Search
BankofMarquis (1832 KP) rated Bird Box (2018) in Movies
Feb 1, 2019
Almost a good movie
One of my favorite films of 2018 is A QUIET PLACE where aliens with extreme hearing can get you if you make a noise. It is a quite interesting and well made film (with a bravura performance by Emily Blunt), so when I heard there was a variant of this theme (this time you can't use your eyes), I decided to check it out and to see if Sandra Bullock could pull off the same sort of bravura performance as Blunt.
And, that's too bad, for by comparison the Netflix flick BIRD BOX is no A QUIET PLACE, but if I don't try to compare it to A QUIET PLACE, BIRD BOX is a very entertaining film, indeed.
The story follows Bullock as Malorie a pregnant single woman who holds no "maternal instinct" towards her unborn child. Malorie is devoid of emotion and compassion and is dreading the day that her child will be born. Enter into this an "end of world event" where unseen aliens show up and, if you look at them, you go insane and try to commit suicide. Amidst this chaos, Malorie and a ragtag assortment of survivors find shelter in the house of Douglas (John Malkovich). Can this disparate group of strangers find a way to survive in this insane new world?
Well...the fun in this kind of movie is in the characters trapped together and the "10 Little Indians" style of demise as the house guests are picked off one by one by the aliens (or each other). It is the drama of these trapped individuals, and the surprise and the ingenuity of how they are killed off that makes or breaks these types of films.
And in this way, this film succeeds very well for besides Bullock and Malkovich, the housemates are filled with (for the most part) a strong grouping of actors led, most notably, by Trevante Rhodes (MOONLIGHT) and Jacki Weaver (ANIMAL KINGDOM). They are strong presences in this household and are interesting to watch. Good ol' B.D. Wong (JURASSIC PARK among many, many credits) brings his usual, solid game and Lil Rey Howery (GET OUT) brings much needed energy and humor to the proceedings. Add to this the usual, creepy Tom Hollander (IN THE LOOP) as a mysterious houseguest who is...creepy...and there is enough going on to keep my interest.
Add to this the always intriguing work of Malkovich as the paranoid, "me first" homeowner and Bullock underplaying her emotions as a counterbalance to Malkovich overplaying his emotions and the scenes in the house were interesting and (at times) gripping.
The problem I have with this film is that it inter cuts these scenes with scenes of Bullock (and a few other survivors from the house) "5 years later" - so, you already know who makes it and who doesn't - which takes away the tension of the house scenes. It also has an ending that, quite frankly, I saw coming a mile off and so it was not a satisfying conclusion to the proceedings for the ending was uneventful and unsurprising. A poor way to end this sort of film.
Don't get me wrong, the scenes in the house of the initial group of survivors is well worth viewing this film, I just wish Director Susanne Bier (THE NIGHT MANAGER) didn't dilute these scenes by bringing us forward in time too soon. I wonder how much better this film could have been had we just watched the events of the film (including all of the "5 years later scenes") in chronological order, I gotta think it would have been a better film.
This is, by every definition of the term, a "B" film, perfect for a snow, rain or cold-bound afternoon at home.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
And, that's too bad, for by comparison the Netflix flick BIRD BOX is no A QUIET PLACE, but if I don't try to compare it to A QUIET PLACE, BIRD BOX is a very entertaining film, indeed.
The story follows Bullock as Malorie a pregnant single woman who holds no "maternal instinct" towards her unborn child. Malorie is devoid of emotion and compassion and is dreading the day that her child will be born. Enter into this an "end of world event" where unseen aliens show up and, if you look at them, you go insane and try to commit suicide. Amidst this chaos, Malorie and a ragtag assortment of survivors find shelter in the house of Douglas (John Malkovich). Can this disparate group of strangers find a way to survive in this insane new world?
Well...the fun in this kind of movie is in the characters trapped together and the "10 Little Indians" style of demise as the house guests are picked off one by one by the aliens (or each other). It is the drama of these trapped individuals, and the surprise and the ingenuity of how they are killed off that makes or breaks these types of films.
And in this way, this film succeeds very well for besides Bullock and Malkovich, the housemates are filled with (for the most part) a strong grouping of actors led, most notably, by Trevante Rhodes (MOONLIGHT) and Jacki Weaver (ANIMAL KINGDOM). They are strong presences in this household and are interesting to watch. Good ol' B.D. Wong (JURASSIC PARK among many, many credits) brings his usual, solid game and Lil Rey Howery (GET OUT) brings much needed energy and humor to the proceedings. Add to this the usual, creepy Tom Hollander (IN THE LOOP) as a mysterious houseguest who is...creepy...and there is enough going on to keep my interest.
Add to this the always intriguing work of Malkovich as the paranoid, "me first" homeowner and Bullock underplaying her emotions as a counterbalance to Malkovich overplaying his emotions and the scenes in the house were interesting and (at times) gripping.
