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Movie Metropolis (309 KP) rated Run All Night (2015) in Movies
Jun 11, 2019
Neeson at his gritty best
It’s fair to say Liam Neeson has picked some decidedly dodgy acting jobs since his rise to become an A-list Hollywood action hero. From a disappointing turn in the most recent A Team movie to the laughably bad Taken 3, he seems to have been turned from fan favourite to the butt of so many jokes.
After January’s poorly received Taken 3, Neeson returns to give the genre another go in Run All Night, but does Jaume Collet-Serra’s intriguing direction return him to the top of the food chain?
Run All Night follows the story of Neeson’s Jimmy Conlon as he does his best to keep his son Michael, played by Joel Kinnaman, away from the deadly clutches of Sean Maguire, a brutal underworld gangster portrayed by Ed Harris, after the murder of Sean’s son Danny over the course of 16 hours.
What ensues is a formulaic action thriller featuring by-the-numbers set pieces that are interspersed with some inspiring cinematography and all the actors at the top of their game.
Neeson’s Jimmy is an alcoholic former hit man, previously employed by Maguire, who has decided to move away from his shady past and become a more rounded individual. His interactions with Ed Harris’ brilliant Sean are excellent and the pair have genuine chemistry – it’s just a shame that their backstory isn’t built on a little more.
As the audience follows Jimmy and Michael evading the police, mobsters and professional hired killers, the film traces their backstory, almost using the action-packed set pieces as checkpoints for a bit more history and from a genre that rarely utilises character development, this is a welcome addition.
The cinematography is truly stunning. The sweeping shots of New York City are inspired and the use of tracking and aerial panning instead of simply fading between scenes stylises the film like no other action movie from the last few years.
There is an air of The Taking of Pelham 123 in Serra’s direction, and of course the similarities to Neeson’s Taken and Serra’s very own Non-Stop that also starred the Irish actor are obvious.
Unfortunately, all these comparisons mean that Run All Night isn’t particularly original in premise despite its unique direction. We’ve seen it all before, we saw Neeson running about and shooting bad guys in Taken, Taken 2 and Taken 3. We saw him try to get the bottom of a serious problem in Non-Stop and we saw him take on the role of a troubled alcoholic in The Grey.
Yes, after Taken 3, Run All Night showcases Neeson at his gritty best, but it’s in Ed Harris that we find the most intriguing
character and he puts everything into Sean Maguire – despite his more than familiar name.
Thankfully, Serra and the production crew steered away from creating a film that would please the masses and opted for an often brutal, yet strangely warming action thriller – along the way avoiding the pitfalls of some of Neeson’s previous efforts.
Overall, Run All Night isn’t the disaster it could have been and shows what everyone’s favourite Irish actor is capable of when given the right material to work with. Ed Harris is also on point and Jaume Collet-Serra’s direction goes above and beyond what the genre asks for.
Only an underwhelming final act and a highly unoriginal story stop it from becoming the film it so deeply wanted to be.
https://moviemetropolis.net/2015/03/15/neeson-at-his-gritty-best-run-all-night-review/
After January’s poorly received Taken 3, Neeson returns to give the genre another go in Run All Night, but does Jaume Collet-Serra’s intriguing direction return him to the top of the food chain?
Run All Night follows the story of Neeson’s Jimmy Conlon as he does his best to keep his son Michael, played by Joel Kinnaman, away from the deadly clutches of Sean Maguire, a brutal underworld gangster portrayed by Ed Harris, after the murder of Sean’s son Danny over the course of 16 hours.
What ensues is a formulaic action thriller featuring by-the-numbers set pieces that are interspersed with some inspiring cinematography and all the actors at the top of their game.
Neeson’s Jimmy is an alcoholic former hit man, previously employed by Maguire, who has decided to move away from his shady past and become a more rounded individual. His interactions with Ed Harris’ brilliant Sean are excellent and the pair have genuine chemistry – it’s just a shame that their backstory isn’t built on a little more.
As the audience follows Jimmy and Michael evading the police, mobsters and professional hired killers, the film traces their backstory, almost using the action-packed set pieces as checkpoints for a bit more history and from a genre that rarely utilises character development, this is a welcome addition.
The cinematography is truly stunning. The sweeping shots of New York City are inspired and the use of tracking and aerial panning instead of simply fading between scenes stylises the film like no other action movie from the last few years.
There is an air of The Taking of Pelham 123 in Serra’s direction, and of course the similarities to Neeson’s Taken and Serra’s very own Non-Stop that also starred the Irish actor are obvious.
Unfortunately, all these comparisons mean that Run All Night isn’t particularly original in premise despite its unique direction. We’ve seen it all before, we saw Neeson running about and shooting bad guys in Taken, Taken 2 and Taken 3. We saw him try to get the bottom of a serious problem in Non-Stop and we saw him take on the role of a troubled alcoholic in The Grey.
Yes, after Taken 3, Run All Night showcases Neeson at his gritty best, but it’s in Ed Harris that we find the most intriguing
character and he puts everything into Sean Maguire – despite his more than familiar name.
Thankfully, Serra and the production crew steered away from creating a film that would please the masses and opted for an often brutal, yet strangely warming action thriller – along the way avoiding the pitfalls of some of Neeson’s previous efforts.
Overall, Run All Night isn’t the disaster it could have been and shows what everyone’s favourite Irish actor is capable of when given the right material to work with. Ed Harris is also on point and Jaume Collet-Serra’s direction goes above and beyond what the genre asks for.
