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Gareth von Kallenbach (974 KP) rated Lincoln (2012) in Movies
Aug 7, 2019
The history of this country is steeped in mystery and intrigue, but it’s fuzzy on the details. We cling to heroes of the past because we are jaded by the present. Lincoln, a new film from Steven Spielberg, comes to us at a time when there seems to be even more political strife than usual. (Or perhaps that’s just me getting older and actually paying attention.) Either way, I think this movie’s arrival on the silver screen is very timely, given the recent election.
Daniel Day Lewis, a man revered for his choice of films and roles, as well as his ability to portray characters with so much emotion and conviction, has done it once again. As the title character for this film, Lewis portrays one of the U.S.A’s greatest leaders and pioneers in a way that few other men could. Surrounded by some of the best actors in Hollywood (including Tommy Lee Jones), this star-studded film has a laundry list of very recognizable faces from all corners of Hollywood. The red carpet was clearly rolled out for this film.
The story starts amid the death and destruction of the American Civil War, an event that is both a fixed point of the story and a constant backdrop. Seeing the fighting and killing made me wonder how gritty this movie would get, but as it turns out, they kept the level of gore pretty low.
The film goes on to set the stage for the final footsteps into the southern theater that was the Civil War. In tandem, it follows the highly controversial 13th amendment, which was barely passed at the time due to racism and the belief that one color of human should be slave to another color. The absurdity of this notion is highlighted, but it’s also familiar in the way it parallels issues we face today: legalizing pot, gay marriage, prostitution, the right to bear arms, etc. Perhaps our grandchildren will watch a film in the future about these struggles, and regard it as we do a film about the Civil War. As I sat and watched this movie, I was nearly in tears at the thought of how African-Americans were once regarded as lesser beings. Will our grandchildren cry at the ridiculousness of our beliefs?
The cinematography was amazingly crisp. Many of the characters are introduced in such a way that they have a grand entrance through the mystique created by camera angles. I have to truly applaud Spielberg for what might be his best film yet. The camera work was immensely effective, relying heavily on the contrast between shadow and light. Coupled with richly detailed sets, it made everything staggeringly realistic, and absolutely convincing.
I will say this for Lincoln: I haven’t been so moved and taken aback by a period film in my life. This is a must see for everyone.
The dialog is highly political, and sometimes goes along at quite a clip; be prepared to miss a few things the first time around. However, watching it a second time surely won’t be a sin. The humor alone merits a second viewing. There are many good laughs to be had.
Lincoln is a work of art.
Daniel Day Lewis, a man revered for his choice of films and roles, as well as his ability to portray characters with so much emotion and conviction, has done it once again. As the title character for this film, Lewis portrays one of the U.S.A’s greatest leaders and pioneers in a way that few other men could. Surrounded by some of the best actors in Hollywood (including Tommy Lee Jones), this star-studded film has a laundry list of very recognizable faces from all corners of Hollywood. The red carpet was clearly rolled out for this film.
The story starts amid the death and destruction of the American Civil War, an event that is both a fixed point of the story and a constant backdrop. Seeing the fighting and killing made me wonder how gritty this movie would get, but as it turns out, they kept the level of gore pretty low.
The film goes on to set the stage for the final footsteps into the southern theater that was the Civil War. In tandem, it follows the highly controversial 13th amendment, which was barely passed at the time due to racism and the belief that one color of human should be slave to another color. The absurdity of this notion is highlighted, but it’s also familiar in the way it parallels issues we face today: legalizing pot, gay marriage, prostitution, the right to bear arms, etc. Perhaps our grandchildren will watch a film in the future about these struggles, and regard it as we do a film about the Civil War. As I sat and watched this movie, I was nearly in tears at the thought of how African-Americans were once regarded as lesser beings. Will our grandchildren cry at the ridiculousness of our beliefs?
The cinematography was amazingly crisp. Many of the characters are introduced in such a way that they have a grand entrance through the mystique created by camera angles. I have to truly applaud Spielberg for what might be his best film yet. The camera work was immensely effective, relying heavily on the contrast between shadow and light. Coupled with richly detailed sets, it made everything staggeringly realistic, and absolutely convincing.
