. During his life, Trumbo became a member of the Communist Party, which Hollywood branded as an Un-American Activity and thus blacklisted him, as well as other screenwriters, directors and actors. Ten of these men, Trumbo included, were imprisoned for their political beliefs – yet nothing prevented Trumbo from continuing his fairly successful career.
Interestingly, Cook begins the book with the final stages of Trumbo’s life. At time of writing Trumbo was still alive, although rather poorly. After contracting lung cancer, having a lung removed, and suffering a heart attack, Trumbo was a very sick man; nonetheless he was still enthusiastic about being interviewed and telling his personal story.
From his childhood, to his evening shifts at a bakery, Cook details Trumbo’s early life, emphasizing the hard upbringing he had before he found himself in the world of Hollywood. Although roughly 75% of the book focuses on Trumbo’s career, Cook highlights Trumbo as a family man, with both a wife and three children who he absolutely adores.
Cook constantly refers to the Hollywood Ten as a concept that the reader should already be familiar with. Granted, someone who picks up this book is more likely to do so having a prior interest in the central figure, and thus already know about his background; however those ignorant on the topic eventually gather a better understanding on the topic once reaching the relevant chapters. It also becomes clearer why Trumbo is worth reading/writing about – he may have been blacklisted, but he managed to break through all the barriers and reinstate his name and many others.
Reading this half a century after the event, it seems strange that Trumbo was imprisoned. He had not done anything intrinsically wrong, it was purely prejudice against his political beliefs that got him into the mess he found himself. But when you consider the events of the time: World War Two, the Cold War, the Korean War, and Vietnam; it is understandable why many feared those who claimed to be Communists.
Cook’s narrative does not flow as a story, and much of it is broken up with quotes from various people he interviewed. The timeline jumps about between past and present (1970s), which occasionally gets a bit confusing. A large part of the book is spent analyzing many of Trumbo’s works – both for screen and written formats – which, unless you have a particular interest, can be a little tedious.
It has got to be said that Bruce Cook was an exemplary writer with a great eye for detail. He did not jump to conclusions or only talk about things from his point of view. Instead he interviewed, what seems like, everyone who ever met Trumbo, and based his writing on fact backed up with numerous quotes and citations.
This edition of Trumbo contains a selection of photographs taken on the set of the movie. Disappointingly it does not contain any of Trumbo himself – you would think that some photos could have been tracked down!
Trumbo is not a book that will interest everyone. Most people today – particularly in England – will probably be unaware of who Dalton Trumbo was, and thus would only seek out this publication due to a fascination with film production. I have not seen the film, but after reading this and discovering how books go from novels, to screenplays to moving image, it would be interesting to find out which parts of Trumbo’s life made it onto the big screen.
Nominated for an Oscar, BAFTA and Golden Globe,Trumbo is a recent film based on the original biography Dalton Trumbo written by Bruce Cook in 1977. Its adaptation to film provided the perfect opportunity to republish this extremely well researched book. With a forward written by John McNamara, the screenwriter of the motion picture, the story of Dalton Trumbo’s life is just as intriguing as it was almost forty years ago. But who is Trumbo?
If, like me, you have never heard of Trumbo or even the infamous “Hollywood Ten,” it may take a while for it to become clear as to why it was worth Cook’s time to produce a book about the man. Dalton Trumbo was a well-known screenwriter of films such as Papillon, Lonely Are The Brave and Roman Holiday as well as author of the novel Johnny Got His Gun. However these are not all he is famous for. During his life, Trumbo became a member of the Communist Party, which Hollywood branded as an Un-American Activity and thus blacklisted him, as well as other screenwriters, directors and actors. Ten of these men, Trumbo included, were imprisoned for their political beliefs – yet nothing prevented Trumbo from continuing his fairly successful career.
Interestingly, Cook begins the book with the final stages of Trumbo’s life. At time of writing Trumbo was still alive, although rather poorly. After contracting lung cancer, having a lung removed, and suffering a heart attack, Trumbo was a very sick man; nonetheless he was still enthusiastic about being interviewed and telling his personal story.
From his childhood, to his evening shifts at a bakery, Cook details Trumbo’s early life, emphasizing the hard upbringing he had before he found himself in the world of Hollywood. Although roughly 75% of the book focuses on Trumbo’s career, Cook highlights Trumbo as a family man, with both a wife and three children who he absolutely adores.