The problem I have with this film is that it inter cuts these scenes with scenes of Bullock (and a few other survivors from the house) "5 years later" - so, you already know who makes it and who doesn't - which takes away the tension of the house scenes. It also has an ending that, quite frankly, I saw coming a mile off and so it was not a satisfying conclusion to the proceedings for the ending was uneventful and unsurprising. A poor way to end this sort of film.
Don't get me wrong, the scenes in the house of the initial group of survivors is well worth viewing this film, I just wish Director Susanne Bier (THE NIGHT MANAGER) didn't dilute these scenes by bringing us forward in time too soon. I wonder how much better this film could have been had we just watched the events of the film (including all of the "5 years later scenes") in chronological order, I gotta think it would have been a better film.
This is, by every definition of the term, a "B" film, perfect for a snow, rain or cold-bound afternoon at home.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Casablanca (1942) in Movies
Feb 13, 2019
A classic in every sense of the word
"Of all the gin joints in all the towns, in all the world, she had to walk into mine."
If there was only 1 movie that could be shown to show off "classic", old time Hollywood of the 1930's, '40's and early '50s, look no further than Michael Curtiz' 1942 classic CASABLANCA. While well known for the performances of the leads, the multiple quoted lines, Sam singing AS TIME GOES BY and the iconic ending, this film also is a time capsule to a Hollywood of another year - one that just doesn't exist today.
Starring the great Humphrey Bogart in an Academy Award nominated performance (inexplicably, losing to Paul Lukas for WATCH ON THE RHINE), CASABLANCA tells the tale of Rick Blaine the owner/operator of "Rick's Place" a bar in Casablanca, Morocco in the early days of WWII. He is world-weary, beaten and cynical and is well known as someone who can get things done (for a price) but also one who will not stick his neck out for anyone. When a couple on the run from the Nazi's (Paul Henreid, Ingrid Bergman) enter's Rick's Place, Blaine (for reasons that are revealed in the film) decides to help.
"Here's looking at your kid."
Bogart is marvelous as Blaine, you can see every inch of his world-weariness on his well-worn, craggy face. He is perfectly cast as Rick and his mannerisms and vocal patterns depict a heaviness within. Bogart is often criticized for his lack of acting talent - nothing could be further from the truth here. He is perfectly paired with Bergman as Ilse - a former love of Rick's, who is now the wife of Freedom Fighter Victor Laszlo (Henreid). There is real chemistry between Bogart and Bergman in this film and you can tell that they are former lovers that still has a flame burning inside.
"We'll always have Paris."
But it's not just the leads who are terrific in this, it's the "who's who" of character actors that make up the Supporting Cast that really brings this film to life. From Peter Lorre to Sydney Greenstreet to Conrad Veidt to S.Z. Sakall to Dooley Wilson as Sam (who plays and sings AS TIME GOES BY), all bring interesting faces and characters to Casablanca (and Rick's Place) but the standout is Claude Rains (nominated for Best Supporting Actor - losing, inexplicably, to Charles Coburn in THE MORE THE MERRIER) as Louis, the corrupt Police Captain of Casablanca who becomes an uneasy ally of Rick's. Did I say that Bogart and Bergman had good chemistry? Check out the chemistry between Bogart and Rains, there was talk of a sequel to Casablance featuring these two - I, for one, would love to have seen that buddy flick.
Director Michael Curtiz won an Oscar for his work - and it is richly deserved. Nary a shot is wasted on this film, each picture a rich black and white portrait. It is interesting to note that this entire film was shot in California (not Casablanca), mostly on the Warner Brothers lot, but Curtiz was able to give the look and (more importantly) the feel of the place through the sets, costumes, lighting and atmosphere.
But it's the words that these characters got to say that really brought home the feel and atmosphere of the time, so credit needs to go to Screenwriters Julius and Phillip Epstein as well as Howard Koch who won Oscars for their work here. This is a masterful, classic work. One that stands up to this day. If you haven't seen this film in awhile, do yourself a favor and check it out - you'll be glad you did.
"Louie, I think this is the beginning of a beautiful friendship."
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
If there was only 1 movie that could be shown to show off "classic", old time Hollywood of the 1930's, '40's and early '50s, look no further than Michael Curtiz' 1942 classic CASABLANCA. While well known for the performances of the leads, the multiple quoted lines, Sam singing AS TIME GOES BY and the iconic ending, this film also is a time capsule to a Hollywood of another year - one that just doesn't exist today.
Starring the great Humphrey Bogart in an Academy Award nominated performance (inexplicably, losing to Paul Lukas for WATCH ON THE RHINE), CASABLANCA tells the tale of Rick Blaine the owner/operator of "Rick's Place" a bar in Casablanca, Morocco in the early days of WWII. He is world-weary, beaten and cynical and is well known as someone who can get things done (for a price) but also one who will not stick his neck out for anyone. When a couple on the run from the Nazi's (Paul Henreid, Ingrid Bergman) enter's Rick's Place, Blaine (for reasons that are revealed in the film) decides to help.
"Here's looking at your kid."