I will say this for Lincoln: I haven’t been so moved and taken aback by a period film in my life. This is a must see for everyone.
The dialog is highly political, and sometimes goes along at quite a clip; be prepared to miss a few things the first time around. However, watching it a second time surely won’t be a sin. The humor alone merits a second viewing. There are many good laughs to be had.
Lincoln is a work of art.
Jesters_folly (230 KP) rated The Quatermass Experiment (2005) in Movies
Sep 14, 2020
The first U.K. Maned mission to space vanishes off course only to return with two two of it's three crew missing and the third unable to communicate. As Professor Quatermass and his team try to find out what happened they discover that they come to realise that the rocket may have returned with more than they first thought.
As remakes go This one is quite good, it follows the same basic script as the original and the modernisation (mostly) works. The film doesn't go for much in the way of monster effects, relying instead on building atmosphere and tension which helps it keep the feel of the original 1955 version. It also helps that the original writer, Nigel Kneale, was also consulted on this remake.
This version of the film does have a very (modern) British feel to it which is mostly from the fact that is was made by the BBC so has actors that have appeared in other BBC sic Fi shows, most noticeably David Tennant and Mark Gatiss.
I do have a couple of problems with this film though, firstly the main set, used though tout the first half of the film does look to much like a,well film set. The hospital ward, MoD offices and press conference room all appear to be in the same building and, in fact in one scene, the camera pans from one room to the next making the whole thing look as if it was set up in a warehouse or large stage, which it probability was for filming but you shouldn't realy notice that in the finished film.
The other issue was some of the costumes. The film seems to be set in time it was filmed (2007) but some of the costumes don't seem to fit. One reporter looks like a 'teddy boy' whilst one looks like she's from the 20's and there's a scene with 80's/90's looking goths (Yes I know there are still goths but the look has changed a bit through the decades, as with most looks).
I can't quite work out if the remake looses anything from the original, in some ways the threat seems bigger but the ending seems less climatic. The final scene takes place in an art gallery instead of a church but this is due to a slight change in some of the symbology in the film (and probably because the BBC have had complainants when they have blown up churches in the past).
The original had scenes that stuck with me ( I was quite young when i first saw it) and I feel that the remake doesn't have this effect, although that could just be my age now. However the remake does up the tension and it does feel that there is more riding on Quatermass' success
Apart from those points the film is good. Fans of the original will recognise it for what it is but new views won't need any knowledge of the original to watch it.
As remakes go This one is quite good, it follows the same basic script as the original and the modernisation (mostly) works. The film doesn't go for much in the way of monster effects, relying instead on building atmosphere and tension which helps it keep the feel of the original 1955 version. It also helps that the original writer, Nigel Kneale, was also consulted on this remake.
This version of the film does have a very (modern) British feel to it which is mostly from the fact that is was made by the BBC so has actors that have appeared in other BBC sic Fi shows, most noticeably David Tennant and Mark Gatiss.
I do have a couple of problems with this film though, firstly the main set, used though tout the first half of the film does look to much like a,well film set. The hospital ward, MoD offices and press conference room all appear to be in the same building and, in fact in one scene, the camera pans from one room to the next making the whole thing look as if it was set up in a warehouse or large stage, which it probability was for filming but you shouldn't realy notice that in the finished film.
The other issue was some of the costumes. The film seems to be set in time it was filmed (2007) but some of the costumes don't seem to fit. One reporter looks like a 'teddy boy' whilst one looks like she's from the 20's and there's a scene with 80's/90's looking goths (Yes I know there are still goths but the look has changed a bit through the decades, as with most looks).
I can't quite work out if the remake looses anything from the original, in some ways the threat seems bigger but the ending seems less climatic. The final scene takes place in an art gallery instead of a church but this is due to a slight change in some of the symbology in the film (and probably because the BBC have had complainants when they have blown up churches in the past).
The original had scenes that stuck with me ( I was quite young when i first saw it) and I feel that the remake doesn't have this effect, although that could just be my age now. However the remake does up the tension and it does feel that there is more riding on Quatermass' success
Apart from those points the film is good. Fans of the original will recognise it for what it is but new views won't need any knowledge of the original to watch it.