Cook constantly refers to the Hollywood Ten as a concept that the reader should already be familiar with. Granted, someone who picks up this book is more likely to do so having a prior interest in the central figure, and thus already know about his background; however those ignorant on the topic eventually gather a better understanding on the topic once reaching the relevant chapters. It also becomes clearer why Trumbo is worth reading/writing about – he may have been blacklisted, but he managed to break through all the barriers and reinstate his name and many others.
Reading this half a century after the event, it seems strange that Trumbo was imprisoned. He had not done anything intrinsically wrong, it was purely prejudice against his political beliefs that got him into the mess he found himself. But when you consider the events of the time: World War Two, the Cold War, the Korean War, and Vietnam; it is understandable why many feared those who claimed to be Communists.
Cook’s narrative does not flow as a story, and much of it is broken up with quotes from various people he interviewed. The timeline jumps about between past and present (1970s), which occasionally gets a bit confusing. A large part of the book is spent analyzing many of Trumbo’s works – both for screen and written formats – which, unless you have a particular interest, can be a little tedious.
It has got to be said that Bruce Cook was an exemplary writer with a great eye for detail. He did not jump to conclusions or only talk about things from his point of view. Instead he interviewed, what seems like, everyone who ever met Trumbo, and based his writing on fact backed up with numerous quotes and citations.
This edition of Trumbo contains a selection of photographs taken on the set of the movie. Disappointingly it does not contain any of Trumbo himself – you would think that some photos could have been tracked down!
Trumbo is not a book that will interest everyone. Most people today – particularly in England – will probably be unaware of who Dalton Trumbo was, and thus would only seek out this publication due to a fascination with film production. I have not seen the film, but after reading this and discovering how books go from novels, to screenplays to moving image, it would be interesting to find out which parts of Trumbo’s life made it onto the big screen.
My rating: 3.5
<i>I received this book for free through Goodreads First Reads.</i>
Nominated for an Oscar, BAFTA and Golden Globe, <i>Trumbo</i> is a recent film based on the original biography <i>Dalton Trumbo</i> written by Bruce Cook in 1977. Its adaptation to film provided the perfect opportunity to republish this extremely well researched book. With a forward written by John McNamara, the screenwriter of the motion picture, the story of Dalton Trumbo’s life is just as intriguing as it was almost forty years ago. But who is Trumbo?
If, like me, you have never heard of Trumbo or even the infamous “Hollywood Ten,” it may take a while for it to become clear as to why it was worth Cook’s time to produce a book about the man. Dalton Trumbo was a well-known screenwriter of films such as <i>Papillon, Lonely Are The Brave</i> and <i>Roman Holiday</i> as well as author of the novel <i>Johnny Got His Gun</i>. However these are not all he is famous for. During his life, Trumbo became a member of the Communist Party, which Hollywood branded as an Un-American Activity and thus blacklisted him, as well as other screenwriters, directors and actors. Ten of these men, Trumbo included, were imprisoned for their political beliefs – yet nothing prevented Trumbo from continuing his fairly successful career.
Interestingly, Cook begins the book with the final stages of Trumbo’s life. At time of writing Trumbo was still alive, although rather poorly. After contracting lung cancer, having a lung removed, and suffering a heart attack, Trumbo was a very sick man; nonetheless he was still enthusiastic about being interviewed and telling his personal story.
From his childhood, to his evening shifts at a bakery, Cook details Trumbo’s early life, emphasizing the hard upbringing he had before he found himself in the world of Hollywood. Although roughly 75% of the book focuses on Trumbo’s career, Cook highlights Trumbo as a family man, with both a wife and three children who he absolutely adores.
Cook constantly refers to the Hollywood Ten as a concept that the reader should already be familiar with. Granted, someone who picks up this book is more likely to do so having a prior interest in the central figure, and thus already know about his background; however those ignorant on the topic eventually gather a better understanding on the topic once reaching the relevant chapters. It also becomes clearer why Trumbo is worth reading/writing about – he may have been blacklisted, but he managed to break through all the barriers and reinstate his name and many others.
