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Julia Cafritz recommended All That Jazz (1979) in Movies (curated)
Gareth von Kallenbach (974 KP) rated The Last Airbender (2010) in Movies
Aug 8, 2019
The four elemental nations once got along thanks to the help of the master of the elements, the Avatar. But that was in the past. Long ago the Avatar disappeared and the power hungry Fire Nation has since been destroying all other nations in an attempt to develop their natural element wielding skills. But the discovery of a mysteriously tattooed boy, Aang, found in the ice by a young waterbender, Katara, and her brother, Sokka, may mean there is a way to achieve peace and once again unite the elements.
The first Avatar movie very closely follows the story of the first season, called Book One, of the original television show. However the translation of the beloved Nickelodeon cartoon into film has taken some very serious criticism for changes made in the race of the actors who portray the lead characters.
To make fans further iffy about the film the plot moves so quickly that at times the lead characters directly state the story to one another, a distracting and very obvious plot device. Furthering the film’s strange execution is the poor over-acting that fills almost every “emotional” scene. While this strong form of drama is very accurate to the original cartoon, the impact is lost in the translation to the big screen.
Still some things about seeing “The Last Airbender” as a film are really fun. The costumes and environments are both true to the original story. Adding to the fun are clever real world adaptations of the original show’s details, such as Aang’s Airbender tattoos. But where the film really excels is in the elemental battles that define the frequent and large-scale action sequences. Part fantasy and part martial art inspired, these fight scenes help to define the characters while providing visual speed to the otherwise overly paced film.
Fans will enjoy seeing the ideas of “The Last Airbender” executed in live action, but there is no real need for 3D. The film does show some of the character developing talent M. Night Shyamalan is known for, but the rushed pace and forced drama is hard to ignore.
The first Avatar movie very closely follows the story of the first season, called Book One, of the original television show. However the translation of the beloved Nickelodeon cartoon into film has taken some very serious criticism for changes made in the race of the actors who portray the lead characters.
To make fans further iffy about the film the plot moves so quickly that at times the lead characters directly state the story to one another, a distracting and very obvious plot device. Furthering the film’s strange execution is the poor over-acting that fills almost every “emotional” scene. While this strong form of drama is very accurate to the original cartoon, the impact is lost in the translation to the big screen.
Still some things about seeing “The Last Airbender” as a film are really fun. The costumes and environments are both true to the original story. Adding to the fun are clever real world adaptations of the original show’s details, such as Aang’s Airbender tattoos. But where the film really excels is in the elemental battles that define the frequent and large-scale action sequences. Part fantasy and part martial art inspired, these fight scenes help to define the characters while providing visual speed to the otherwise overly paced film.
Fans will enjoy seeing the ideas of “The Last Airbender” executed in live action, but there is no real need for 3D. The film does show some of the character developing talent M. Night Shyamalan is known for, but the rushed pace and forced drama is hard to ignore.
Rhapsodes: How 1940s Critics Changed American Film Culture
Book
Pauline Kael, Andrew Sarris, and Roger Ebert were three of America's most revered and widely read...
BankofMarquis (1832 KP) rated The Hudsucker Proxy (1994) in Movies
Sep 25, 2020
Terrific, under-rated gem
Coen Brother's films fall into 3 categories for me:
Terrific, well-known films: FARGO, NO COUNTRY FOR OLD MEN, THE BIG LEBOWSKI
Terrible, overly-indulgent films: HAIL CAESAR, A SERIOUS MAN, BURN AFTER READING
Under-rated gems: BARTON FINK, MILLER'S CROSSING, THE BALLAD OF BUSTER SCRUGGS
And this film, the 1994 homage to 1940's fast-talking comedies THE HUDSUCKER PROXY.
Set in the business world, THE HUDSUCKER PROXY tells the tale of a young, ambitious corporate ladder climber who is taken under the thumb of a conniving business exec who wants to use the young man as a patsy for the business.
Tim Robbins stars as the young, ambitious Norville Barnes who's "gee shucks" demeanor and the faithful belief in those around him anchors this film in a common decency that Robbins exudes in spades. Countering Robbins is a crafty film veteran - Paul Newman as evil, corrupt Corporate Executive Sidney J. Mussburger. Newman was winding down his career at this point, so must have seen something in the script that caught his eye, for Newman has a spark and a spring in his step that shows that the old man "still has it". He plays off of Robbins well and it is a joy to watch this veteran actor work. Equally interesting in this film is Jennifer Jason Leigh who channels her inner Rosalind Russell as fast-talking, hard-pushing reporter (and erstwhile girlfriend of Barnes), Amy Archer.
