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BankofMarquis (1832 KP) rated The Sting (1973) in Movies
Mar 29, 2020
On my list of All Time Favorite Films
I'll come right out and say it - the 1973 Academy Award winning film for Best Picture, THE STING, is one of the greatest films of all time. It's well written, well acted, well directed with a memorable musical score and characters, situations, costumes and set design that become richer over time and through repeated viewings.
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Into the Woods (2014) in Movies
Aug 6, 2019
For those seeking a big dose of magic this holiday season, Disney’s “Into the Woods” aims to deliver just that. Adapted to the silver screen from the original Broadway musical production by Stephen Sondheim, the plot intertwines several of the Grimm Brothers’ fairy tales to create one story.
At the center of the story is The Baker (James Corden) and The Baker’s Wife (Emily Blunt) who are desperate to break the curse, which keeps them from having a child. The Witch (Meryl Streep) who placed the curse weaves a devious web, entangling all of the characters in a tumultuous adventure.
Streep is terrifying and highly entertaining to watch in her role. Her vocal and facial expressions exude a character of pure evil.
Other characters incorporated into the story include Little Red Riding Hood (Lilla Crawford), Cinderella (Anna Kendrick), and Rapunzel (Mackenzie Mauzy), just to name a few.
Disney toned down several aspects of the original plot, which would not have been appropriate for children. However, the story still maintains a racy mix of seriousness and humor. Each scene highlights the absurdities of fairy tales only noticed by adults.
One scene which will have adults rolling with laughter is the sudden duet between Cinderella’s Prince (Chris Pine) and his brother, Rapunzel’s Prince (Billy Magnusson). They sing about the challenges of literally chasing the ladies of their desire and their refusal to acknowledge any possibility of rejection.
Certain scenes test the limits of appropriateness and are almost perverse, or perhaps even err on the side horror.
One example of this is the role of The Wolf (Johnny Depp). As he stalks Little Red Riding Hood through the forest he sings about how she is fresh, supple, and young. Through the lyrics and the choice to use a human in the role, rather than a CGI wolf, a strange glimmer of pedophilia surfaces. This is taken a step further when The Wolf reveals a jacket full of candy in his attempt to lure the child.
The element of horror enters the film in a scene where Cinderella’s Stepmother cuts the feet of the ugly stepsisters to try and force them into the glass slipper offered by the Prince. This is not graphically shown. However, it is implied as she waves around a knife and sings about it.
Despite a few of these adult twists, the film should be fun for the whole family to watch. Just keep in mind that, like the original tales, some short scenes may be a bit horrifying for young children.
As is tradition with fairy tales, the good comes with the bad. The moral messages of each fairy tale are combined into one larger message: One should be careful what they wish for, because in the grander scheme of life the ramifications of those wishes may be unforeseen.
It is also a visually stunning piece of work. Nothing comes off as overdone or cheesy. The tales truly come to life and transport viewers into a land of fantasy.
The majority of the film is very exciting and fast moving. That being said, the film is lengthy with a runtime of 124 minutes. Unfortunately, the last 30 minutes begins to drag on and feel tiring. This would have been an easy fix if perhaps the last few songs had been shortened, or the last thirty minutes was cut completely.
All in all, the film is a truly magical cinematic experience. I give “Into the Woods” 4 out of 5 stars.
At the center of the story is The Baker (James Corden) and The Baker’s Wife (Emily Blunt) who are desperate to break the curse, which keeps them from having a child. The Witch (Meryl Streep) who placed the curse weaves a devious web, entangling all of the characters in a tumultuous adventure.
Streep is terrifying and highly entertaining to watch in her role. Her vocal and facial expressions exude a character of pure evil.
Other characters incorporated into the story include Little Red Riding Hood (Lilla Crawford), Cinderella (Anna Kendrick), and Rapunzel (Mackenzie Mauzy), just to name a few.
Disney toned down several aspects of the original plot, which would not have been appropriate for children. However, the story still maintains a racy mix of seriousness and humor. Each scene highlights the absurdities of fairy tales only noticed by adults.
One scene which will have adults rolling with laughter is the sudden duet between Cinderella’s Prince (Chris Pine) and his brother, Rapunzel’s Prince (Billy Magnusson). They sing about the challenges of literally chasing the ladies of their desire and their refusal to acknowledge any possibility of rejection.
Certain scenes test the limits of appropriateness and are almost perverse, or perhaps even err on the side horror.
One example of this is the role of The Wolf (Johnny Depp). As he stalks Little Red Riding Hood through the forest he sings about how she is fresh, supple, and young. Through the lyrics and the choice to use a human in the role, rather than a CGI wolf, a strange glimmer of pedophilia surfaces. This is taken a step further when The Wolf reveals a jacket full of candy in his attempt to lure the child.
The element of horror enters the film in a scene where Cinderella’s Stepmother cuts the feet of the ugly stepsisters to try and force them into the glass slipper offered by the Prince. This is not graphically shown. However, it is implied as she waves around a knife and sings about it.
Despite a few of these adult twists, the film should be fun for the whole family to watch. Just keep in mind that, like the original tales, some short scenes may be a bit horrifying for young children.
As is tradition with fairy tales, the good comes with the bad. The moral messages of each fairy tale are combined into one larger message: One should be careful what they wish for, because in the grander scheme of life the ramifications of those wishes may be unforeseen.
It is also a visually stunning piece of work. Nothing comes off as overdone or cheesy. The tales truly come to life and transport viewers into a land of fantasy.
The majority of the film is very exciting and fast moving. That being said, the film is lengthy with a runtime of 124 minutes. Unfortunately, the last 30 minutes begins to drag on and feel tiring. This would have been an easy fix if perhaps the last few songs had been shortened, or the last thirty minutes was cut completely.