Reading this half a century after the event, it seems strange that Trumbo was imprisoned. He had not done anything intrinsically wrong, it was purely prejudice against his political beliefs that got him into the mess he found himself. But when you consider the events of the time: World War Two, the Cold War, the Korean War, and Vietnam; it is understandable why many feared those who claimed to be Communists.
Cook’s narrative does not flow as a story, and much of it is broken up with quotes from various people he interviewed. The timeline jumps about between past and present (1970s), which occasionally gets a bit confusing. A large part of the book is spent analyzing many of Trumbo’s works – both for screen and written formats – which, unless you have a particular interest, can be a little tedious.
It has got to be said that Bruce Cook was an exemplary writer with a great eye for detail. He did not jump to conclusions or only talk about things from his point of view. Instead he interviewed, what seems like, everyone who ever met Trumbo, and based his writing on fact backed up with numerous quotes and citations.
This edition of <i>Trumbo</i> contains a selection of photographs taken on the set of the movie. Disappointingly it does not contain any of Trumbo himself – you would think that some photos could have been tracked down!
<i>Trumbo</i> is not a book that will interest everyone. Most people today – particularly in England – will probably be unaware of who Dalton Trumbo was, and thus would only seek out this publication due to a fascination with film production. I have not seen the film, but after reading this and discovering how books go from novels, to screenplays to moving image, it would be interesting to find out which parts of Trumbo’s life made it onto the big screen.
<i>I received this book for free through Goodreads First Reads.</i>
Nominated for an Oscar, BAFTA and Golden Globe, <i>Trumbo</i> is a recent film based on the original biography <i>Dalton Trumbo</i> written by Bruce Cook in 1977. Its adaptation to film provided the perfect opportunity to republish this extremely well researched book. With a forward written by John McNamara, the screenwriter of the motion picture, the story of Dalton Trumbo’s life is just as intriguing as it was almost forty years ago. But who is Trumbo?
If, like me, you have never heard of Trumbo or even the infamous “Hollywood Ten,” it may take a while for it to become clear as to why it was worth Cook’s time to produce a book about the man. Dalton Trumbo was a well-known screenwriter of films such as <i>Papillon, Lonely Are The Brave</i> and <i>Roman Holiday</i> as well as author of the novel <i>Johnny Got His Gun</i>. However these are not all he is famous for. During his life, Trumbo became a member of the Communist Party, which Hollywood branded as an Un-American Activity and thus blacklisted him, as well as other screenwriters, directors and actors. Ten of these men, Trumbo included, were imprisoned for their political beliefs – yet nothing prevented Trumbo from continuing his fairly successful career.
Interestingly, Cook begins the book with the final stages of Trumbo’s life. At time of writing Trumbo was still alive, although rather poorly. After contracting lung cancer, having a lung removed, and suffering a heart attack, Trumbo was a very sick man; nonetheless he was still enthusiastic about being interviewed and telling his personal story.
From his childhood, to his evening shifts at a bakery, Cook details Trumbo’s early life, emphasizing the hard upbringing he had before he found himself in the world of Hollywood. Although roughly 75% of the book focuses on Trumbo’s career, Cook highlights Trumbo as a family man, with both a wife and three children who he absolutely adores.
Cook constantly refers to the Hollywood Ten as a concept that the reader should already be familiar with. Granted, someone who picks up this book is more likely to do so having a prior interest in the central figure, and thus already know about his background; however those ignorant on the topic eventually gather a better understanding on the topic once reaching the relevant chapters. It also becomes clearer why Trumbo is worth reading/writing about – he may have been blacklisted, but he managed to break through all the barriers and reinstate his name and many others.
Reading this half a century after the event, it seems strange that Trumbo was imprisoned. He had not done anything intrinsically wrong, it was purely prejudice against his political beliefs that got him into the mess he found himself. But when you consider the events of the time: World War Two, the Cold War, the Korean War, and Vietnam; it is understandable why many feared those who claimed to be Communists.
Cook’s narrative does not flow as a story, and much of it is broken up with quotes from various people he interviewed. The timeline jumps about between past and present (1970s), which occasionally gets a bit confusing. A large part of the book is spent analyzing many of Trumbo’s works – both for screen and written formats – which, unless you have a particular interest, can be a little tedious.