But this being a Coen Brothers film, this movie is just as strongly about the atmosphere and the dialogue as it is the characters - and what an atmosphere they create. Delivering a strong "1940's Art Deco meets Techno-Punk" theme, the Coens deliver a visually interesting world that is incorporated with intriguing characters.
In other words - it's a Coen Brothers comedy - and one that is well done.
To tell more about the story is to spoil the picture, but realize that this film is well made, well scripted and well acted (if a little slight on story). It is a very entertaining way to spend a few hours.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Terrific, well-known films: FARGO, NO COUNTRY FOR OLD MEN, THE BIG LEBOWSKI
Terrible, overly-indulgent films: HAIL CAESAR, A SERIOUS MAN, BURN AFTER READING
Under-rated gems: BARTON FINK, MILLER'S CROSSING, THE BALLAD OF BUSTER SCRUGGS
And this film, the 1994 homage to 1940's fast-talking comedies THE HUDSUCKER PROXY.
Set in the business world, THE HUDSUCKER PROXY tells the tale of a young, ambitious corporate ladder climber who is taken under the thumb of a conniving business exec who wants to use the young man as a patsy for the business.
Tim Robbins stars as the young, ambitious Norville Barnes who's "gee shucks" demeanor and the faithful belief in those around him anchors this film in a common decency that Robbins exudes in spades. Countering Robbins is a crafty film veteran - Paul Newman as evil, corrupt Corporate Executive Sidney J. Mussburger. Newman was winding down his career at this point, so must have seen something in the script that caught his eye, for Newman has a spark and a spring in his step that shows that the old man "still has it". He plays off of Robbins well and it is a joy to watch this veteran actor work. Equally interesting in this film is Jennifer Jason Leigh who channels her inner Rosalind Russell as fast-talking, hard-pushing reporter (and erstwhile girlfriend of Barnes), Amy Archer.
But this being a Coen Brothers film, this movie is just as strongly about the atmosphere and the dialogue as it is the characters - and what an atmosphere they create. Delivering a strong "1940's Art Deco meets Techno-Punk" theme, the Coens deliver a visually interesting world that is incorporated with intriguing characters.
In other words - it's a Coen Brothers comedy - and one that is well done.
To tell more about the story is to spoil the picture, but realize that this film is well made, well scripted and well acted (if a little slight on story). It is a very entertaining way to spend a few hours.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (974 KP) rated La La Land (2016) in Movies
Jul 12, 2019
Truth be told, I didn’t know what “La La Land” directed by Damien Chazelle; and starring Ryan Gosling, Emma Stone, and featuring John Legend would be about. As soon as I was given the opportunity to see it I watched the trailer to prepare and the moment I finished that trailer I knew I needed to see the entire film. Emma Stone plays Mia, an aspiring actress just trying to make it in the world. While Ryan Gosling Plays Sebastian, a jazz musician who aspires to open his own club and keep jazz alive.
After running into each other multiple time the two fall in love but as their dreams take them in different paths, they fight to stay together. While the story could be considered a love story, it is so much more. The film is captivating through its combination of wardrobe and scenery. The choreography is impeccable and the music stunning. The opening scene really sets up the quality of the film and gets the viewer excited for the other musical numbers, which are equally just as stunning.
I was hesitant when I first saw Emma Stone and Ryan Gosling in a musical, but they did phenomenal. The chemistry and humor on the screen is endearing and captivating, it pulled me into the story of Mia and Sebastian and made me wonder what was going to happen next.
Back to the music, the songs fit the characters and the story so well. They are woven into the scenes making them important to the story line. Also just in case I have not made myself clear already, the music is amazing. The score composed by Justin Hurwitz is a piece of art, and I know I will be buying the soundtrack. Watching this film made me think back to watching Gene Kelly, Ginger Rodgers, and Fred Astaire sing and dance in films. Quite honestly I have not seen this quality of musical film yet, and “La La Land” excites me with the idea of more films being made of this quality. I know I’ll be seeing this film again once it hit’s theatres!