All in all, the film is a truly magical cinematic experience. I give “Into the Woods” 4 out of 5 stars.
Gareth von Kallenbach (980 KP) rated The Muppets (2011) in Movies
Aug 7, 2019
As a child, I have fond memories of watching The Muppet Show and enjoying the mix of comedy, music, and dance with my family and recapping the show with my friends the following day. Kermit, Ms. Piggy, Fozzie the Bear, and the whole gang were my childhood icons and provided countless hours of entertainment with their brilliant and inspired variety show as well as the three movies that followed. It is hard to believe that 1989 was the last time the gang graced the big screen with “The Muppets in Space”. Thankfully they are back in a big way to delight fans, old and new, this holiday season.
The new films stars Jason Segel as Gary, a mild-mannered guy who has a swell life in his small community. He has been dating the lovely Mary (Amy Adams) for ten years and they are excited to plan their first visit to Los Angeles. Gary has a younger brother named Walter who is a huge fan of the Muppets, having grown up watching the beloved show with Gary. The fact that Walter actually is a Muppet might explain his utter devotion to the show and characters. So when Gary invites Walter to accompany Mary and him on their trip, Walter is ecstatic. At long last, he can visit The Muppet Studios.
Upon their arrival in L.A., Walter is shocked to find the studio in shambles and disrepair. Undaunted, Walter sneaks into Kermit’s old office and accidentally overhears a businessman named Tex Richman (Chris Cooper) plotting to steal the property from the Muppets. Determined to thwart Richman, Walter and Gary look up Kermit the Frog who, despite his reluctance, agrees to reunite the gang to put on a tele-thon to raise the needed money to save the theater.
Along the way there are some great and touching segments where we see what many of the characters have been up to in the recent years, and more than a few laughs and musical numbers also follow. In a race against time, and despite the lack of confidence the network has in their relevance, Kermit must whip the cast and theater into shape for an epic performance.
The movie was an absolute joy. It was so refreshing to see how Segel and director James Bobin have brought the Muppets to a new generation without losing the previous ones and staying very faithful to the characters and to Jim Henson’s vision. Segel, who came up with the story and co-wrote the script, seems to be having the time of his life as he sings and dances his way through several production numbers and gives a very funny, and in turns, tender performance.
Adams is a joy as the sweet, yet determined Mary, and the addition of the new Muppet Walter was a treat. Sure the plot may have been fairly formulaic but there were more than enough moments to keep the adults happy. At our screener, the adults were laughing even lauder than the kids in attendance, especially at the numerous pop culture reference, celebrity cameos, and nostalgic nods to the show.
I do not want to spoil the film but from Beaker doing his take on the Nirvana classic “Smells Like Teen Spirit”, to the Swedish Chef channeling Tony Montana from “Scarface” I was thoroughly entertained. I can honestly say this is not only one of the best of the Muppet movies but it is a perfect film to take the family. Just don’t be surprised if you find yourself enjoying the magic as much, if not more, than the kids.
The new films stars Jason Segel as Gary, a mild-mannered guy who has a swell life in his small community. He has been dating the lovely Mary (Amy Adams) for ten years and they are excited to plan their first visit to Los Angeles. Gary has a younger brother named Walter who is a huge fan of the Muppets, having grown up watching the beloved show with Gary. The fact that Walter actually is a Muppet might explain his utter devotion to the show and characters. So when Gary invites Walter to accompany Mary and him on their trip, Walter is ecstatic. At long last, he can visit The Muppet Studios.
Upon their arrival in L.A., Walter is shocked to find the studio in shambles and disrepair. Undaunted, Walter sneaks into Kermit’s old office and accidentally overhears a businessman named Tex Richman (Chris Cooper) plotting to steal the property from the Muppets. Determined to thwart Richman, Walter and Gary look up Kermit the Frog who, despite his reluctance, agrees to reunite the gang to put on a tele-thon to raise the needed money to save the theater.
Along the way there are some great and touching segments where we see what many of the characters have been up to in the recent years, and more than a few laughs and musical numbers also follow. In a race against time, and despite the lack of confidence the network has in their relevance, Kermit must whip the cast and theater into shape for an epic performance.
The movie was an absolute joy. It was so refreshing to see how Segel and director James Bobin have brought the Muppets to a new generation without losing the previous ones and staying very faithful to the characters and to Jim Henson’s vision. Segel, who came up with the story and co-wrote the script, seems to be having the time of his life as he sings and dances his way through several production numbers and gives a very funny, and in turns, tender performance.
Adams is a joy as the sweet, yet determined Mary, and the addition of the new Muppet Walter was a treat. Sure the plot may have been fairly formulaic but there were more than enough moments to keep the adults happy. At our screener, the adults were laughing even lauder than the kids in attendance, especially at the numerous pop culture reference, celebrity cameos, and nostalgic nods to the show.
I do not want to spoil the film but from Beaker doing his take on the Nirvana classic “Smells Like Teen Spirit”, to the Swedish Chef channeling Tony Montana from “Scarface” I was thoroughly entertained. I can honestly say this is not only one of the best of the Muppet movies but it is a perfect film to take the family. Just don’t be surprised if you find yourself enjoying the magic as much, if not more, than the kids.
Bob Mann (459 KP) rated The United States vs. Billie Holiday (2021) in Movies
Apr 16, 2021
Spasmodic biopic anchored by an astonishing performance by Andra Day
It's the late 40's in the US. We follow the distressing story of Billie Holiday (Andra Day) through her period of fame and drug addiction, while constantly pursued by Harry Anslinger (Garrett Hedlund) of the FBI. The reason? Holiday kept repeatedly singing the song "Strange Fruit" at her concerts, seen as being incendiary in support of the emerging civil rights movement. While surrounded by exploitative men, can she escape the destructive cycle and find true love with her "soldier boy" Jimmy Fletcher (Trevante Rhodes).