Only an underwhelming final act and a highly unoriginal story stop it from becoming the film it so deeply wanted to be.
https://moviemetropolis.net/2015/03/15/neeson-at-his-gritty-best-run-all-night-review/
Darren (1599 KP) rated American Made (2017) in Movies
Jun 20, 2019
Story: American Made starts as Barry Seal (Cruise) a pilot gets offered a job by the CIA agent Monty Schafer (Gleeson) to fly over different parts of Northern and Southern America to take photos for the CIA, the job is exclusive but as his family grows with Lucy (Wright) having children, he needs more money.
When one if his flights takes him to South America he meets businessman Pablo Escobar (Mejia) and his partners who recruit him to smuggle drug into America. Before long Barry is getting pushed into other forms of smuggling both to and from America.
Thoughts on American Made
Characters – Barry Seal was a small-time cigar smuggling pilot before he gets recruited by the CIA to fly over other parts of the Americas to spy, soon he becomes involved in large scale smuggling across America both in and out, he believes he is working in the CIA but always seemed to be getting slightly in deeper than first thought. He struggles to keep his personal life together with his wife and children suffering his sudden changes in location. Monty is the CIA agent that recruits Barry to smuggle, he believes he is in control of the whole situation as he bails Barry out of trouble and gives him the instructions from the American side of the events. Lucy is the wife of Barry that must deal with his lifestyle but once there is a large amount of money involved she embraces the life of luxury for her family. We do have the drug dealing side of the characters that Barry deals with but we only see them in the dealing side of the story.
Performances – This is another Tom Cruise vehicle where he shows just how talent he is, this helps his credibility after the disaster which was The Mummy, this could be his best full ranged acting performance in years. Domhnall is great in his supporting role showing he can work in nearly any genre right now. Sarah Wright is good but we don’t get to see enough of her characters struggle or enjoyment of the money.
Story – The story follows Barry Seal and how he went from small-time cigar smuggler into one of the most infamous drug and gun smugglers in modern American history. We follow the events from how he remembers them explaining how he just didn’t seem to know how things just kept falling his way but he went with the flow and how the government helped support the international gun trade. This was a lot more interesting that I could imagine showing us just how corrupt the government could be when it needed to be.
Action/Biopic/Comedy – The action comes from how Barry would get the job done, he has edge of the seat moments of when it comes to the flight sequences, the comedy is lightly toned into the story which sounds like a comedy over a real story but seeing the story of Barry Seal and his smuggling makes for an interesting biopic.
Settings – The film does take us across difference parts America to show where Barry ends up going to which all look like the time being presented in the film.
Scene of the Movie – Emergency Landing
That Moment That Annoyed Me – It does make the idea seem like a good thing rather than a criminal in action.
Final Thoughts – This is an entertaining biopic that shows how a smuggler ran a multi-million-dollar organisation that even the government supported.
Overall: Enjoyable movie all around.
https://moviesreview101.com/2018/11/01/american-made-2017/
When one if his flights takes him to South America he meets businessman Pablo Escobar (Mejia) and his partners who recruit him to smuggle drug into America. Before long Barry is getting pushed into other forms of smuggling both to and from America.
Thoughts on American Made
Characters – Barry Seal was a small-time cigar smuggling pilot before he gets recruited by the CIA to fly over other parts of the Americas to spy, soon he becomes involved in large scale smuggling across America both in and out, he believes he is working in the CIA but always seemed to be getting slightly in deeper than first thought. He struggles to keep his personal life together with his wife and children suffering his sudden changes in location. Monty is the CIA agent that recruits Barry to smuggle, he believes he is in control of the whole situation as he bails Barry out of trouble and gives him the instructions from the American side of the events. Lucy is the wife of Barry that must deal with his lifestyle but once there is a large amount of money involved she embraces the life of luxury for her family. We do have the drug dealing side of the characters that Barry deals with but we only see them in the dealing side of the story.
Performances – This is another Tom Cruise vehicle where he shows just how talent he is, this helps his credibility after the disaster which was The Mummy, this could be his best full ranged acting performance in years. Domhnall is great in his supporting role showing he can work in nearly any genre right now. Sarah Wright is good but we don’t get to see enough of her characters struggle or enjoyment of the money.
Story – The story follows Barry Seal and how he went from small-time cigar smuggler into one of the most infamous drug and gun smugglers in modern American history. We follow the events from how he remembers them explaining how he just didn’t seem to know how things just kept falling his way but he went with the flow and how the government helped support the international gun trade. This was a lot more interesting that I could imagine showing us just how corrupt the government could be when it needed to be.
Action/Biopic/Comedy – The action comes from how Barry would get the job done, he has edge of the seat moments of when it comes to the flight sequences, the comedy is lightly toned into the story which sounds like a comedy over a real story but seeing the story of Barry Seal and his smuggling makes for an interesting biopic.
Settings – The film does take us across difference parts America to show where Barry ends up going to which all look like the time being presented in the film.
Scene of the Movie – Emergency Landing
That Moment That Annoyed Me – It does make the idea seem like a good thing rather than a criminal in action.
Final Thoughts – This is an entertaining biopic that shows how a smuggler ran a multi-million-dollar organisation that even the government supported.