Bogart is marvelous as Blaine, you can see every inch of his world-weariness on his well-worn, craggy face. He is perfectly cast as Rick and his mannerisms and vocal patterns depict a heaviness within. Bogart is often criticized for his lack of acting talent - nothing could be further from the truth here. He is perfectly paired with Bergman as Ilse - a former love of Rick's, who is now the wife of Freedom Fighter Victor Laszlo (Henreid). There is real chemistry between Bogart and Bergman in this film and you can tell that they are former lovers that still has a flame burning inside.
"We'll always have Paris."
But it's not just the leads who are terrific in this, it's the "who's who" of character actors that make up the Supporting Cast that really brings this film to life. From Peter Lorre to Sydney Greenstreet to Conrad Veidt to S.Z. Sakall to Dooley Wilson as Sam (who plays and sings AS TIME GOES BY), all bring interesting faces and characters to Casablanca (and Rick's Place) but the standout is Claude Rains (nominated for Best Supporting Actor - losing, inexplicably, to Charles Coburn in THE MORE THE MERRIER) as Louis, the corrupt Police Captain of Casablanca who becomes an uneasy ally of Rick's. Did I say that Bogart and Bergman had good chemistry? Check out the chemistry between Bogart and Rains, there was talk of a sequel to Casablance featuring these two - I, for one, would love to have seen that buddy flick.
Director Michael Curtiz won an Oscar for his work - and it is richly deserved. Nary a shot is wasted on this film, each picture a rich black and white portrait. It is interesting to note that this entire film was shot in California (not Casablanca), mostly on the Warner Brothers lot, but Curtiz was able to give the look and (more importantly) the feel of the place through the sets, costumes, lighting and atmosphere.
But it's the words that these characters got to say that really brought home the feel and atmosphere of the time, so credit needs to go to Screenwriters Julius and Phillip Epstein as well as Howard Koch who won Oscars for their work here. This is a masterful, classic work. One that stands up to this day. If you haven't seen this film in awhile, do yourself a favor and check it out - you'll be glad you did.
"Louie, I think this is the beginning of a beautiful friendship."
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Cold Pursuit (2019) in Movies
Mar 1, 2019
Doesn't Quite Succeed In What It Was Attempting To Do
Liam Neeson has stated that COLD PURSUIT is going to be his last action film. And, if that is the case, he certainly picked an interesting one to go out on.
Based on the Norwegian film KRAFTIDIOTEN and Directed by the same person (Hans Peter Moland), COLD PURSUIT follows snowplow driver Nels Coxman (Neeson) who's son dies of a drug overdose. It's not long before Coxman uses his "certain set of skills" to settle the score.
And that is how this movie was marketed (taking advantage of Neeson's past 10 years of action hero status) and that is too bad for those who are going into this film expecting a "standard Neeson kick butt revenge action flick) are going to be disappointed, for Cold Pursuit has parts of that, but it also has an element to it that is going to take some getting used to - it's "Norwegian sense of humor".
To say this film is a "Dark Comedy" does not do it justice, for the comedy in this film (and there IS comedy) is so rooted in the violence and action of the proceedings that, at first, the audience does not know how to react to it. By the end, it is clear that this is a comedy - and I wished that it would have worn it's comedic elements just a little more on it's sleeve. But then, I guess, I would be missing the point of what makes up the "Norwegian sense of humor" - oddity and subtlety. And this film IS odd from the setting (a remote ski resort village outside of Denver) to the warring drug gangs (city thugs vs. Native Americans) to the lazy Sherriff and laid back townspeople to Coxman's hippy, drug addled wife (Laura Dern). It is an odd assortment of people and circumstances, but not quite as add as...say...Twin Peaks.
And that's what hurts it. It IS a subtle film with subtle humor and subtle quirks, but (at times) is TOO subtle for an American audience that is used to being hit over the head with themes and quirks and violence.
One who is NOT subtle in this film is Neeson as Coxman. He brings the rugged, dependable man of action that one has come to expect during his action-hero phase. Also not subtle (not by a long-shot) is Tom Bateman as the main bad guy, Viking (they all have nicknames) who telegraphs that he is a bad guy by being over-the-top, doing everything but kicking a puppy and twirling his mustache.
Domenick Lombardozzi as Mustang (one of Vikings' henchmen) and Tom Jackson as White Bull (leader of the Native American clan) find the right line between subtlety and over-acting and ground this film (for the most part). The rest of the cast (including John Doman and Emmy Rossum as the town Sheriffs) flit through this film, uneventfully and uninterestingly, neither adding nor detracting from the events. Only William Forsythe, as Neeson's shady brother and Elizabeth Thais (as his wife Anne) manage to rise above things in the limited amount of screen time they are given. And, finally, Laura Dern is wasted in an underwritten - and under-performed - role of Neeson's wife.
I can hear Director Moland screaming to his cast "Less, less...give me less...no more...More...MORE!!!" and the result is an uneven film that is underplayed too much in some ways and overplayed WAY too much in others. And this is too bad, for he had an interesting concept going, he just didn't execute it (at least not with this group of performers) very well. I'll be interested in seeing the original Norwegian film, KRAFTIDIOTEN, to see if it worked there.