Positives:
- Andra Day. My word! What an acting performance from the lady. Apart from a small role in the Chadwick Boseman movie "Marshall", this is her live-action feature debut. Talk about knocking it out of the park! This is a raw and very brave performance (in terms of the degree of passion and nudity required. And that's even before you take into account that she is rendering all of Billie Holiday's songs in pitch-perfect fashion. Astonishing. With a Golden Globe win under her belt, it could be an interesting battle for the Oscar between her and Frances McDormand later in the month.
- There is zero sugar-coating on this version of Holiday's biopic. Various scenes in here, especially a drug-induced retelling of the alleged origins of "Strange Fruit", are harrowing and leave a lasting impression. For the second time in a week (the other being "The Mauritanian"), I am left angry about the racism and injustice present in the US systems of government. (An astonishing caption at the end of the film - regarding a 2020 senate bill - left me speechless). Much of the movie's content is based on truth: there is a nice "fact vs fiction" summary here on collider.com.
- Elements of the story are very moving. A love-making scene (very much as opposed to a sex scene) between Billie and Jimmy is sensitively handled: like seeing an abused dog finally being shown some kindness. (Well - I was moved anyway).
- Production design for the movie (by Daniel Dorrance) is fabulous, with sets such as the Café Society brimming with 40's style.
Negatives:
- Sadly, for all of its positives, the overall concoction is a bit of a muddle. Nothing flows terribly well, and the script hops around all over the place. This left me - while never totally disengaged - feeling a bit bored and restless at times.
- I KNOW that it was common parlance at the time, but the excessive use of the "N-word" throughout the film is bound to upset some watchers.
- The movie is just SOOOO gritty and downbeat, that it left me feeling angry and upset after watching it.
Summary Thoughts: As a biopic, it comes across as jerky and spasmodic. It has moments of genius, particularly in some of the musical performances. But there are also spells where it fails to fully engage. If I was rating this purely on its content, it would probably be a 5/10. But you just can't ignore the quality here of Andra Day's performance. So for that reason, I have added 2 extra stars into the rating.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/16/the-united-states-vs-billie-holiday-strange-fruit-hangin-from-the-poplar-trees/. Thanks.)
Positives:
- Andra Day. My word! What an acting performance from the lady. Apart from a small role in the Chadwick Boseman movie "Marshall", this is her live-action feature debut. Talk about knocking it out of the park! This is a raw and very brave performance (in terms of the degree of passion and nudity required. And that's even before you take into account that she is rendering all of Billie Holiday's songs in pitch-perfect fashion. Astonishing. With a Golden Globe win under her belt, it could be an interesting battle for the Oscar between her and Frances McDormand later in the month.
- There is zero sugar-coating on this version of Holiday's biopic. Various scenes in here, especially a drug-induced retelling of the alleged origins of "Strange Fruit", are harrowing and leave a lasting impression. For the second time in a week (the other being "The Mauritanian"), I am left angry about the racism and injustice present in the US systems of government. (An astonishing caption at the end of the film - regarding a 2020 senate bill - left me speechless). Much of the movie's content is based on truth: there is a nice "fact vs fiction" summary here on collider.com.
- Elements of the story are very moving. A love-making scene (very much as opposed to a sex scene) between Billie and Jimmy is sensitively handled: like seeing an abused dog finally being shown some kindness. (Well - I was moved anyway).
- Production design for the movie (by Daniel Dorrance) is fabulous, with sets such as the Café Society brimming with 40's style.
Negatives:
- Sadly, for all of its positives, the overall concoction is a bit of a muddle. Nothing flows terribly well, and the script hops around all over the place. This left me - while never totally disengaged - feeling a bit bored and restless at times.
- I KNOW that it was common parlance at the time, but the excessive use of the "N-word" throughout the film is bound to upset some watchers.
- The movie is just SOOOO gritty and downbeat, that it left me feeling angry and upset after watching it.
Summary Thoughts: As a biopic, it comes across as jerky and spasmodic. It has moments of genius, particularly in some of the musical performances. But there are also spells where it fails to fully engage. If I was rating this purely on its content, it would probably be a 5/10. But you just can't ignore the quality here of Andra Day's performance. So for that reason, I have added 2 extra stars into the rating.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/16/the-united-states-vs-billie-holiday-strange-fruit-hangin-from-the-poplar-trees/. Thanks.)
Emma @ The Movies (1786 KP) rated Fast & Furious 9 (2021) in Movies
Jul 11, 2021
I might not be obsessed with this series but I can't argue with its ridiculous action. I had a catch up on the others as it had been a while, though I discovered I watched them in the wrong order... never mind! Here's a bit of a rundown.
The Fast and the Furious - good
2 Fast 2 Furious - meh
The Fast and the Furious: Tokyo Drift - too peoply, not enough cars
Fast & Furious - good
Fast Five - my favourite
Fast & Furious 6 - good
Furious 7 - good
The Fate of the Furious - good
F9...
Who really needs an extended synopsis on this one? Cars, family, Corona, space the final frontier. And does it even need any comments on the plot? At this point it's very much random bits of chaos and ridiculous things with cars. Quite honestly, that's the reason I enjoy the films more now they lean into it. Although this one may have become a little too self-aware... in an amusing way.