It has got to be said that Bruce Cook was an exemplary writer with a great eye for detail. He did not jump to conclusions or only talk about things from his point of view. Instead he interviewed, what seems like, everyone who ever met Trumbo, and based his writing on fact backed up with numerous quotes and citations.
This edition of <i>Trumbo</i> contains a selection of photographs taken on the set of the movie. Disappointingly it does not contain any of Trumbo himself – you would think that some photos could have been tracked down!
<i>Trumbo</i> is not a book that will interest everyone. Most people today – particularly in England – will probably be unaware of who Dalton Trumbo was, and thus would only seek out this publication due to a fascination with film production. I have not seen the film, but after reading this and discovering how books go from novels, to screenplays to moving image, it would be interesting to find out which parts of Trumbo’s life made it onto the big screen.
Lee (2222 KP) rated #Alive (2020) in Movies
Sep 11, 2020
The bar for South Korean zombie movies, or for any kind of zombie movie for that matter, was set exceptionally high when Train to Busan was released back in 2016. #Alive, which arrived on Netflix earlier this week, having premiered in its home country of South Korea back in June, had a lot to live up to. But by focusing primarily on just a single character, #Alive manages to deliver a quarantine story that we can all relate to after the chaos and uncertainty of 2020 and brings a touch of originality to a very familiar genre.
#Alive certainly doesn’t waste much time in dropping us straight into the zombie apocalypse. Young gamer Oh Joon-woo wakes up at 10 am, alone in the high-rise apartment that he shares with his parents. A note left by them tells us that they’ve gone away for a few days, leaving Oh Joon-woo to fend for himself. “Make sure you pick up some groceries”, his mum tells him, but instead he heads back to his room and begins playing an online game with some friends. But shortly into their game, his friends are distracted by some disturbing news reports on the TV, so Oh Joon-woo goes to check for himself.
He doesn’t need to watch much of the news on TV before realising that he can look outside of his apartment window and see for himself what the panic is all about. Down on the streets, people are running and screaming in all directions while others are in a frenzied state, attacking and biting everyone around them. Family members turn on each other, a fire truck crashes into a row of cars, and a nearby explosion quickly sends a dazed and confused Oh Joon-woo back inside his apartment.
The news reports talk of people quickly turning violent and attacking others, immediately passing on whatever it is that has turned them into crazed zombies. It describes how you can tell a person is turning because they will be bleeding from the eyes. “Citizens must stay home and avoid going out.” is the advice given. Sound familiar?
Oh Joon-woo does what a lot of us probably did during lockdown - he plays video games, drinks his dad’s alcohol, and tries to just ride it all out the best he can. He quickly regrets ignoring his mum’s request to go and buy groceries though, as he lays out the very small amount of mostly unhealthy food items that are in the apartment out onto the table, and separates them into meals for each day over the coming week or so.
Days pass, but without any sign of the outside chaos subsiding. There are still zombies down on the streets, taking out any unfortunate survivor unlucky enough to be outside, and any investigative trips outside the apartment front door are fraught with danger. We’ve now passed day 20, and Oh Joon-woo is struggling.
At his lowest point, Oh Joon-woo notices a laser pointer shining into his apartment from the high-rise opposite. When he goes to investigate, he sees that there is another survivor looking back at him. Kim Yoo-bin is also at a fairly low point in her life, but with food, weapons and homemade zombie traps, she appears to be a bit of a badass, clearly better equipped at dealing with the crisis than Oh Joon-woo. She initially thinks Oh Joon-woo is an idiot, sending food across a wire that they manage to set up between their buildings so that he doesn’t starve. But they soon form a close bond, sending messages to each other before eventually employing the use of walkie-talkies so that they can discuss a way out of their predicament.
#Alive taps into the feelings that so many of us will have felt during lockdown this year - feeling isolated, lonely, scared. It’s the quiet human moments that work so well here, especially with the introduction of a friend and an ally in the form of Kim Yoo-bin. Finding each other does literally save both of their lives.
But it’s never too long before we’re jolted right back into some zombie action, and thankfully that aspect doesn’t disappoint. The news reports had already informed us that the zombies appeared to be able to remember certain human actions from before they turned, such as opening doors. They even appear to retain aspects of behaviour from their human occupations. This makes for some entertaining and unpredictable zombie fun, most notably a firefighter zombie who scales the outside of the high-rise in an attempt to try and reach Kim Yoo-bin.