Letter Grade: B- (for I applaud what it was trying to do)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Based on the Norwegian film KRAFTIDIOTEN and Directed by the same person (Hans Peter Moland), COLD PURSUIT follows snowplow driver Nels Coxman (Neeson) who's son dies of a drug overdose. It's not long before Coxman uses his "certain set of skills" to settle the score.
And that is how this movie was marketed (taking advantage of Neeson's past 10 years of action hero status) and that is too bad for those who are going into this film expecting a "standard Neeson kick butt revenge action flick) are going to be disappointed, for Cold Pursuit has parts of that, but it also has an element to it that is going to take some getting used to - it's "Norwegian sense of humor".
To say this film is a "Dark Comedy" does not do it justice, for the comedy in this film (and there IS comedy) is so rooted in the violence and action of the proceedings that, at first, the audience does not know how to react to it. By the end, it is clear that this is a comedy - and I wished that it would have worn it's comedic elements just a little more on it's sleeve. But then, I guess, I would be missing the point of what makes up the "Norwegian sense of humor" - oddity and subtlety. And this film IS odd from the setting (a remote ski resort village outside of Denver) to the warring drug gangs (city thugs vs. Native Americans) to the lazy Sherriff and laid back townspeople to Coxman's hippy, drug addled wife (Laura Dern). It is an odd assortment of people and circumstances, but not quite as add as...say...Twin Peaks.
And that's what hurts it. It IS a subtle film with subtle humor and subtle quirks, but (at times) is TOO subtle for an American audience that is used to being hit over the head with themes and quirks and violence.
One who is NOT subtle in this film is Neeson as Coxman. He brings the rugged, dependable man of action that one has come to expect during his action-hero phase. Also not subtle (not by a long-shot) is Tom Bateman as the main bad guy, Viking (they all have nicknames) who telegraphs that he is a bad guy by being over-the-top, doing everything but kicking a puppy and twirling his mustache.
Domenick Lombardozzi as Mustang (one of Vikings' henchmen) and Tom Jackson as White Bull (leader of the Native American clan) find the right line between subtlety and over-acting and ground this film (for the most part). The rest of the cast (including John Doman and Emmy Rossum as the town Sheriffs) flit through this film, uneventfully and uninterestingly, neither adding nor detracting from the events. Only William Forsythe, as Neeson's shady brother and Elizabeth Thais (as his wife Anne) manage to rise above things in the limited amount of screen time they are given. And, finally, Laura Dern is wasted in an underwritten - and under-performed - role of Neeson's wife.
I can hear Director Moland screaming to his cast "Less, less...give me less...no more...More...MORE!!!" and the result is an uneven film that is underplayed too much in some ways and overplayed WAY too much in others. And this is too bad, for he had an interesting concept going, he just didn't execute it (at least not with this group of performers) very well. I'll be interested in seeing the original Norwegian film, KRAFTIDIOTEN, to see if it worked there.
Letter Grade: B- (for I applaud what it was trying to do)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Gerald's Game (2017) in Movies
Jun 10, 2019
Not a very fun game
The horror film market is huge. Hundreds, if not thousands, of horror films are made every year, with only few standing out of the blood-drenched crowd. Netflix, with a penchant for outstanding horrors and thrillers, decided to hop on the horror flick train, bringing about an adaptation of Stephen King’s terrifying novel ‘Gerald’s Game’.
The film follows Jessie (Carla Gugino) and her husband, Gerald (Bruce Greenwood), as they head to a remote lake house in order to spice up their marriage. One thing leads to another, and then Gerald has a heart attack and dies, leaving Jessie handcuffed to the bed with the keys out of reach. She must then fight to survive, whilst having a few disturbing flashbacks and encounters along the way.
This movie is really disturbing. Like, really, really disturbing. It’s not particularly scary, there’s the odd jump-scare or three, but its the imagery and the situation that really get your heart going.
Carla Gugino as the shackled wife is a stand-out in this film. She basically carries it, only with a few interruptions from inside her head, and this makes for very entertaining viewing. She’s amusing, in a way that you didn’t think anyone could be whilst fighting dehydration, a hungry dog at the end of her bed and death himself. In all honesty, it’s not a very fun game.
Her husband, however, is brilliant at being horrible. Greenwood really amps up the bad husband vibes in the 20 minutes he is alive, which then are exacerbated in Jessie’s head after he has died. He’s manipulative, seedy and slimy: something that Jessie realises at the end of the film.
It could be argued that this film isn’t really a horror film in the typical sense. It’s more a horror film about what has happened to Jessie, the main character, and how she comes to terms with her past and survives. She calls on past experiences to escape her confines on the bed, and her horrible history.
That’s not to say that it doesn’t have stereotypical horror movie attributes. The Moonlight Man is their contribution to the supernatural – or more the ‘is he actually there or am I insane?’ kind of gimmick that sometimes comes with this genre. The Moonlight Man is a shadowy figure, lurking in the shadows with his box of trinkets and bones. He’s absolutely terrifying.