It wasn't until I did the rewatch that I noticed how much they ignore the concept of genetics when it comes to adding family members. Here we have John Cena playing Jakob, Dom and Mia's brother. It's not the most unbelievable thing in the movie, but it's well up there. Cena has grown on me as an actor, I enjoyed him in The Marine, Bumblebee, and his comedy stylings in Blockers... but we don't talk about Playing With Fire... we never talk about Playing With Fire. He can do funny and he can do serious, but I'm not convinced he was the best choice to combine the two here. His performance was okay, but his style didn't really fit with any of the others. I don't know who I might have put in this role instead, but I think they could have gone with recognisable but not quite as high profile/
As for the other cast members, well, same sh*t different day as they say! Gibson and Ludacris have the same fun dynamic and bring their comedic element to the proceedings. Vin Diesel says the requisite amount of "family" throughout the films, and everyone else does their thing.
Doing the rewatch made me surprisingly emotional when they did the Paul Walker send-off, and there was a nice out to keep the legacy intact. And while it's nice that they keep him in the films, maybe it should just be something that's accepted and not talked about. There's a moment in the film where they say Dom's son is with Brian, and my first thought was horror because I forgot Brian is alive in the franchise, and the look on Dom's face didn't help in that moment either.
F9 has some even whackier action, and it is entirely satisfying to watch. Though unsurprisingly it doesn't take them long to defy the laws of physics... spectacular destruction nevertheless. We know we're in for a tenth instalment, we can only hope for a musical or LEGO version... that last one would be my approved choice.
(I have so many spoiler comments t make about this, but I don't want to ruin the fun of discovering them all for yourself.)
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/f9-fast-saga-movie-review.html
The Fast and the Furious - good
2 Fast 2 Furious - meh
The Fast and the Furious: Tokyo Drift - too peoply, not enough cars
Fast & Furious - good
Fast Five - my favourite
Fast & Furious 6 - good
Furious 7 - good
The Fate of the Furious - good
F9...
Who really needs an extended synopsis on this one? Cars, family, Corona, space the final frontier. And does it even need any comments on the plot? At this point it's very much random bits of chaos and ridiculous things with cars. Quite honestly, that's the reason I enjoy the films more now they lean into it. Although this one may have become a little too self-aware... in an amusing way.
It wasn't until I did the rewatch that I noticed how much they ignore the concept of genetics when it comes to adding family members. Here we have John Cena playing Jakob, Dom and Mia's brother. It's not the most unbelievable thing in the movie, but it's well up there. Cena has grown on me as an actor, I enjoyed him in The Marine, Bumblebee, and his comedy stylings in Blockers... but we don't talk about Playing With Fire... we never talk about Playing With Fire. He can do funny and he can do serious, but I'm not convinced he was the best choice to combine the two here. His performance was okay, but his style didn't really fit with any of the others. I don't know who I might have put in this role instead, but I think they could have gone with recognisable but not quite as high profile/
As for the other cast members, well, same sh*t different day as they say! Gibson and Ludacris have the same fun dynamic and bring their comedic element to the proceedings. Vin Diesel says the requisite amount of "family" throughout the films, and everyone else does their thing.
Doing the rewatch made me surprisingly emotional when they did the Paul Walker send-off, and there was a nice out to keep the legacy intact. And while it's nice that they keep him in the films, maybe it should just be something that's accepted and not talked about. There's a moment in the film where they say Dom's son is with Brian, and my first thought was horror because I forgot Brian is alive in the franchise, and the look on Dom's face didn't help in that moment either.
F9 has some even whackier action, and it is entirely satisfying to watch. Though unsurprisingly it doesn't take them long to defy the laws of physics... spectacular destruction nevertheless. We know we're in for a tenth instalment, we can only hope for a musical or LEGO version... that last one would be my approved choice.
(I have so many spoiler comments t make about this, but I don't want to ruin the fun of discovering them all for yourself.)
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/f9-fast-saga-movie-review.html
Gareth von Kallenbach (980 KP) rated Yesterday (2019) in Movies
Jun 28, 2019
A Fun Musical About What Matters Most In Life
When the lights go out all over the world struggling singer-songwriter, Jack Malik (Himesh Patel), is blindsided by a double decker bus. The bus knocks him off his bike and sends him flying across the pavement where he lands unconscious. When he wakes up he is missing his beard and a couple of front teeth. He thinks it just been the worst end of the worst day of his life. But he couldn’t be more wrong. Earlier he had decided to give up his quest for fame and go back to being a teacher. Despite his best friend, manager, fan since grade school Ellie (Lily James) trying hard to convince him to not give up on his dreams. But days after the crash Jack is still ready to hang it up. Elle as a present for Jack leaving the hospital gives him a brand new guitar. Jack decides to play a song but a great guitar needs a great song so he plays Yesterday by The Beattles. When he is finished Elle is almost in tears, his friends Nick and Carol (Harry Michell and Sophia Di Marino) are in sock.
They want to know where he came up with this amazing song. Jack tells them the greatest pop band in history…The Beattles. But they have no idea who that is and neither does the rest of the world. Now Jack is the only person in the world who knows the songs of one of the top selling iconic bands in history. It’s not long before the world comes to know of Jack Malik the single greatest song writer of all time. But will he be found out as a fraud, will fame and money change him and most importantly will he leave behind the people he cares for most.
This Danny Boyle (Trainspotting, Slumdog Millionaire) director comedy is original and well written, by Jack Barth (story) and RAbbey Mordue
ichard Curtis (screenplay). The story is part romantic comedy and part fantasy film. It’s original and fun but there are times that the story is clunky and oddly put together. There are times that feel like major events are skipped over. The soundtrack is definitely filled with The Beattles with some modern music sprinkled in, including Ed Sheerran who plays himself in the film. If you are a fan of The Beattles you will definitely enjoy the film and how they wind the music into the story. The cast is fun and fit well together. Patel is both awkward and troubled and he does a well in the lead. He also does a great job singing. Kate McKinnon (Ghostbusters, Saturday Night Live) is great as a money hungry music executive.