Overall: Enjoyable movie all around.
https://moviesreview101.com/2018/11/01/american-made-2017/
Gareth von Kallenbach (980 KP) rated Long Shot (2019) in Movies
Jul 2, 2019
When his small paper is bought out but a large media conglomerate the free-spirited journalist Fred Flarsky (Seth Rogen) quits rather write for a company he believes has a low moral compass. His best friend Lance (O’Shea Jackson Jr.) takes him out on the town to drown his sorrows. They decide to go to a charity function to get free drinks and watch Boyz II Men. As chance would have it Fred’s babysitter from high school, Charlotte Field (Charlize Theron), is also there. Charlotte happens to be one of the most powerful women in the world. She is currently the Secretary of State and has her eyes set on the on the White House. But she recognizes Fred and they connect for a few moments. This chance meeting seems fortuitous for both. Fred needs a job and Charlotte is in need of a writer to help punch up her speeches. Fred also gets the chance to travel the world with his high school crush. Even though Fred isn’t your normal member of a government official’s entourage, dresses like a child, has a scraggly beard and looks high even when not, he can write. So he gets the chance to write entire speeches. As his role increases he needs to get to know this version of Charlotte a little better, rather than the girl he know in high school. They begin to spend more and more time together getting to know each other. Then a near death experience in Manilla leads to a wild night between the odd couple. But rather than a onetime thing the two begin sneaking away together. But as Charlotte heads toward a Presidential Campaign it seem inevitable that this secret relationship needs to end or go public.
This Jonathan Levine (The Night Before, Snatched) directed romantic comedy is predictable with flares of originality. The cast is great. Rogen and Theron have good chemistry and do well. The supporting cast, O’Shea (Straight Outta Compton) as well as June Diane Raphael (Blockers, The Disaster Artist), Ravi Patel (T.V. series Wrecked, Grandfathered), Andy Serkis (Black Panther, The Lord of the Rings Trilogy) and others, all have fun moments. Bob Odenkirk (T.V.’s Better Call Saul) is very funny in his role as President Chambers. The comedy is fun, but raunchy at times. There were definitely laugh out loud moments. But some of the jokes were predictable and other good jokes were spoiled by the trailers, so avoid if possible. The story was also pretty predictable with the outcome never really in doubt but the ride was fun and had both really good moments and some that fell flat. It blended what could be believable politics with some things you know would not be, or you really hope couldn’t be, done by someone in a powerful government position.
I thought the film was good but it did run a little long, 125 minutes. I think it would be a good date movie but definitely leave the kids at home due to prevalent drug use and raunchy moments. I went in with low expectations and that could also help. But if you need a laugh or non-super hero movie to see this is worth the ticket price.
This Jonathan Levine (The Night Before, Snatched) directed romantic comedy is predictable with flares of originality. The cast is great. Rogen and Theron have good chemistry and do well. The supporting cast, O’Shea (Straight Outta Compton) as well as June Diane Raphael (Blockers, The Disaster Artist), Ravi Patel (T.V. series Wrecked, Grandfathered), Andy Serkis (Black Panther, The Lord of the Rings Trilogy) and others, all have fun moments. Bob Odenkirk (T.V.’s Better Call Saul) is very funny in his role as President Chambers. The comedy is fun, but raunchy at times. There were definitely laugh out loud moments. But some of the jokes were predictable and other good jokes were spoiled by the trailers, so avoid if possible. The story was also pretty predictable with the outcome never really in doubt but the ride was fun and had both really good moments and some that fell flat. It blended what could be believable politics with some things you know would not be, or you really hope couldn’t be, done by someone in a powerful government position.
I thought the film was good but it did run a little long, 125 minutes. I think it would be a good date movie but definitely leave the kids at home due to prevalent drug use and raunchy moments. I went in with low expectations and that could also help. But if you need a laugh or non-super hero movie to see this is worth the ticket price.
Matthew Krueger (10051 KP) rated The Girl in the Spider's Web (2018) in Movies
Feb 18, 2020 (Updated Feb 18, 2020)
Tangled
I love the american verison of "The Girl With The Dragon Tattoo". And even the Swedish series was good. But i like the american verison better. So what about this film, its dull. It cant live up to the pervious film/series. I give Clarie Foy credit she was good as Lisbeth, but both Noomi Rapace and Rooney Mara were both excellent as Lisbeth and Clarie was a step down from them. She was the only good part of this film. The plot, the supporting charcters, the twist, the action were all dull and cant live up to the pervious movies.
The plot: Fired from the National Security Agency, Frans Balder recruits hacker Lisbeth Salander to steal FireWall, a computer programme that can access codes for nuclear weapons worldwide. The download soon draws attention from an NSA agent who traces the activity to Stockholm. Further problems arise when Russian thugs take Lisbeth's laptop and kidnap a math whiz who can make FireWall work. Now, Lisbeth and an unlikely ally must race against time to save the boy and recover the codes to avert disaster.
So this film acts as both a soft-reboot and a sequel to David Fincher's The Girl with the Dragon Tattoo. Which is confusing cause in the film Lisbeth already knows Mikael and has alredy a realtionship with him. Which was confusing to me and still is.
Also this film came out seven years later from "The Girl With The Dragon Tattoo". For those who dont know, in December 2011, Fincher stated that the creative team involved planned to film the sequels The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest, "back to back. There was an announced release date of 2013 for a film version of The Girl Who Played with Fire, although by August 2012 it was delayed due to changes being done to the script, being written by Steven Zaillian. The following year, Fincher stated that a script for The Girl that Played with Fire had been written and that it was "extremely different from the book," and that "despite the long delay, he was confident that the film would be made given that the studio already has spent millions of dollars on the rights and the script". And than in 2015, their just decided to reboot the franchise and by 2017, their decided to have a whole new cast.