He’s also real. In the film and book, he’s a necrophiliac who’s waiting for Jessie to die so he can add her wedding ring and one of her bones to his box. The Moonlight Man is the kind of horror movie villain that you have nightmares about. Which is why he is one of the highlights of Gerald’s Game.
The film isn’t exactly the most complex plot in the world. It plays a bit too much on the stereotypes in some cases and the ending, in true horror film fashion, is too happy, is too well put together after such a traumatic experience. It all ends a bit too neatly after such a messy first three-quarters.
Even though this isn’t the best horror film ever, it certainly is not the worst. It has it’s flaws, but the acting and the scriptwriting make up for the few it has. In an era of horror trying too hard, this film is simple and refreshing, bringing a new feeling to the horror industry as a whole.
So, the moral of the story is: don’t handcuff yourself to the bed because your husband will die on top of you and then a stray dog will eat him and a necrophiliac will come into your house at night. Quite an easy thing to remember, right?
https://moviemetropolis.net/2017/12/06/geralds-game-review-not-a-very-fun-game/
The film follows Jessie (Carla Gugino) and her husband, Gerald (Bruce Greenwood), as they head to a remote lake house in order to spice up their marriage. One thing leads to another, and then Gerald has a heart attack and dies, leaving Jessie handcuffed to the bed with the keys out of reach. She must then fight to survive, whilst having a few disturbing flashbacks and encounters along the way.
This movie is really disturbing. Like, really, really disturbing. It’s not particularly scary, there’s the odd jump-scare or three, but its the imagery and the situation that really get your heart going.
Carla Gugino as the shackled wife is a stand-out in this film. She basically carries it, only with a few interruptions from inside her head, and this makes for very entertaining viewing. She’s amusing, in a way that you didn’t think anyone could be whilst fighting dehydration, a hungry dog at the end of her bed and death himself. In all honesty, it’s not a very fun game.
Her husband, however, is brilliant at being horrible. Greenwood really amps up the bad husband vibes in the 20 minutes he is alive, which then are exacerbated in Jessie’s head after he has died. He’s manipulative, seedy and slimy: something that Jessie realises at the end of the film.
It could be argued that this film isn’t really a horror film in the typical sense. It’s more a horror film about what has happened to Jessie, the main character, and how she comes to terms with her past and survives. She calls on past experiences to escape her confines on the bed, and her horrible history.
That’s not to say that it doesn’t have stereotypical horror movie attributes. The Moonlight Man is their contribution to the supernatural – or more the ‘is he actually there or am I insane?’ kind of gimmick that sometimes comes with this genre. The Moonlight Man is a shadowy figure, lurking in the shadows with his box of trinkets and bones. He’s absolutely terrifying.
He’s also real. In the film and book, he’s a necrophiliac who’s waiting for Jessie to die so he can add her wedding ring and one of her bones to his box. The Moonlight Man is the kind of horror movie villain that you have nightmares about. Which is why he is one of the highlights of Gerald’s Game.
The film isn’t exactly the most complex plot in the world. It plays a bit too much on the stereotypes in some cases and the ending, in true horror film fashion, is too happy, is too well put together after such a traumatic experience. It all ends a bit too neatly after such a messy first three-quarters.
Even though this isn’t the best horror film ever, it certainly is not the worst. It has it’s flaws, but the acting and the scriptwriting make up for the few it has. In an era of horror trying too hard, this film is simple and refreshing, bringing a new feeling to the horror industry as a whole.
So, the moral of the story is: don’t handcuff yourself to the bed because your husband will die on top of you and then a stray dog will eat him and a necrophiliac will come into your house at night. Quite an easy thing to remember, right?
https://moviemetropolis.net/2017/12/06/geralds-game-review-not-a-very-fun-game/
Movie Metropolis (309 KP) rated Labor Day (2014) in Movies
Jun 11, 2019
Director Jason Reitman is no stranger to obtaining a few awards from his varied career, with films like Juno and Up in the Air under his belt, you would be forgiven for thinking that he could put himself on autopilot – however his latest offering Labor Day stays well clear of such drama.
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Daniel Boyd (1066 KP) rated Aquaman (2018) in Movies
Jan 8, 2019 (Updated Jan 8, 2019)
Wishy Washy
I was excited to see this movie after hearing the glowing reviews and praise it was getting. I am also a fan of Jason Momoa and James Wan, so I was really hoping for this to be at least as good as Wonder Woman. Also, being a long time fan of DC Comics, I really want to see them find their footing cinematically and I thought that this could finally be the start of that. Unfortunately I left the cinema feeling pretty underwhelmed.
The movie opens by telling the story of how Aquaman's parents came to meet and fall in love, even though they are from vastly different worlds. This whole sequence is brilliant and I was totally on-board for what was to come afterwards. Sadly, this opening sequence is by far the best part of the entire movie. From this point on it descends into a mediocre action adventure flick with story elements very reminiscent of Thor and Black Panther, (two movies that are vastly superior to this one.)