I admittedly am a huge fan of The Beattles and was very excited but premise of this film. At the very least I would be able to listen to good music for two hours. But I really enjoyed the originality and visuals that were put together. The story while clunky at times was overall fun to watch. When you thought it was predictable and knew where the film was taking you the story would divert slightly and surprise you. It is a fun date movie that worth the price of a movie ticket.
4 out of 5
http://sknr.net/2019/06/27/yesterday/
They want to know where he came up with this amazing song. Jack tells them the greatest pop band in history…The Beattles. But they have no idea who that is and neither does the rest of the world. Now Jack is the only person in the world who knows the songs of one of the top selling iconic bands in history. It’s not long before the world comes to know of Jack Malik the single greatest song writer of all time. But will he be found out as a fraud, will fame and money change him and most importantly will he leave behind the people he cares for most.
This Danny Boyle (Trainspotting, Slumdog Millionaire) director comedy is original and well written, by Jack Barth (story) and RAbbey Mordue
ichard Curtis (screenplay). The story is part romantic comedy and part fantasy film. It’s original and fun but there are times that the story is clunky and oddly put together. There are times that feel like major events are skipped over. The soundtrack is definitely filled with The Beattles with some modern music sprinkled in, including Ed Sheerran who plays himself in the film. If you are a fan of The Beattles you will definitely enjoy the film and how they wind the music into the story. The cast is fun and fit well together. Patel is both awkward and troubled and he does a well in the lead. He also does a great job singing. Kate McKinnon (Ghostbusters, Saturday Night Live) is great as a money hungry music executive.
I admittedly am a huge fan of The Beattles and was very excited but premise of this film. At the very least I would be able to listen to good music for two hours. But I really enjoyed the originality and visuals that were put together. The story while clunky at times was overall fun to watch. When you thought it was predictable and knew where the film was taking you the story would divert slightly and surprise you. It is a fun date movie that worth the price of a movie ticket.
4 out of 5
http://sknr.net/2019/06/27/yesterday/
Emma @ The Movies (1786 KP) rated Green Book (2018) in Movies
Sep 25, 2019
It's always nice getting advanced screenings, but two months in advance has to be some sort of record. By the fact that the entire audience went "what?!" when the title card came up it was a very well kept secret screening.
I'm so pleased that this played to a packed screen. We lost maybe a dozen people within the first five minutes, which I think just goes to show how much of an unknown it was because normally people will leave immediately. I had seen it on the app, but not read the synopsis or seen a trailer so it was brilliant to be able to go into the film without any prejudgment.
Mahershala Ali and Viggo Mortensen make a wonderful duo. They bounce of each other really well throughout the whole film.
One of the things I was dying to know was who was playing the piano. I'm reliably informed by IMDb's trivia that Kris Bowers who is the film's composer is Ali's piano double. I have no idea how they do that considering that a fair amount of the shots show Ali playing. It was certainly well done.
The film shows yet another important story in a well thought out and sensitive way. Hidden Figures, Marshall and now Green Book. We're seeing sides of history that we hardly knew of before. The Green Book was a complete shock of a discovery to me and this certainly made me want to research more on the topic.
Ultimately this story is about friendship and acceptance in the face of adversity. It's good to see the circle of change in Tony, and the ending paints the hopeful picture of what would unfold in the future.
I feel a little bit harsh only giving this four and a half stars. While Mortensen and Cardellini were spot on, Ali left me a little disappointed. I have loved him ever since The 4400 and it's been great seeing him in so many shows and films since then. This role obviously has some very powerful moments, and while he delivered them with grace I couldn't help noticing that something was missing. There was one point where he delivers a poignant speech to Tony and I realised that is was lacking the emotional kicker. It felt detached. Whether it was script, acting or just the natural way of the character I'm not sure, it had the potential to bring me to tears and yet... dry eyes.
That is honestly the only glitch in this wonderful film. I got home and I couldn't sleep because I was still buzzing from the screening. (I'm paying for that now.) I read the comments on Twitter and I was really struck by how many people loved it. This deserves to win awards on a lot of counts, I just hope that it gets the recognition it deserves.
When I got my Unlimited card I wasn't convinced that I'd go and see a lot of films (yes I know, what a joke!), and certainly without the card I would never have seen this. At home I never used to pick films that I'd have to "think about". Unlimited has changed the way I watch movies and given me the opportunity to see incredible productions like this. That to me is well worth the money.
What you should do
You should absolutely see this. Not quite a child friendly as Hidden Figures was but it offers another great insight into the past.
Movie thing you wish you could take home
Just a fraction of that musical talent would be incredible.
I'm so pleased that this played to a packed screen. We lost maybe a dozen people within the first five minutes, which I think just goes to show how much of an unknown it was because normally people will leave immediately. I had seen it on the app, but not read the synopsis or seen a trailer so it was brilliant to be able to go into the film without any prejudgment.
Mahershala Ali and Viggo Mortensen make a wonderful duo. They bounce of each other really well throughout the whole film.
One of the things I was dying to know was who was playing the piano. I'm reliably informed by IMDb's trivia that Kris Bowers who is the film's composer is Ali's piano double. I have no idea how they do that considering that a fair amount of the shots show Ali playing. It was certainly well done.
The film shows yet another important story in a well thought out and sensitive way. Hidden Figures, Marshall and now Green Book. We're seeing sides of history that we hardly knew of before. The Green Book was a complete shock of a discovery to me and this certainly made me want to research more on the topic.