I whould of loved to see David Fincher's verison of "The Girl Who Played With Fire" and "The Girl Who Kicked The Hornet's Nest". Cause like i said Rooney Mara was excellent as Lisbeth and Daniel Craig as excellent as Mikeal.
So overall is movie was dull and didnt live up to its pervious movies.
The plot: Fired from the National Security Agency, Frans Balder recruits hacker Lisbeth Salander to steal FireWall, a computer programme that can access codes for nuclear weapons worldwide. The download soon draws attention from an NSA agent who traces the activity to Stockholm. Further problems arise when Russian thugs take Lisbeth's laptop and kidnap a math whiz who can make FireWall work. Now, Lisbeth and an unlikely ally must race against time to save the boy and recover the codes to avert disaster.
So this film acts as both a soft-reboot and a sequel to David Fincher's The Girl with the Dragon Tattoo. Which is confusing cause in the film Lisbeth already knows Mikael and has alredy a realtionship with him. Which was confusing to me and still is.
Also this film came out seven years later from "The Girl With The Dragon Tattoo". For those who dont know, in December 2011, Fincher stated that the creative team involved planned to film the sequels The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest, "back to back. There was an announced release date of 2013 for a film version of The Girl Who Played with Fire, although by August 2012 it was delayed due to changes being done to the script, being written by Steven Zaillian. The following year, Fincher stated that a script for The Girl that Played with Fire had been written and that it was "extremely different from the book," and that "despite the long delay, he was confident that the film would be made given that the studio already has spent millions of dollars on the rights and the script". And than in 2015, their just decided to reboot the franchise and by 2017, their decided to have a whole new cast.
I whould of loved to see David Fincher's verison of "The Girl Who Played With Fire" and "The Girl Who Kicked The Hornet's Nest". Cause like i said Rooney Mara was excellent as Lisbeth and Daniel Craig as excellent as Mikeal.
So overall is movie was dull and didnt live up to its pervious movies.
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Emma @ The Movies (1786 KP) rated Like A Boss (2020) in Movies
Jan 22, 2020
Before going in I knew this was either going to be fantastic or a total disaster, it wasn't likely to fall in the middle of the scale. For the most part that was an accurate assumption.
Mia and Mel are lifelong friends and both share a passion for make-up and a more positive way of living. Their business, while a source of joy for them, is close to an end. But when Claire Luna appears on the scene Mel thinks it could be the answer to their financial worries, Mia is a little more sceptical. It appears that Claire is up to something but can they get to the bottom of everything before they lose their business, and each other?
Let us first give a round of applause to the uncredited actors in this film... Salma Hayek's breasts. They did sterling work, everyone else rather paled in comparison.
Now on to the serious things.
Let me be upfront about this... I will never want to watch this film again, if I happened across it being shown I would probably sit in silence for 83 minutes instead.
I love so many of the actors in this and yet I couldn't even rely on them to help this along. It's a fun premise and it had a cast that could definitely have made this great and yet somehow it's really quite poorly executed. Jokes didn't hit home and while I did chuckle a couple of times towards the end the beginning was not strong enough to be drama and not amusing enough to be comedy.
Billy Porter and Karan Soni probably come out the best from the whole ensemble. Porter has a very dramatic humour throughout and his delivery really helped. Soni's bitchy assistant wasn't overly complicated and had a fairly simple storyline to follow which allowed him to be more memorable.
I was rather disappointed with the hand that Jennifer Coolidge got dealt, she is amazingly funny and the humour in Like A Boss needed to give her something better to work with. Tiffany Haddish's return to over the top comedy also left me sad, having seen her in The Kitchen and being so impressed with her dramatic role I was really hoping she would try more of the same. While Mia is perfectly matched to her comedy stylings the script was severely lacking.
Everything about this seemed dated and it's very much a 90's feeling scenario. It felt like they were going for a bit of slapstick but left out the actual slapstick element. The confusion/disappointment did not stop there, the end of the film became evident quite early on and then it was just a case of waiting for it to happen without any anticipation.
The curious thing to me is the film's rating. There is absolutely no reason for this to be rated 15... that's to say that it didn't need any of the bits that would have caused it to be a 15, it easily could have been 12 and still had the same or hopefully a better impact.
Yes, there were some minor plus points but Like A Boss was overwhelmingly poor. I say that but it obviously has an audience out there because a lot of the people in our screening were laughing. Perhaps it would have helped me if so many key laughter points weren't shown in the trailer... but I think that's a little optimistic. On the plus side it did give me a chance to have a catch up with my friend around the dire movie.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/like-boss-movie-review.html
Mia and Mel are lifelong friends and both share a passion for make-up and a more positive way of living. Their business, while a source of joy for them, is close to an end. But when Claire Luna appears on the scene Mel thinks it could be the answer to their financial worries, Mia is a little more sceptical. It appears that Claire is up to something but can they get to the bottom of everything before they lose their business, and each other?
Let us first give a round of applause to the uncredited actors in this film... Salma Hayek's breasts. They did sterling work, everyone else rather paled in comparison.
Now on to the serious things.