Neon's Nerd Nexus (360 KP) rated BlacKkKlansman (2018) in Movies
May 14, 2019
Kkkracking
#blackkklansman is an incredible & #fun tribute to the #art of #blaxsploitation film making with a #powerful & very serious #message to tell. Although i found this movie extremely entertaining i left the #cinema feeling extremely #sad & #emotionally shook by it too. What #spikelee has made here is a film that feels very much like a commercial mainstream #comedy film but one thats injected with so much depth & real world drama/issues that its hard not to watch it like its an #educational trip back in time. It really has your #emotions running all over the place especially with its very current & real portrayals of #racism/hate & how it corrupts the weak minded/uneducated while also showing how hate inevitably leads to inhuman & diabolical acts of violence. Infact id say the release of #blackkklansman couldn't of come at a more important time especially with all the hate marches going on in the world & even in my hometown recently. Filmed in such a cool way with an amazing #soundtrack i felt instantly transported back in time & fully immersed from the get go. Lee also uses so many darkly lit, raw & intimate close ups & old filters it makes the viewer feel like we are really there beside the characters really getting to know each & every one of them too. Much like last years #detroit (which i actually prefer) the time period is very well recreated & the overall message here is also just as important & unavoidable too. While not being a film i could recommend to everyone (I think some people may miss the point or fail to see under the films accessible surface) but those who do see it will come away feeling not only entertained but extreamly moved.
#odeon #odeonlimitless #filmbuff #filmcritic #wednesdaywisdom #racist #klukluxklan #lovenothate #blacklivesmatter #empowerment #hate #love #adamdriver #johndavidwashington
#odeon #odeonlimitless #filmbuff #filmcritic #wednesdaywisdom #racist #klukluxklan #lovenothate #blacklivesmatter #empowerment #hate #love #adamdriver #johndavidwashington
Gareth von Kallenbach (974 KP) rated The Neon Demon (2016) in Movies
Aug 6, 2019
A combination that looks like it may be a vapid display of glitz and garbage, the trailers for “Neon Demon” don’t dare give away just how far this film will take audiences.
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”
Transmedia Marketing: From Film and TV to Games and Digital Media
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Transmedia Marketing: From Film and TV to Games and Digital Media skillfully guides media makers and...
Kirk Bage (1775 KP) rated 8 1/2 (1963) in Movies
Jan 28, 2021
Fellini has six or seven movies that are considered genuine masterpieces, as well as many other perfectly decent efforts in a 40 year career. I love the idea of him and knew I would love his work, but to my shame it took this film for me to finally lose my Fellini cherry, aged 47. I can only begin by saying I adored it – loving each moment as a piece of art in itself, and the whole as a thing of true joy and wonder that has only grown in my imagination since seeing it. It made me laugh, made me sad, made me long for places and people from my past, made me think about my own identity and personality and place in the world. It also very much entertained me; I didn’t find it hard work like some on this list in any way.
Marcello Mastroianni is effortlessly cool and stylish, as is everyone in this semi-fantastical world of memories, dreams and fears. He lounges through the film in a way so naturally relaxed and interesting that you are drawn to every detail of his bizarre adventures. The presence of Claudia Cardinale and Anouk Aimée don’t hurt know bringing some Italian chic to affairs either. Visually, I lost count of the amount of times my jaw hit the ground! Freeze this rich and resplendent film in any moment and it will probably be an image worth framing. The black and white photography is so sharp, using light and dark in astonishing ways. What director since 1963 would not look at this and say “I am stealing that!”? Not a film you could watch every day, but one I know for sure will be amongst my favourites of this period forever. I can’t wait to watch his others!
Marcello Mastroianni is effortlessly cool and stylish, as is everyone in this semi-fantastical world of memories, dreams and fears. He lounges through the film in a way so naturally relaxed and interesting that you are drawn to every detail of his bizarre adventures. The presence of Claudia Cardinale and Anouk Aimée don’t hurt know bringing some Italian chic to affairs either. Visually, I lost count of the amount of times my jaw hit the ground! Freeze this rich and resplendent film in any moment and it will probably be an image worth framing. The black and white photography is so sharp, using light and dark in astonishing ways. What director since 1963 would not look at this and say “I am stealing that!”? Not a film you could watch every day, but one I know for sure will be amongst my favourites of this period forever. I can’t wait to watch his others!