After running into each other multiple time the two fall in love but as their dreams take them in different paths, they fight to stay together. While the story could be considered a love story, it is so much more. The film is captivating through its combination of wardrobe and scenery. The choreography is impeccable and the music stunning. The opening scene really sets up the quality of the film and gets the viewer excited for the other musical numbers, which are equally just as stunning.
I was hesitant when I first saw Emma Stone and Ryan Gosling in a musical, but they did phenomenal. The chemistry and humor on the screen is endearing and captivating, it pulled me into the story of Mia and Sebastian and made me wonder what was going to happen next.
Back to the music, the songs fit the characters and the story so well. They are woven into the scenes making them important to the story line. Also just in case I have not made myself clear already, the music is amazing. The score composed by Justin Hurwitz is a piece of art, and I know I will be buying the soundtrack. Watching this film made me think back to watching Gene Kelly, Ginger Rodgers, and Fred Astaire sing and dance in films. Quite honestly I have not seen this quality of musical film yet, and “La La Land” excites me with the idea of more films being made of this quality. I know I’ll be seeing this film again once it hit’s theatres!
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)
Andy K (10821 KP) rated 20,000 Leagues Under the Sea (1954) in Movies
Apr 29, 2019
One of the first Disney films to be shot in Cinema Scope
I swear Kirk Douglas has the best chin in film I have ever seen.
Another Disney classic I am ashamed I had not seen until today. What a grand epic undersea adventure! Kirk Douglas, Peter Lorre and James Mason as Captain Nemo (my dog really liked the seal, Esmeralda as well).
After some mysterious encounters at sea results in several vessels going down, some survivors of one of the blasts find their way aboard the Nautilus and meet the nefarious captain. After discovering the captain's mission our heroes try and escape and end up sort of joining the crew to bide their time until another opportunity arises.
What about the giant squid?
For the time period, this film looked amazing and the art direction and special effects both won Academy Awards for that year. The design of the Nautilus was also very interesting and it photographed well underwater.
I thoroughly enjoyed embarking on this aquatic journey and had to hold my breath until it was over!
Another Disney classic I am ashamed I had not seen until today. What a grand epic undersea adventure! Kirk Douglas, Peter Lorre and James Mason as Captain Nemo (my dog really liked the seal, Esmeralda as well).
After some mysterious encounters at sea results in several vessels going down, some survivors of one of the blasts find their way aboard the Nautilus and meet the nefarious captain. After discovering the captain's mission our heroes try and escape and end up sort of joining the crew to bide their time until another opportunity arises.
What about the giant squid?
For the time period, this film looked amazing and the art direction and special effects both won Academy Awards for that year. The design of the Nautilus was also very interesting and it photographed well underwater.
I thoroughly enjoyed embarking on this aquatic journey and had to hold my breath until it was over!
Awix (3310 KP) rated High Life (2019) in Movies
May 13, 2019 (Updated May 13, 2019)
Art-house sci-fi movie takes the genre to a place it has never been before, but not necessarily somewhere you'd actually want to follow it. A ship-load of death-row inmates are launched into space to go and perform experiments on black holes; along the way nearly everyone's sex drive gets the better of them and there are tears (along with most other bodily fluids) before bedtime. And at bedtime. And after bedtime. Yes, this really is the plot.
High Life presumably is an attempt at a grand statement on the human condition, but ends up looking more like what would happen if the Big Brother house was sent into orbit - this is a film with a bleak, squalid, misanthropic outlook, not helped by its total lack of humour and increasingly odd and confounding plotting as it continues. It betrays a certain familiarity with the history of the genre, has reasonable production designs, and Pattinson's performance is not bad. But it's a strange, repugnant, impenetrable film with little actual entertainment value.
High Life presumably is an attempt at a grand statement on the human condition, but ends up looking more like what would happen if the Big Brother house was sent into orbit - this is a film with a bleak, squalid, misanthropic outlook, not helped by its total lack of humour and increasingly odd and confounding plotting as it continues. It betrays a certain familiarity with the history of the genre, has reasonable production designs, and Pattinson's performance is not bad. But it's a strange, repugnant, impenetrable film with little actual entertainment value.
RB
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