Let me be upfront about this... I will never want to watch this film again, if I happened across it being shown I would probably sit in silence for 83 minutes instead.
I love so many of the actors in this and yet I couldn't even rely on them to help this along. It's a fun premise and it had a cast that could definitely have made this great and yet somehow it's really quite poorly executed. Jokes didn't hit home and while I did chuckle a couple of times towards the end the beginning was not strong enough to be drama and not amusing enough to be comedy.
Billy Porter and Karan Soni probably come out the best from the whole ensemble. Porter has a very dramatic humour throughout and his delivery really helped. Soni's bitchy assistant wasn't overly complicated and had a fairly simple storyline to follow which allowed him to be more memorable.
I was rather disappointed with the hand that Jennifer Coolidge got dealt, she is amazingly funny and the humour in Like A Boss needed to give her something better to work with. Tiffany Haddish's return to over the top comedy also left me sad, having seen her in The Kitchen and being so impressed with her dramatic role I was really hoping she would try more of the same. While Mia is perfectly matched to her comedy stylings the script was severely lacking.
Everything about this seemed dated and it's very much a 90's feeling scenario. It felt like they were going for a bit of slapstick but left out the actual slapstick element. The confusion/disappointment did not stop there, the end of the film became evident quite early on and then it was just a case of waiting for it to happen without any anticipation.
The curious thing to me is the film's rating. There is absolutely no reason for this to be rated 15... that's to say that it didn't need any of the bits that would have caused it to be a 15, it easily could have been 12 and still had the same or hopefully a better impact.
Yes, there were some minor plus points but Like A Boss was overwhelmingly poor. I say that but it obviously has an audience out there because a lot of the people in our screening were laughing. Perhaps it would have helped me if so many key laughter points weren't shown in the trailer... but I think that's a little optimistic. On the plus side it did give me a chance to have a catch up with my friend around the dire movie.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/like-boss-movie-review.html
Kirk Bage (1775 KP) rated Downsizing (2017) in Movies
Mar 3, 2020
Sweeping up a few older films that I wanted to see but missed at the cinema in the last few years. My current IMDb watch list sits at 488, and, unlike this movie, never seems to shrink! There is a lot to keep up with. Bad reviews have kept me away from Alexander Payne’s Downsizing until now. I have to say, without the burden of expectation, it is a lot better than I thought it would be.
In particular, Sideways and The Descendents from the same Director are two of my absolute favourite light comedy satires of the last 20 years, so I am always interested to see what he is up to. He often has an eye for subtlety and relationships that can break the heart with truth. There is some of that on display here too, it has to be said, however, you do wonder if the sci-fi / CGI element of Downsizing got a little bit in the way?
It isn’t quite the film it could have been, and at times does feel messy and rushed. It also doesn’t follow through entirely with its premise, and perhaps that is what disappointed a lot of the audience. The idea of the small leaving the world of the large behind in search of an environmental solution to the world’s problems is compelling as a joke and allegorical devise… But it just isn’t explored to its full potential, and the visual effects that allow us to see this are years behind what they should have been.
Saying that, the personal journey’s of the main characters are relevent, funny, relatable and often unexpected. Matt Damon is totally fine and well cast; Christoph Waltz adds a counter-point humour and point of view that balances the political ethics of the subject very well; and both Kristen Wiig and Udi Keir offer support of deft pathos in minor roles.
The film truly belongs to Hong Chau, however. Without her multi-layered and show-stealing turn as a Vietnamese refugee, who “downsized” to escape tyranny, losing a limb in the process, the film would be much less than it ends up being. For its many faults, her performance lifts it to something worth watching, as long as you can forgive the argument that her character is a too broadly drawn race stereo-type. Honestly, I can’t see the problem, because I think what she does with it makes the movie – but I am aware of the problems with it…
As a political message and environmental allegory, the film as a whole raises some interesting debate, sometimes because of its (ahem) shortcomings. It is neither intelligent enough, nor funny enough to be a “good” film. But it is an entertaining film. If only to see the sequence of legal and medical procedure that leads to the new world of being small!
What would we be prepared to do to find an answer to a dying world, economic failure and personal unhappiness? Would we risk everything to find ourselves and a solution? Or would we carry on regardless? Feeling lost in a world of fear and looming disaster is a subject worth exploring, and I feel Downsizing asks enough questions well enough to be at least seen and argued with. If that is the only purpose it serves then… OK by me.
The bottom line is, I didn’t hate it. To see it at a rating of 5.7 on IMDb is strange and actually very interesting. It is not a bad film. It just doesn’t completely succeed. I think that score says much more about how vitriolic and opinionated people are becoming about environmental issues. Which is good. A missed opportunity perhaps, and therefore it earns a place in the bin marked “admirable failures”. See it for yourself if you haven’t – it has cult status written all over it, in very small writing.
In particular, Sideways and The Descendents from the same Director are two of my absolute favourite light comedy satires of the last 20 years, so I am always interested to see what he is up to. He often has an eye for subtlety and relationships that can break the heart with truth. There is some of that on display here too, it has to be said, however, you do wonder if the sci-fi / CGI element of Downsizing got a little bit in the way?
It isn’t quite the film it could have been, and at times does feel messy and rushed. It also doesn’t follow through entirely with its premise, and perhaps that is what disappointed a lot of the audience. The idea of the small leaving the world of the large behind in search of an environmental solution to the world’s problems is compelling as a joke and allegorical devise… But it just isn’t explored to its full potential, and the visual effects that allow us to see this are years behind what they should have been.