The Ghastly One: The Sex-Gore Netherworld of Filmmaker Andy Milligan
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Nicolas Winding Refn presents one of the most acclaimed film director biographies ever published....
WJ
Watching Jazz: Encounters with Jazz Performance on Screen
Bjorn Heile, Peter Elsdon and Jenny Doctor
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Watching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on...
Matthew Krueger (10051 KP) rated Maverick (1994) in Movies
Jul 14, 2020 (Updated Jul 14, 2020)
Play Your Cards Right
Maverick- is a funny entertaining western with action, poker and adventure. Richard Donner does it once again.
The plot: This film update of the "Maverick" TV series finds the title cardsharp (Mel Gibson) hoping to join a poker contest with an impressive payoff. In order to enter, Maverick must first put up a large cash sum. He scams hopeful contestants Annabelle (Jodie Foster) and Angel (Alfred Molina) in a preliminary card game to win the money he needs, making enemies of both players. While trying to evade Annabelle and Angel, the crafty Maverick realizes a cunning marshal (James Garner) is also on his tail.
Many cameo appearances by Western film actors, country music stars and other actors. Including Danny Glover, Hal Ketchum, Corey Feldman, Read Morgan, Steve Kahan, Art LaFleur, Leo Gordon, Denver Pyle, Robert Fuller, Doug McClure, Henry Darrow, William Smith, Charles Dierkop, William Marshall, Dennis Fimple, Bert Remsen and Margot Kidder.
Danny Glover's cameo appearance references Donner's Lethal Weapon film series starring Glover and Gibson as cop partners. Their meeting in Maverick sees them share a moment of recognition, complete with Lethal Weapon music, and as he leaves, Glover says Roger Murtaugh's catchphrase: "I'm getting too old for this shit."
Country singers also cameo including Carlene Carter, Waylon Jennings, Kathy Mattea, Reba McEntire, Clint Black, Vince Gill and Janis Gill.
Its a funny entertaining western. A must watch.
The plot: This film update of the "Maverick" TV series finds the title cardsharp (Mel Gibson) hoping to join a poker contest with an impressive payoff. In order to enter, Maverick must first put up a large cash sum. He scams hopeful contestants Annabelle (Jodie Foster) and Angel (Alfred Molina) in a preliminary card game to win the money he needs, making enemies of both players. While trying to evade Annabelle and Angel, the crafty Maverick realizes a cunning marshal (James Garner) is also on his tail.
Many cameo appearances by Western film actors, country music stars and other actors. Including Danny Glover, Hal Ketchum, Corey Feldman, Read Morgan, Steve Kahan, Art LaFleur, Leo Gordon, Denver Pyle, Robert Fuller, Doug McClure, Henry Darrow, William Smith, Charles Dierkop, William Marshall, Dennis Fimple, Bert Remsen and Margot Kidder.
Danny Glover's cameo appearance references Donner's Lethal Weapon film series starring Glover and Gibson as cop partners. Their meeting in Maverick sees them share a moment of recognition, complete with Lethal Weapon music, and as he leaves, Glover says Roger Murtaugh's catchphrase: "I'm getting too old for this shit."
Country singers also cameo including Carlene Carter, Waylon Jennings, Kathy Mattea, Reba McEntire, Clint Black, Vince Gill and Janis Gill.
Its a funny entertaining western. A must watch.
BankofMarquis (1832 KP) rated Roma (2018) in Movies
Jan 16, 2019
A lush and beautiful memory
Alfonso Cuaron - the magnificent Director from Mexico who directed such big Hollywood hits as HARRY POTTER AND THE PRISONER OF AZKABAN (the best HP flick, IMHO) and GRAVITY (one of the best films of 2013, IMHO) has made a little "personal" film that was financed and released by Netflix. Netflix, in their wisdom, realized they might have an Oscar contender on it's hands, so has released ROMA in limited release to Theaters (mostly Art Houses) and...in some instances...you can catch a 70mm print of this film. Or...you can watch it on your TV via your Netflix subscription.
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)