From a direction standpoint, it is clear that James Wan knows how to visually capture a scene in the most beautiful and intriguing way possible, which is especially evident during the trench sequence. His direction during all of the action sequences is great, with Nicole Kidman's trident work in the opening scene and the rooftop sequence with Black Manta, Mera and Aquaman being the highlights. I don't think that my issue with this movie is due to the direction lacking in any aspect. The only questionable choice in my opinion, was the choice to shoot the big Black Manta scene in broad daylight. It just looked slightly naff and would have came across much better if shot in darker conditions at night.
Nor do I think that it is the fault of any of the cast members. I think that Momoa does a great job in the title role and he looks incredible in the full on Aquaman suit, (which I don't think many other actors could legitimately pull off.) I think that Patrick Wilson did a decent job as the evil slightly cheesy power hungry half brother of Aquaman. I also enjoyed Willem Dafoe, Dolph Lundgren and Nicole Kidman in each of their scenes.
I think that the major culprit in this movie feeling a bit forced at times, is the lazy script that the actors had to work with. Almost every scene plays out in the exact same way; with the characters that we are following turning up to a new location, meeting up with a character, (usually Willem Dafoe,) listening to them spout a bunch of expositional dialogue and then mid sentence bad guys will attack and an explosion will go off cutting the conversation short. Then we will get a well shot action sequence with super dynamic cinematography, then the characters will figure out where they need to go next, they will go to the next location and the process will be rinsed and repeated for the duration of the movie.
Overall, Aquaman is not a bad superhero movie, there is a lot of fun to be had here with the badass action sequences. Unfortunately the lazy script holds the movie back from being as good as the glowing reviews told me it would be and out of the DC solo movies, - this, Man of Steel and Wonder Woman, - this is probably the worst of the three.
PS. Although I don't think that the movie in general was up to the highest level of quality, the CGI is objectively breath-taking in every scene and I totally agree with James Wan that it is nothing short of an atrocity that the SFX team on this movie have been snubbed for this year's Oscars ceremony.
The movie opens by telling the story of how Aquaman's parents came to meet and fall in love, even though they are from vastly different worlds. This whole sequence is brilliant and I was totally on-board for what was to come afterwards. Sadly, this opening sequence is by far the best part of the entire movie. From this point on it descends into a mediocre action adventure flick with story elements very reminiscent of Thor and Black Panther, (two movies that are vastly superior to this one.)
From a direction standpoint, it is clear that James Wan knows how to visually capture a scene in the most beautiful and intriguing way possible, which is especially evident during the trench sequence. His direction during all of the action sequences is great, with Nicole Kidman's trident work in the opening scene and the rooftop sequence with Black Manta, Mera and Aquaman being the highlights. I don't think that my issue with this movie is due to the direction lacking in any aspect. The only questionable choice in my opinion, was the choice to shoot the big Black Manta scene in broad daylight. It just looked slightly naff and would have came across much better if shot in darker conditions at night.
Nor do I think that it is the fault of any of the cast members. I think that Momoa does a great job in the title role and he looks incredible in the full on Aquaman suit, (which I don't think many other actors could legitimately pull off.) I think that Patrick Wilson did a decent job as the evil slightly cheesy power hungry half brother of Aquaman. I also enjoyed Willem Dafoe, Dolph Lundgren and Nicole Kidman in each of their scenes.
I think that the major culprit in this movie feeling a bit forced at times, is the lazy script that the actors had to work with. Almost every scene plays out in the exact same way; with the characters that we are following turning up to a new location, meeting up with a character, (usually Willem Dafoe,) listening to them spout a bunch of expositional dialogue and then mid sentence bad guys will attack and an explosion will go off cutting the conversation short. Then we will get a well shot action sequence with super dynamic cinematography, then the characters will figure out where they need to go next, they will go to the next location and the process will be rinsed and repeated for the duration of the movie.
Overall, Aquaman is not a bad superhero movie, there is a lot of fun to be had here with the badass action sequences. Unfortunately the lazy script holds the movie back from being as good as the glowing reviews told me it would be and out of the DC solo movies, - this, Man of Steel and Wonder Woman, - this is probably the worst of the three.
PS. Although I don't think that the movie in general was up to the highest level of quality, the CGI is objectively breath-taking in every scene and I totally agree with James Wan that it is nothing short of an atrocity that the SFX team on this movie have been snubbed for this year's Oscars ceremony.
Daniel Boyd (1066 KP) rated Robin Hood (2018) in Movies
Jan 28, 2019 (Updated Jan 28, 2019)
A Middling Reboot
This is another movie from late 2018 that I am only just getting a chance to see. After my girlfriend and I sat through this one, she turned to me and asked what I thought of it. In response, I just shrugged my shoulders and went, "It was alright." That is genuinely the best way that I can think of to sum up my feeling on this film.
It's a mediocre action movie based around the basic concept of the old tale of Robin Hood. It is extremely cheesy and has bags of whatever the opposite of subtle is. It tries to tell a gritty, 'Year One,' type of story for the character and treats the Robin Hood moniker as a dual identity for Robin Loxley, which draws heavy comparisons to the Batman/Bruce Wayne dynamic. Unfortunately, not much of it lands due to the lack of risk-taking involved.