Saying that, the personal journey’s of the main characters are relevent, funny, relatable and often unexpected. Matt Damon is totally fine and well cast; Christoph Waltz adds a counter-point humour and point of view that balances the political ethics of the subject very well; and both Kristen Wiig and Udi Keir offer support of deft pathos in minor roles.
The film truly belongs to Hong Chau, however. Without her multi-layered and show-stealing turn as a Vietnamese refugee, who “downsized” to escape tyranny, losing a limb in the process, the film would be much less than it ends up being. For its many faults, her performance lifts it to something worth watching, as long as you can forgive the argument that her character is a too broadly drawn race stereo-type. Honestly, I can’t see the problem, because I think what she does with it makes the movie – but I am aware of the problems with it…
As a political message and environmental allegory, the film as a whole raises some interesting debate, sometimes because of its (ahem) shortcomings. It is neither intelligent enough, nor funny enough to be a “good” film. But it is an entertaining film. If only to see the sequence of legal and medical procedure that leads to the new world of being small!
What would we be prepared to do to find an answer to a dying world, economic failure and personal unhappiness? Would we risk everything to find ourselves and a solution? Or would we carry on regardless? Feeling lost in a world of fear and looming disaster is a subject worth exploring, and I feel Downsizing asks enough questions well enough to be at least seen and argued with. If that is the only purpose it serves then… OK by me.
The bottom line is, I didn’t hate it. To see it at a rating of 5.7 on IMDb is strange and actually very interesting. It is not a bad film. It just doesn’t completely succeed. I think that score says much more about how vitriolic and opinionated people are becoming about environmental issues. Which is good. A missed opportunity perhaps, and therefore it earns a place in the bin marked “admirable failures”. See it for yourself if you haven’t – it has cult status written all over it, in very small writing.
Movie Metropolis (309 KP) rated Focus (2015) in Movies
Jun 11, 2019
Reasonably Accomplished
Will Smith desperately needed a film to catapult him back onto the silver screen A-list after M. Night Shyamalan’s critical and commercial disaster After Earth.
The Hollywood favourite recently spoke about how the movie bruised his ego and made him reassess his position as a serious actor. His latest film Focus, is the first after a brief hiatus, but does it mark a return to form?
Focus follows the story of Nicky Spurgeon (Smith), a seasoned con-man who becomes romantically involved with a young woman, played by Margot Robbie. Naturally, life manages to get in the way and years later Nicky is in Buenos Aires trying to carry out his biggest scam yet – but it doesn’t all run smoothly.
The story is reasonably accomplished but struggles to discern just what genre it is trying to be. There’s a tinge of romantic comedy, a drop of
hard-hitting drama and the occasional slice of Taken-esque thrills which all mix together and leave a rather sour taste in the mouth.
Focusing on one particular theme would have been a better prospect for directors Glenn Ficarra and John Requa, but it wasn’t meant to be and what the audience is left with is a mish-mash of genres which doesn’t quite gel like it was clearly intended.
The film relies heavily on the stunning locations of Buenos Aires and New Orleans, as well as the charisma and chemistry from its two leads rather than delving into character developments and this works well. Smith is a commanding presence and dominates every scene demonstrating just why we fell in love with him all those years ago.
Moreover, Robbie is a force to be reckoned with and comes up against the attitude of Smith’s character very well. Her steely, yet vulnerable persona is one of the main highlights in the film.
Focus starts off slowly with nothing of any real significance happening in the opening hour and this is disappointing given the film’s well-worn genre. Many similar films, Oceans Eleven as a prime example, wear their themes with much more confidence.
Apart from a few cleverly choreographed shots showing the con-artists in action during the first 20 minutes, Focus comes across as rather half-baked, almost dull.
However, fast-forward to the final third and it finally kicks into gear. As we follow Smith try and pull off a hugely risky scam, the audience is thrown numerous red herrings with the story never settling until the end credits roll.
Overall, Focus was a test of Will Smith’s prowess as an actor following on from After Earth’s failings and thankfully he shows how versatile he is. Margot Robbie is also engaging to watch and their on-screen chemistry is positively sizzling, but when a film has such an identity crisis, it’s hard to focus on anything else.
https://moviemetropolis.net/2015/03/01/reasonably-accomplished-focus-review/
The Hollywood favourite recently spoke about how the movie bruised his ego and made him reassess his position as a serious actor. His latest film Focus, is the first after a brief hiatus, but does it mark a return to form?
Focus follows the story of Nicky Spurgeon (Smith), a seasoned con-man who becomes romantically involved with a young woman, played by Margot Robbie. Naturally, life manages to get in the way and years later Nicky is in Buenos Aires trying to carry out his biggest scam yet – but it doesn’t all run smoothly.
The story is reasonably accomplished but struggles to discern just what genre it is trying to be. There’s a tinge of romantic comedy, a drop of
hard-hitting drama and the occasional slice of Taken-esque thrills which all mix together and leave a rather sour taste in the mouth.
Focusing on one particular theme would have been a better prospect for directors Glenn Ficarra and John Requa, but it wasn’t meant to be and what the audience is left with is a mish-mash of genres which doesn’t quite gel like it was clearly intended.
The film relies heavily on the stunning locations of Buenos Aires and New Orleans, as well as the charisma and chemistry from its two leads rather than delving into character developments and this works well. Smith is a commanding presence and dominates every scene demonstrating just why we fell in love with him all those years ago.