There’s a late plot twist and a deus ex machina which may seem like a bit of a cop-out for some, but overall #Alive is certainly a worthwhile watch for fans of zombie action with a focus on the human characters.
#Alive certainly doesn’t waste much time in dropping us straight into the zombie apocalypse. Young gamer Oh Joon-woo wakes up at 10 am, alone in the high-rise apartment that he shares with his parents. A note left by them tells us that they’ve gone away for a few days, leaving Oh Joon-woo to fend for himself. “Make sure you pick up some groceries”, his mum tells him, but instead he heads back to his room and begins playing an online game with some friends. But shortly into their game, his friends are distracted by some disturbing news reports on the TV, so Oh Joon-woo goes to check for himself.
He doesn’t need to watch much of the news on TV before realising that he can look outside of his apartment window and see for himself what the panic is all about. Down on the streets, people are running and screaming in all directions while others are in a frenzied state, attacking and biting everyone around them. Family members turn on each other, a fire truck crashes into a row of cars, and a nearby explosion quickly sends a dazed and confused Oh Joon-woo back inside his apartment.
The news reports talk of people quickly turning violent and attacking others, immediately passing on whatever it is that has turned them into crazed zombies. It describes how you can tell a person is turning because they will be bleeding from the eyes. “Citizens must stay home and avoid going out.” is the advice given. Sound familiar?
Oh Joon-woo does what a lot of us probably did during lockdown - he plays video games, drinks his dad’s alcohol, and tries to just ride it all out the best he can. He quickly regrets ignoring his mum’s request to go and buy groceries though, as he lays out the very small amount of mostly unhealthy food items that are in the apartment out onto the table, and separates them into meals for each day over the coming week or so.
Days pass, but without any sign of the outside chaos subsiding. There are still zombies down on the streets, taking out any unfortunate survivor unlucky enough to be outside, and any investigative trips outside the apartment front door are fraught with danger. We’ve now passed day 20, and Oh Joon-woo is struggling.
At his lowest point, Oh Joon-woo notices a laser pointer shining into his apartment from the high-rise opposite. When he goes to investigate, he sees that there is another survivor looking back at him. Kim Yoo-bin is also at a fairly low point in her life, but with food, weapons and homemade zombie traps, she appears to be a bit of a badass, clearly better equipped at dealing with the crisis than Oh Joon-woo. She initially thinks Oh Joon-woo is an idiot, sending food across a wire that they manage to set up between their buildings so that he doesn’t starve. But they soon form a close bond, sending messages to each other before eventually employing the use of walkie-talkies so that they can discuss a way out of their predicament.
#Alive taps into the feelings that so many of us will have felt during lockdown this year - feeling isolated, lonely, scared. It’s the quiet human moments that work so well here, especially with the introduction of a friend and an ally in the form of Kim Yoo-bin. Finding each other does literally save both of their lives.
But it’s never too long before we’re jolted right back into some zombie action, and thankfully that aspect doesn’t disappoint. The news reports had already informed us that the zombies appeared to be able to remember certain human actions from before they turned, such as opening doors. They even appear to retain aspects of behaviour from their human occupations. This makes for some entertaining and unpredictable zombie fun, most notably a firefighter zombie who scales the outside of the high-rise in an attempt to try and reach Kim Yoo-bin.
There’s a late plot twist and a deus ex machina which may seem like a bit of a cop-out for some, but overall #Alive is certainly a worthwhile watch for fans of zombie action with a focus on the human characters.
BankofMarquis (1832 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
May 19, 2019 (Updated May 19, 2019)
Great Fight Choreography in a very strong 3rd Chapter
The latest installment of the JOHN WICK story (titled CHAPTER 3 - PARABELLUM) is one long chase scene. It's 2 hours and 10 minutes of John Wick (Keanu Reeves) running and fighting and chasing and fighting and running again and fighting again.
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
And...that's just fine with me. For JOHN WICK 3 (JW3 as I'll call it from now on) is one of the finest choreographed films (fight scene-wise) that I have seen in quite a long time.
Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is declared "Ex-Communicado" from the underground Assassins organization that he has been a part of, then retired from, then pulled back in with a $14 million bounty on his head.
This flick kicks right into action (literally) with John and a few "red-shirt assassins" taking on each other in a hallway filled with knives. Will all these knives be used in the ensuing fight? You bet they will be - but it is how they are used - and how this scene (and all the fight scenes) are set-up, choreographed, and shot that makes this movie a strong cut above the standard fare in this sort of film.
That's because Director Chad Stahelski - a stunt man/fight coordinator for over 70 films - wisely focuses his attention on the grace, athleticism and strength of the stunts/fights and eschews the "quick-cut edit" style of fight scenes that is so en vogue these days. Stahelski keeps his camera "in place" and lets us, the audience, watch what's going on in (seemingly) long shots that are going to have you saying to yourself "how did they do that". Stahelski has helmed all 3 John Wick films thus far and I hope he helms many, many more.
You'll also be asking yourself how did 53 year old Keanu Reeves do all that fight work? It is incredible, physical work for him - and he is up to the task. John Wick is a man of few words - and much, much action - which suits the acting talents of this performer quite well.
Back for another go in the series - and having fun along the way - are Ian McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators and/or foes of John Wick in this underworld. Capably joining in - with just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in her best work in years) and Jerome Flynn (Bron from Game of Thrones). A new addition (at least to me) was the strong work brought forth by Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the Adjudicator" - who is monitoring the John Wick proceedings, Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef America!) as Wick's chief adversary - a strong effort (both acting-wise and physically/fighting wise) that I just didn't know this performer had in him.
A quick side-note on some animal performances here. There is a scene where a bad guy "gets it" from a horse...and I thought...how are they going to top that...and then immediately top it - GOOD FOR YOU, HORSE! And...a film has FINALLY figured out a way to use attack/guard dogs in a way that had you rooting for these four-legged, furry friends over the fiends they are attacking.
But...make no mistake about this...this film is about the fighting...and the intriguing Assassin's world that was first presented in the original (and I do mean ORIGINAL) John Wick film. I said at the time that I hoped they would expand this world, I wanted to see more of it. And...expand it they have...for the better. The world has become more intriguing to me, and I want EVEN MORE, PLEASE, of this world and of the uniquely original fight choreography that comes along with it.
This film is not for everyone - it is bloody (but in a "cartoon way"...I wouldn't say it is gory) and it is one long chase scene. But, if this is "your thing", you'll enjoy it very much.
Letter Grade: A-
8 stars out of 10 and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Drive My Car (2021) in Movies
Mar 19, 2022
Raw, Pure and Honest
If I’m being honest, I purposely pushed my Oscar “homework assignment” of viewing DRIVE MY CAR to the end of the list for I saw that it was a 3 Hour Japanese Film that is a meditation on loss, grief, anger and regret set against the backdrop of a production of Chekov’s Uncle Vanya. I was ready to buckle-in for an arty “Art House” film that is not as good as the “artists” recommending it would have you believe.
And I would be wrong with that assumption as DRIVE MY CAR is the BEST FILM of 2021 with raw, pure and honest performances that draws you in and touches your heart.
Directed by Ryusuke Hamaguchi (who was Oscar Nominated for his work), DRIVE MY CAR follows a renowned Actor/Director who heads to Hiroshima to Direct a production of Uncle Vanya while grappling with the consequences of the unexpected death of his wife - and the unresolved issues of their marriage. While in Hiroshima, he is forced to accept a chauffeur for his duration there and the relationship between the two begins to unlock long dormant emotions.
Sounds like it could end up being a modern version of DRIVING MISS DAISY, right? Wrong. In the hands of Hamaguchi, from an Oscar Nominated screenplay that Hamaguchi wrote with Takamasa Oe (based on the short story by Haruki Murakami), Drive My Car becomes a character-driven drama that peels the layers of the onion back at a deliberate pace (in this case, that’s a compliment) to reveal what is at the core of the main characters.
What drew me into this film (a movie who’s 3 hour run-time seemed short to me), was the performances that Hamaguchi was able to draw out of his talented cast, they are - top to bottom - raw, honest and real. Starting with Hidetoshi Nishijima as Actor/Director Yusuke Kafuku. He plays this character with a stoic pragmatism, but it is played in such a way that you understand that there are emotions broiling underneath this façade and they, eventually, will need to find their way out. But the brilliance of this film is that when this character finally opens up, it is not a showy, “yelly” performance, it is subtle, small - and effective.