The movie also feels weirdly dated, especially considering that it's only a few months old. There are an abundance of overindulgent slow motion shots in the style of 300; a movie that was 12 years old at the time of this movie's release. The use of green-screen in this film is actually pretty atrocious judging by today's standards and actually might be some of the worst out of any 2018 movie I saw. This is noticeable throughout the whole movie, but is especially rough-looking during a carriage chase that happens around two thirds into the film.
The cast are all phoning it in as well. Taron Egerton does nothing special with the lead role and Ben Mendlesohn hams it up as the Sheriff Of Nottingham, doing pretty much the same villainous shlock that he did in Ready Player One and Star Wars: Rogue One, way to not get typecast Mendo!
That's the other weird thing about this movie, is that it's not sure what era it wants to be set in. Some of the accents, language and costumes are suitable for the period that the movie is set in, but other elements and other lines and costumes etc feel like they are from 2018, the year that this movie was made. The end result that they were aiming for may have been a sort of rolling timeline that transcends the days of the Crusades that the movie is set in but what we get is just a scattered mess.
There were a few positives in this thing. Some cool shots, Some of the stunt archery is, (while super unrealistic,) pretty cool to watch. I know that 'Real Life Legolas,' Lars Andersen was hired to teach the cast some archery and I believe he helped out with the action choreography as well, which is pretty cool. There are also some glimpses of creativity in some of the shots. One in particular that stood out to me was a shot that gradually panned out from behind a solitary soldiers shield to show the intensity and scale of the battle that was taking place. It's just unfortunate that in so many other places in the movie, all we get is lazy, generic camera angles that add nothing to the scene taking place.
Overall, this is an okay action romp. Don't go in expecting anything of substance or you will most definitely come away disappointed. Though, if all that you are looking for is something to stick on in the background while you do other things or if you are just after an easy, straightforward action adventure popcorn flick, then you could probably do worse than this.
It's a mediocre action movie based around the basic concept of the old tale of Robin Hood. It is extremely cheesy and has bags of whatever the opposite of subtle is. It tries to tell a gritty, 'Year One,' type of story for the character and treats the Robin Hood moniker as a dual identity for Robin Loxley, which draws heavy comparisons to the Batman/Bruce Wayne dynamic. Unfortunately, not much of it lands due to the lack of risk-taking involved.
The movie also feels weirdly dated, especially considering that it's only a few months old. There are an abundance of overindulgent slow motion shots in the style of 300; a movie that was 12 years old at the time of this movie's release. The use of green-screen in this film is actually pretty atrocious judging by today's standards and actually might be some of the worst out of any 2018 movie I saw. This is noticeable throughout the whole movie, but is especially rough-looking during a carriage chase that happens around two thirds into the film.
The cast are all phoning it in as well. Taron Egerton does nothing special with the lead role and Ben Mendlesohn hams it up as the Sheriff Of Nottingham, doing pretty much the same villainous shlock that he did in Ready Player One and Star Wars: Rogue One, way to not get typecast Mendo!
That's the other weird thing about this movie, is that it's not sure what era it wants to be set in. Some of the accents, language and costumes are suitable for the period that the movie is set in, but other elements and other lines and costumes etc feel like they are from 2018, the year that this movie was made. The end result that they were aiming for may have been a sort of rolling timeline that transcends the days of the Crusades that the movie is set in but what we get is just a scattered mess.
There were a few positives in this thing. Some cool shots, Some of the stunt archery is, (while super unrealistic,) pretty cool to watch. I know that 'Real Life Legolas,' Lars Andersen was hired to teach the cast some archery and I believe he helped out with the action choreography as well, which is pretty cool. There are also some glimpses of creativity in some of the shots. One in particular that stood out to me was a shot that gradually panned out from behind a solitary soldiers shield to show the intensity and scale of the battle that was taking place. It's just unfortunate that in so many other places in the movie, all we get is lazy, generic camera angles that add nothing to the scene taking place.
Overall, this is an okay action romp. Don't go in expecting anything of substance or you will most definitely come away disappointed. Though, if all that you are looking for is something to stick on in the background while you do other things or if you are just after an easy, straightforward action adventure popcorn flick, then you could probably do worse than this.
Gareth von Kallenbach (980 KP) rated Push (2009) in Movies
Aug 14, 2019
Inside a secure facility a woman named Kira (Camilla Belle), is about to be injected with an experimental drug that will soon set a chain of events into motion that will turn Hong Kong into a battleground. The facility is operated by the ultra secret agency known as “The Division” who are tasked with locating, controlling, training, and at times, eliminating those who possess psychic abilities as they endeavor to create an army of highly trained specialists with psychic abilities.
In the new action film “Push”, Chris Evans stars as Nick Grant, a man who has tried to keep a low profile after seeing his father murdered by Division ten years earlier. Nick has taken refuge in Hong Kong in an effort to stay away from Division as he has no desire to get involved with their or for that matter, anyone’s agenda or cause.