Moreover, Robbie is a force to be reckoned with and comes up against the attitude of Smith’s character very well. Her steely, yet vulnerable persona is one of the main highlights in the film.
Focus starts off slowly with nothing of any real significance happening in the opening hour and this is disappointing given the film’s well-worn genre. Many similar films, Oceans Eleven as a prime example, wear their themes with much more confidence.
Apart from a few cleverly choreographed shots showing the con-artists in action during the first 20 minutes, Focus comes across as rather half-baked, almost dull.
However, fast-forward to the final third and it finally kicks into gear. As we follow Smith try and pull off a hugely risky scam, the audience is thrown numerous red herrings with the story never settling until the end credits roll.
Overall, Focus was a test of Will Smith’s prowess as an actor following on from After Earth’s failings and thankfully he shows how versatile he is. Margot Robbie is also engaging to watch and their on-screen chemistry is positively sizzling, but when a film has such an identity crisis, it’s hard to focus on anything else.
https://moviemetropolis.net/2015/03/01/reasonably-accomplished-focus-review/
Gareth von Kallenbach (980 KP) rated The Broken Hearts Gallery (2020) in Movies
Oct 8, 2020
Lucy (Geraldine Viswanathan) works in a very well-known art gallery owned by the ever so extraordinary Eva Woolf (Bernadette Peters). It has been a dream of hers since she was very young to work as a curator in a gallery and she is starting as an assistant at “The Woolf”.
She has been seeing Max (Utkarsh Ambudkar), the gallery curator for a while. Helping him with information on the artists as well as the likes and dislikes of Eva. On the night of the latest show launch, Eva asks Lucy to step to the podium and introduce Max so he could open the show. In a matter of minutes, Lucy loses her job and is dumped.
Lucy, having been through a traumatic loss, mistakenly hops into a stranger’s car under the assumption that it was her uber. She then proceeds to tell the driver of her night of disaster without registering that she is in the car of a stranger that is not her uber driver. Come to find out, the driver, Nick (Dacre Montgomery) is a budding hotelier trying to build a small boutique hotel.
He drops her off at the apartment, where her roommates immediately cocoon her in a dance that they have done oh so many times.
She has known Nadine (Phillipa Soo) and Amanda (Molly Gordon) since they were in high school. This trio is the partner in crime type of best friends. The interactions between them is so well coordinated I believed that they have been the closest of friends for ages. The same goes for Nick and his best friend Marcos (Arturo Castro).
.This film is the perfect Romantic Comedy that is very well suited for this moment in time.
It is a well-deserved salve on the dearth of darkness in cinema as of late. The lines are funny, the timing of the responses, quick and clever. It is also quirky and charming as well as emotional and sweet.
Natalie Krinsky, the Writer and Director had cast the characters perfectly. The actors drew me into the film as I laughed at their escapades, vicariously experienced celebrations. This movie was a joy to watch. It was sweet, funny, clever, and heartwarming.
Viswanathan embodied Lucy. The character is of the modern twenty something woman in hipsterville. She showed that Lucy is intelligent, imperfect and at times, insecure, but she is brave and willing to forge through anything.
The soundtrack is fantastic, the songs support the scenes and it is a veritable list of the current pop artists that are played in daily rotation.
Beyonce, Taylor Swift, Halsey, Rita Ora, Ariana Grande, and Selena Gomez who is an executive producer on the film.
If this is the direction of the modern romantic comedy, I look forward to the development of this genre as it grows. I rarely want to watch most films a second time. If you like the Romcom, this is one that is thoroughly enjoyable. Well worth the time and the ticket.
She has been seeing Max (Utkarsh Ambudkar), the gallery curator for a while. Helping him with information on the artists as well as the likes and dislikes of Eva. On the night of the latest show launch, Eva asks Lucy to step to the podium and introduce Max so he could open the show. In a matter of minutes, Lucy loses her job and is dumped.
Lucy, having been through a traumatic loss, mistakenly hops into a stranger’s car under the assumption that it was her uber. She then proceeds to tell the driver of her night of disaster without registering that she is in the car of a stranger that is not her uber driver. Come to find out, the driver, Nick (Dacre Montgomery) is a budding hotelier trying to build a small boutique hotel.
He drops her off at the apartment, where her roommates immediately cocoon her in a dance that they have done oh so many times.
She has known Nadine (Phillipa Soo) and Amanda (Molly Gordon) since they were in high school. This trio is the partner in crime type of best friends. The interactions between them is so well coordinated I believed that they have been the closest of friends for ages. The same goes for Nick and his best friend Marcos (Arturo Castro).
.This film is the perfect Romantic Comedy that is very well suited for this moment in time.
It is a well-deserved salve on the dearth of darkness in cinema as of late. The lines are funny, the timing of the responses, quick and clever. It is also quirky and charming as well as emotional and sweet.
Natalie Krinsky, the Writer and Director had cast the characters perfectly. The actors drew me into the film as I laughed at their escapades, vicariously experienced celebrations. This movie was a joy to watch. It was sweet, funny, clever, and heartwarming.
Viswanathan embodied Lucy. The character is of the modern twenty something woman in hipsterville. She showed that Lucy is intelligent, imperfect and at times, insecure, but she is brave and willing to forge through anything.