Matching Nishijima’s stoicism (at least early on) is Toko Miura as the chauffer. She is enigmatic in the early goings of the film, listening much more than talking but as Kafuku opens up, she does as well, and it is this part of the film that really drew me in.
Also, surprisingly to me, was the rehearsal/performance scenes of Uncle Vanya that are sprinkled throughout this film. I am NOT a scholar (or fan) of Chekov’s works (I find them to be too introspective) but the scenes that are shown are a mirror to what is happening to these characters outside of the theater and were affecting (particularly a scene that the company does in the park between two female characters). I’m sure a Chekov scholar could comment on the parallel themes at work here - but I am not that scholar and that did not diminish my love of this film. It does do one surprising thing - it makes me (almost) want to see a full production of Vanya…almost.
And therein lies another layer to this film - the eclectic group of performers that populate the company of actors that perform Vanya - they perform in Japanese, Mandarin, English and (in one case) sign language. I was reading the subtitles anyway (yes, please view this film in it’s original language with subtitles - you’ll feel the emotions of the actors’ performances) and this disparity between the performers enhanced what was already an intriguing film.
Not for everyone, the pace and themes of this film will turn many off early on, but if you click into the feel of this film, you will be rewarded with a very rich experience.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
And I would be wrong with that assumption as DRIVE MY CAR is the BEST FILM of 2021 with raw, pure and honest performances that draws you in and touches your heart.
Directed by Ryusuke Hamaguchi (who was Oscar Nominated for his work), DRIVE MY CAR follows a renowned Actor/Director who heads to Hiroshima to Direct a production of Uncle Vanya while grappling with the consequences of the unexpected death of his wife - and the unresolved issues of their marriage. While in Hiroshima, he is forced to accept a chauffeur for his duration there and the relationship between the two begins to unlock long dormant emotions.
Sounds like it could end up being a modern version of DRIVING MISS DAISY, right? Wrong. In the hands of Hamaguchi, from an Oscar Nominated screenplay that Hamaguchi wrote with Takamasa Oe (based on the short story by Haruki Murakami), Drive My Car becomes a character-driven drama that peels the layers of the onion back at a deliberate pace (in this case, that’s a compliment) to reveal what is at the core of the main characters.
What drew me into this film (a movie who’s 3 hour run-time seemed short to me), was the performances that Hamaguchi was able to draw out of his talented cast, they are - top to bottom - raw, honest and real. Starting with Hidetoshi Nishijima as Actor/Director Yusuke Kafuku. He plays this character with a stoic pragmatism, but it is played in such a way that you understand that there are emotions broiling underneath this façade and they, eventually, will need to find their way out. But the brilliance of this film is that when this character finally opens up, it is not a showy, “yelly” performance, it is subtle, small - and effective.
Matching Nishijima’s stoicism (at least early on) is Toko Miura as the chauffer. She is enigmatic in the early goings of the film, listening much more than talking but as Kafuku opens up, she does as well, and it is this part of the film that really drew me in.
Also, surprisingly to me, was the rehearsal/performance scenes of Uncle Vanya that are sprinkled throughout this film. I am NOT a scholar (or fan) of Chekov’s works (I find them to be too introspective) but the scenes that are shown are a mirror to what is happening to these characters outside of the theater and were affecting (particularly a scene that the company does in the park between two female characters). I’m sure a Chekov scholar could comment on the parallel themes at work here - but I am not that scholar and that did not diminish my love of this film. It does do one surprising thing - it makes me (almost) want to see a full production of Vanya…almost.
And therein lies another layer to this film - the eclectic group of performers that populate the company of actors that perform Vanya - they perform in Japanese, Mandarin, English and (in one case) sign language. I was reading the subtitles anyway (yes, please view this film in it’s original language with subtitles - you’ll feel the emotions of the actors’ performances) and this disparity between the performers enhanced what was already an intriguing film.
Not for everyone, the pace and themes of this film will turn many off early on, but if you click into the feel of this film, you will be rewarded with a very rich experience.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)