Nick has become indebted to several local thugs due to his gambling, and his inability to fully use his psychic ability to move objects with his mind and when Division arrives looking for a runaway, Nick is eager to get out of town before he gets dragged into the conflict.
Shortly after the Division agents leave his home, Nick is visited by a young girl named Cassie (Dakota Fanning), who informs him that they need to work with one another to earn 6 million dollars and save themselves. While Nick is hesitant, he remembers that is late father told him a young girl would one day give him a flower and when she comes, he must do as she says.
Before long, Nick and Cassie are attacked by a local gang who like Cassie and Nick are able to use psychic abilities. After a narrow escape, Nick learns that Cassie is able to see the future and she has learned that the woman that Division is seeking is vital as she has stolen a valuable drug that they need to enhance the psychic abilities of those they inject. They fact that the drug has proven fatal to everyone injected aside from Kira and would command a huge price has Division, Nick, Cassie, and the local gang scrambling to locate Kira. Cassie has also informed Nick that she sees both Nick and her dying as a result of their involvement and must find a way to change their fates.
As if matters were not complicated enough, leading the Division search is Henry Carver (Djimon Hounsou), the same man behind the death of Nick’s father. Carver will stop at nothing to retrieve Kira and the missing drug, and he and his dangerous minions do not care how many people die along the way.
“Push” is an interesting film that puts the focus on the characters rather than FX. While there is action in the film, it does not dominate the film. The neon and crowded streets of Hong Kong serve as a perfect backdrop to the film and the strong work by Evans and Fanning make them a winning combination as does the interesting premise of the film. While the film does lose some of its pacing along the way as it seems unsure if it wants to be an all out action flick, or a drama, the film rebounds and provides a conclusion which is an obvious lead for a sequel.
While some people have commented to me that the movies seems like a rip off of Heroes, I found it to be fresher and more entertaining than the show, which in my opinion has be coasting since the spectacular first 12 episodes.
In the end, “Push” has just enough action and originality to combine with the charismatic and interesting cast to make an enjoyable movie experience.
In the new action film “Push”, Chris Evans stars as Nick Grant, a man who has tried to keep a low profile after seeing his father murdered by Division ten years earlier. Nick has taken refuge in Hong Kong in an effort to stay away from Division as he has no desire to get involved with their or for that matter, anyone’s agenda or cause.
Nick has become indebted to several local thugs due to his gambling, and his inability to fully use his psychic ability to move objects with his mind and when Division arrives looking for a runaway, Nick is eager to get out of town before he gets dragged into the conflict.
Shortly after the Division agents leave his home, Nick is visited by a young girl named Cassie (Dakota Fanning), who informs him that they need to work with one another to earn 6 million dollars and save themselves. While Nick is hesitant, he remembers that is late father told him a young girl would one day give him a flower and when she comes, he must do as she says.
Before long, Nick and Cassie are attacked by a local gang who like Cassie and Nick are able to use psychic abilities. After a narrow escape, Nick learns that Cassie is able to see the future and she has learned that the woman that Division is seeking is vital as she has stolen a valuable drug that they need to enhance the psychic abilities of those they inject. They fact that the drug has proven fatal to everyone injected aside from Kira and would command a huge price has Division, Nick, Cassie, and the local gang scrambling to locate Kira. Cassie has also informed Nick that she sees both Nick and her dying as a result of their involvement and must find a way to change their fates.
As if matters were not complicated enough, leading the Division search is Henry Carver (Djimon Hounsou), the same man behind the death of Nick’s father. Carver will stop at nothing to retrieve Kira and the missing drug, and he and his dangerous minions do not care how many people die along the way.
“Push” is an interesting film that puts the focus on the characters rather than FX. While there is action in the film, it does not dominate the film. The neon and crowded streets of Hong Kong serve as a perfect backdrop to the film and the strong work by Evans and Fanning make them a winning combination as does the interesting premise of the film. While the film does lose some of its pacing along the way as it seems unsure if it wants to be an all out action flick, or a drama, the film rebounds and provides a conclusion which is an obvious lead for a sequel.
While some people have commented to me that the movies seems like a rip off of Heroes, I found it to be fresher and more entertaining than the show, which in my opinion has be coasting since the spectacular first 12 episodes.
In the end, “Push” has just enough action and originality to combine with the charismatic and interesting cast to make an enjoyable movie experience.
Ryan Hill (152 KP) rated Shazam! (2019) in Movies
Jun 22, 2019
"i'd like to purchase some of your finest beer please"
Shout "Shazam!" into the sky and you're struck by a bolt of lightning from the heavens; blessed with the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury. Instantly elevated from whatever you were into your peak self; reborn with a crack of thunder, a flash of light and a cloud of smoke. It's a wonderfully novel and simple idea for a comic book character. Something that allows for a spectacular hero moment right before each conflict or feat; an epic bit of imagery to light up the night sky and electrify the frame. This transformation also perfectly captures the spirit of both this film and it's hero; a belief in the idea that even the most forgotten, marginalized and seemingly powerless person can change the world.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
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)