The soundtrack is fantastic, the songs support the scenes and it is a veritable list of the current pop artists that are played in daily rotation.
Beyonce, Taylor Swift, Halsey, Rita Ora, Ariana Grande, and Selena Gomez who is an executive producer on the film.
If this is the direction of the modern romantic comedy, I look forward to the development of this genre as it grows. I rarely want to watch most films a second time. If you like the Romcom, this is one that is thoroughly enjoyable. Well worth the time and the ticket.
Bob Mann (459 KP) rated Bad Boys for Life (2020) in Movies
Mar 9, 2020
Welcome to Miami - again!
Will Smith seems to have been having a lacklustre period in his career. His genie from "Aladdin" got a rather lukewarm reception. And his last movie - "Gemini Man" - billed as a big summer blockbuster - failed to impress. True it wasn't a commercial disaster (raking in at the time of writing about 150% of budget), but it's still a film on a plane for me that, even if I'm bored, I'll say "nah" to.
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
Perhaps it's for this reason that Smith reached for an old and reliable property to dust off for another outing.
And, do you know, it's not half bad.
I only recently saw this one, right at the end of its UK cinema run, because frankly it appealed to me like being hit round the head with a cold fish. Martin Lawrence is an actor who just grates on me enormously. I'm sure he's a lovely chap; kind to animals; donates to charity; etc - but I generally just don't find him funny. (Here though he has a killer line about condom use that made me chuckle.) It feels to me like he is on implausible ground here re-treading the role of aging detective Marcus Burnett. One look at Burnett lumbering along and you would think "well, he'd never pass the medical" for the on-street role he's portrayed doing. His buddy is detective Mike Lowrey (Will Smith), who has a sordid past that is set to catch up on him.
Since we start the story in Colombia, where Isabel Aretas (Kate Del Castillo), the witchy wife of a notorious deceased drug baron, is sprung from prison by her son Armando (Jacob Scipio) in what I admit is a clever and novel way. The Aretas family is bent on revenge - - and a key target in their sites is Lowrey.
Burnett is newly a grandparent and hell-bent on retirement. But with Lowrey and his associates with a target on their backs, will there be one last chance to "Ride Together, Die Together"?
Not seen the first two movies? Not to worry! There are movies, like LOTR, where if you've missed the first two movies in the series you will be left in serious "WTF" territory in trying to watch the third. This is not one of those movies. The story is entirely self-contained, and refers to events never seen prior to the first film in the series.
But whether the movie is for you will depend on your tolerance for loud and brash visuals and music with the knob turned up to 12. Directors Adil and Bilall (Adil El Arbi and Bilall Fallah - Belgian film school buddies best known for the critically acclaimed 2015 feature "Black") - don't do anything by halves.
There is a scene in "Lost Series 3" in which Sawyer, Kate, and Alex have to bust young Karl out of the mysterious room 23 where he is being tortured by having his eyes kept open while watching a collage of images continually smashed into his eyeballs. This movie feels a little like that after a while.
This is not by any means a criticism that it's poorly done. There is some truly stunning cinematography of the Miami skyline by Belgian cinematographer Robrecht Heyvaert, including a 'pull-back' drone shot from a conversation on the top of a building that is quite AWESOME! And there are more than enough "fast action - then slo-mo - then fast again" shots to keep music-video junkies happy!
The music score by Lorne Balfe is also pumping, adding a dynamism to the frantic action scenes that keeps you entertained.
The screenplay by Chris Bremner, Peter Craig and Joe Carnahan is assuredly familiar: it's not going to win any prizes for originality. We've seen the cartel/revenge plotline played out in multiple movies over the years. And we've also seen the "buddy cops with aging partner taking retirement" angle from the "Lethal Weapon" series. This just sticks them together.
Will Smith and Martin Lawrence wise-crack their way through the comedy well-enough, though for me it never reaches the heights of the pairing of Smith and Tommy Lee Jones from MiB (or indeed Mel Gibson and Danny Glover from Lethal Weapon). Elsewhere we have Vanessa Hudgens as a cute cop, still trying to break through from "Disneyfication" into mainstream flicks. For one horrible moment, when I saw her name on the cast, I thought she might be the love interest to Smith. But no. That honour goes to Mexican beauty Paola Nuñez who, with only a 10 year age gap, becomes a less gag-worthy pairing. She plays a female leadership role (every 20's film now needs one) as the head of a new crime division.
Also good value is Joe Pantoliano reprising his role as Captain Howard - Lowrie's exasperated boss. Playing it by the numbers, every film like this has to have one!
Where the plot does add some interest is in a surprising scene mid-film and a twist that I didn't see coming. But this twist felt - in the context of the release date or the film - like a mistake (a "Spoiler Section" in my review on the One Mann's Movies web site discusses this).
All of this happens of course against a backdrop of a body count of bad guys being killed in ever more graphic and gory ways, while the good guys generally dodge every bullet, grenade and crashing helicopter heading their way.
It's that time of year when films are released to die. Where studios drop their movies that are never going to trouble the Academy and are not deemed worthy of summer or even late spring release. But they should have had more faith in this one, for it's not half bad. True, you may need a couple of paracetamols afterwards, but if your corneas and ear-drums can stand the pace, its not short on entertainment value.
(For the full graphical review, check out the One Mann's Movies link here - https://bob-the-movie-man.com/2020/03/08/one-manns-movies-film-review-bad-boys-for-life-2020/ ).