Ultimately this story is about friendship and acceptance in the face of adversity. It's good to see the circle of change in Tony, and the ending paints the hopeful picture of what would unfold in the future.
I feel a little bit harsh only giving this four and a half stars. While Mortensen and Cardellini were spot on, Ali left me a little disappointed. I have loved him ever since The 4400 and it's been great seeing him in so many shows and films since then. This role obviously has some very powerful moments, and while he delivered them with grace I couldn't help noticing that something was missing. There was one point where he delivers a poignant speech to Tony and I realised that is was lacking the emotional kicker. It felt detached. Whether it was script, acting or just the natural way of the character I'm not sure, it had the potential to bring me to tears and yet... dry eyes.
That is honestly the only glitch in this wonderful film. I got home and I couldn't sleep because I was still buzzing from the screening. (I'm paying for that now.) I read the comments on Twitter and I was really struck by how many people loved it. This deserves to win awards on a lot of counts, I just hope that it gets the recognition it deserves.
When I got my Unlimited card I wasn't convinced that I'd go and see a lot of films (yes I know, what a joke!), and certainly without the card I would never have seen this. At home I never used to pick films that I'd have to "think about". Unlimited has changed the way I watch movies and given me the opportunity to see incredible productions like this. That to me is well worth the money.
What you should do
You should absolutely see this. Not quite a child friendly as Hidden Figures was but it offers another great insight into the past.
Movie thing you wish you could take home
Just a fraction of that musical talent would be incredible.
Kristy H (1252 KP) rated A Dream About Lightning Bugs: A Life of Music and Cheap Lessons in Books
Oct 14, 2019
Ben Folds--as you probably know if you're interested in his autobiography/memoir--is a singer-songwriter who became popular in the 1990s as part of the band Ben Folds Five. He's well-known for his piano skills, vocals, and songwriting. He's also had a somewhat tumultuous personal life, with multiple marriages that ended in divorce. This memoir covers his childhood and his fame with Ben Folds Five and his solo career, up until the relative present.
"This is a book about what I know. Or what I think I know. It's about music and how it has framed and informed my life and vice versa. About the stumbles, falls, and other brilliant strokes of luck that brought me here."
I discovered Ben Folds Five in college via my roommate/best friend, and I've been a fan ever since. I was excited to read this, but I've gotta admit: it was a slog. I basically forced myself to finish. I've always sort of thought of Ben Folds as a bit arrogant, so that may have clouded some of my reading of this autobiography. It certainly didn't help dissuade me of that opinion.
For me, the best parts were when Folds was talking naturally about his life and story. His childhood was interesting and it was really no surprise that he was a musically obsessed, somewhat irreverent kid. It was intriguing to see the various paths that led him to Ben Folds Five and stardom.
I did not enjoy--at all--the part where he felt the need to impart forced, preachy lessons about life and music. Maybe if I was more of a music person (as in, I played it versus listened to it) the music lessons would have been of interest. It felt like an editor said, "Ben, every few chapters you have to make sure the reader learns something." And he diligently and forcefully made sure we did. But the point of the book seemed to be that he was a screw up, who got where he was halfway by accident, so the whole lessons thing seemed awfully preachy and fake.
The better pieces were funny anecdotes--Folds playing as a one-man polka band and winding up doing a private gig for an elderly couple, where the husband had a wooden leg. Folds meeting a then-unknown Keith Urban. How he met Robert and Darren of Ben Folds Five. I was disappointed how much he skipped over as he became a more famous musician. We get a lot about his childhood, his various tries at college, and his musical attempts up until Ben Folds Five. He does talk about the formation of Ben Folds Five and how it felt to suddenly become so famous. But then, so much of the detail dwindles. He alludes to how the band might have had some tension, but the actual breakup, via email, gets a few sentences. Even his many marriages and his associated emotional turmoil gets glossed over quite a bit.
So, for me, I was left wishing for more with this one. It's a good quick brush-over of Ben Folds' life. There are some cheesy, slightly pompous "life lessons" inserted. You get a few funny stories among all this and the backstory behind a few songs: that, to me, was the good stuff. Otherwise, it was a bit of a drag, and I didn't finish really knowing much more about the real Ben Folds than I did when I came in. Rather disappointing. 2.5 stars.
"This is a book about what I know. Or what I think I know. It's about music and how it has framed and informed my life and vice versa. About the stumbles, falls, and other brilliant strokes of luck that brought me here."
I discovered Ben Folds Five in college via my roommate/best friend, and I've been a fan ever since. I was excited to read this, but I've gotta admit: it was a slog. I basically forced myself to finish. I've always sort of thought of Ben Folds as a bit arrogant, so that may have clouded some of my reading of this autobiography. It certainly didn't help dissuade me of that opinion.
For me, the best parts were when Folds was talking naturally about his life and story. His childhood was interesting and it was really no surprise that he was a musically obsessed, somewhat irreverent kid. It was intriguing to see the various paths that led him to Ben Folds Five and stardom.
I did not enjoy--at all--the part where he felt the need to impart forced, preachy lessons about life and music. Maybe if I was more of a music person (as in, I played it versus listened to it) the music lessons would have been of interest. It felt like an editor said, "Ben, every few chapters you have to make sure the reader learns something." And he diligently and forcefully made sure we did. But the point of the book seemed to be that he was a screw up, who got where he was halfway by accident, so the whole lessons thing seemed awfully preachy and fake.
The better pieces were funny anecdotes--Folds playing as a one-man polka band and winding up doing a private gig for an elderly couple, where the husband had a wooden leg. Folds meeting a then-unknown Keith Urban. How he met Robert and Darren of Ben Folds Five. I was disappointed how much he skipped over as he became a more famous musician. We get a lot about his childhood, his various tries at college, and his musical attempts up until Ben Folds Five. He does talk about the formation of Ben Folds Five and how it felt to suddenly become so famous. But then, so much of the detail dwindles. He alludes to how the band might have had some tension, but the actual breakup, via email, gets a few sentences. Even his many marriages and his associated emotional turmoil gets glossed over quite a bit.
So, for me, I was left wishing for more with this one. It's a good quick brush-over of Ben Folds' life. There are some cheesy, slightly pompous "life lessons" inserted. You get a few funny stories among all this and the backstory behind a few songs: that, to me, was the good stuff. Otherwise, it was a bit of a drag, and I didn't finish really knowing much more about the real Ben Folds than I did when I came in. Rather disappointing. 2.5 stars.
BankofMarquis (1832 KP) rated Raya and the Last Dragon (2021) in Movies
Sep 25, 2021
Strong Animation and Voice Work overcome "Standard" Plot
One of the first films to be released (both in theaters and on-line) during the pandemic, RAYA AND THE LAST DRAGON came and went quickly - certainly ignored in the movie theaters, and with very little fanfare on-line.
And that’s too bad for RAYA AND THE LAST DRAGON is a fun, fantastical and visually rich tapestry that weaves together strong characters, a good lesson and enough action and comedy to keep young and old alike engaged throughout.
RAYA tells the story of the land of Kumandra, a realm that was inspired by Southeast Asian countries (such as Thailand, Malaysia and Indonesia) a land that is split into 5 parts that each face the same threat, but instead of banding together to fight this threat, they are splintered and selfish and look out only for their own - with little to no regard of the consequences to others.
Sound familiar? While the film was imagined and realized before the pandemic, the themes of this film reverberate strongly in this post-pandemic world that we live in.
Into this world drops Raya who, when betrayed by one she sees as a friend, sets out on a quest to find the last dragon and unify the 5 lands. It’s a typical “quest film” but one that is told with such heart and charm - with strong voice characters and beautiful animation - that I was won over by it.
Kelly Marie Tran (Rose Tico in the latest STAR WARS trilogy) brings Raya’s voice to life and it is a one that is embodied with hope, naivete and strength and really makes you root for her character. The voice work by the likes of Gemma Chan (CRAZY, RICH ASIANS), Benedict Wong (DR. STRANGE), DANIEL DAE KIM (TV’s LOST) and Sandra OH (TV’s GREY’S ANATOMY) are all as equally strong and nuanced and draws you into each of their characters and the story.
And then there is Awkwafina (SHANG-CHI) as the voice of The Last Dragon - she is on another level. It is not hyperbole to say that this voicework/character is on a par with David Spade’s work as Kuzco in THE EMPEROR’S NEW GROOVE and much like Spade, she ad-libbed much of her dialogue. It’s not quite at the level of Robin Williams in ALADDIN, but it’s in that ballpark - it is that good. This character makes or breaks this film and AWKWAFINA nails it - and makes the film.
This film is a “non-Musical” and I think that works well here. While this choice may turn off some families from viewing, this choice makes it a stronger film and is the right selection.
And then, there is the animation, which is even more impressive considering it was created from the animators in their homes during the pandemic. RAYA AND THE LAST DRAGON is a visual feast, weaving imagery and beautifully animated scenes throughout - I applaud those that made this incredibly beautiful film under such adverse conditions, it is a triumph.
All-in-all RAYA AND THE LAST DRAGON is well worth checking out, despite the plot being rather “standard”, the themes, characters, voice work and animation are all top notch - what one has come to expect from Disney Animation.
Letter Grade: A- (did I mention that the plot is rather “standard”)
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
And that’s too bad for RAYA AND THE LAST DRAGON is a fun, fantastical and visually rich tapestry that weaves together strong characters, a good lesson and enough action and comedy to keep young and old alike engaged throughout.
RAYA tells the story of the land of Kumandra, a realm that was inspired by Southeast Asian countries (such as Thailand, Malaysia and Indonesia) a land that is split into 5 parts that each face the same threat, but instead of banding together to fight this threat, they are splintered and selfish and look out only for their own - with little to no regard of the consequences to others.
Sound familiar? While the film was imagined and realized before the pandemic, the themes of this film reverberate strongly in this post-pandemic world that we live in.
Into this world drops Raya who, when betrayed by one she sees as a friend, sets out on a quest to find the last dragon and unify the 5 lands. It’s a typical “quest film” but one that is told with such heart and charm - with strong voice characters and beautiful animation - that I was won over by it.
Kelly Marie Tran (Rose Tico in the latest STAR WARS trilogy) brings Raya’s voice to life and it is a one that is embodied with hope, naivete and strength and really makes you root for her character. The voice work by the likes of Gemma Chan (CRAZY, RICH ASIANS), Benedict Wong (DR. STRANGE), DANIEL DAE KIM (TV’s LOST) and Sandra OH (TV’s GREY’S ANATOMY) are all as equally strong and nuanced and draws you into each of their characters and the story.
And then there is Awkwafina (SHANG-CHI) as the voice of The Last Dragon - she is on another level. It is not hyperbole to say that this voicework/character is on a par with David Spade’s work as Kuzco in THE EMPEROR’S NEW GROOVE and much like Spade, she ad-libbed much of her dialogue. It’s not quite at the level of Robin Williams in ALADDIN, but it’s in that ballpark - it is that good. This character makes or breaks this film and AWKWAFINA nails it - and makes the film.
This film is a “non-Musical” and I think that works well here. While this choice may turn off some families from viewing, this choice makes it a stronger film and is the right selection.
And then, there is the animation, which is even more impressive considering it was created from the animators in their homes during the pandemic. RAYA AND THE LAST DRAGON is a visual feast, weaving imagery and beautifully animated scenes throughout - I applaud those that made this incredibly beautiful film under such adverse conditions, it is a triumph.
All-in-all RAYA AND THE LAST DRAGON is well worth checking out, despite the plot being rather “standard”, the themes, characters, voice work and animation are all top notch - what one has come to expect from Disney Animation.
Letter Grade: A- (did I mention that the plot is rather “standard”)
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Licorice Pizza (2021) in Movies
Mar 9, 2022
Disjointed
The films of Director Paul Thomas Anderson is a bit of an “acquired taste”, moviegoers generally fall into one of 2 camps. (1) those that LOVE what he does (and thinks he is one of the greatest Directors of All Time) and (2) those that don’t.
I thought I fell into the 2nd camp, but upon reviewing his portfolio of work for this review (HARD EIGHT, BOOGIE NIGHTS, PUNCH-DRUNK LOVE and THERE WILL BE BLOOD), I realized that I pretty much liked whatever he had done, but with his last few films (THE MASTER, INHERENT VICE, THE PHANTOM THREAD) I am finding that “PTA” (as his fans call him) is becoming just a little too “artsy” and pretentious for my tastes. He has fallen too in love with his material - and artistic style - to objectively look at a film and realize that it needs to move along at a brisker pace.
Such is the case with his latest film, LICORICE PIZZA.
A memory of his youth, LICORICE PIZZA follows the relationship of a pair of mismatched young adults as they work their way through the early 1970’s in search of themselves and love.
This film is a series of scenes stitched together to tell a story and the problem with it is that it made this film seem disjointed. The central “get together already” love story of the main 2 characters is supposed to be the through-line of the film, but when this through-line breaks (as it often does here) it is detrimental to the flow of the story.
Based, loosely, on the real-life exploits of PTA’s friend, Producer Gary Goetzman, LICORICE PIZZA stars Cooper Hoffman (son of Phillip Seymour Hoffman) as Gary Valentine and Alana Haim (of the Sister Act Musical Group HAIM) as Alana as they have an on-again/off-again friendship that SHOULD BE a romance, but isn’t (kind of like WHEN HARRY MET SALLY). They circumnavigate circa 1973 Los Angeles running into fictionalized portrayals of famous people like Producer Jon Peters (Bradley Cooper) and Film Actor Jack Holden (Sean Penn) an amalgamation of William Holden and Steve McQueen.
The central performances of Hoffman and Haim are competent enough, but never rises to anything more than that, which pulls this film down for one or the other of them is in every scene . The various actors doing extended cameos (like Cooper and Penn) seem to be having fun chewing up the scenery, but they are acting in a completely different style of film than Hoffman and Haim are and our 2 leads don’t stand a chance of standing out compared to these over-the-top performances.
Blame for all of this needs to be laid on Anderson (Oscar Nominated for his Direction in this film). He tried to give us a “slice of life” nostalgia piece like AMERICAN GRAFFITI or ONCE UPON A TIME IN HOLLYWOOD, but he just doesn’t pull it off.
An Oscar Nominee for Best Picture, LICORICE PIZZA seems to be riding the wave of nostalgia both for the times depicted - and the artist who put this film on the screen - but it just isn’t that good of a film.
Letter Grade B- (for Cooper’s and Penn’s scenes in this)
6 stars (out of 10) and you can take this to the Bank(ofMarquis)
I thought I fell into the 2nd camp, but upon reviewing his portfolio of work for this review (HARD EIGHT, BOOGIE NIGHTS, PUNCH-DRUNK LOVE and THERE WILL BE BLOOD), I realized that I pretty much liked whatever he had done, but with his last few films (THE MASTER, INHERENT VICE, THE PHANTOM THREAD) I am finding that “PTA” (as his fans call him) is becoming just a little too “artsy” and pretentious for my tastes. He has fallen too in love with his material - and artistic style - to objectively look at a film and realize that it needs to move along at a brisker pace.
Such is the case with his latest film, LICORICE PIZZA.
A memory of his youth, LICORICE PIZZA follows the relationship of a pair of mismatched young adults as they work their way through the early 1970’s in search of themselves and love.
This film is a series of scenes stitched together to tell a story and the problem with it is that it made this film seem disjointed. The central “get together already” love story of the main 2 characters is supposed to be the through-line of the film, but when this through-line breaks (as it often does here) it is detrimental to the flow of the story.
Based, loosely, on the real-life exploits of PTA’s friend, Producer Gary Goetzman, LICORICE PIZZA stars Cooper Hoffman (son of Phillip Seymour Hoffman) as Gary Valentine and Alana Haim (of the Sister Act Musical Group HAIM) as Alana as they have an on-again/off-again friendship that SHOULD BE a romance, but isn’t (kind of like WHEN HARRY MET SALLY). They circumnavigate circa 1973 Los Angeles running into fictionalized portrayals of famous people like Producer Jon Peters (Bradley Cooper) and Film Actor Jack Holden (Sean Penn) an amalgamation of William Holden and Steve McQueen.
The central performances of Hoffman and Haim are competent enough, but never rises to anything more than that, which pulls this film down for one or the other of them is in every scene . The various actors doing extended cameos (like Cooper and Penn) seem to be having fun chewing up the scenery, but they are acting in a completely different style of film than Hoffman and Haim are and our 2 leads don’t stand a chance of standing out compared to these over-the-top performances.
Blame for all of this needs to be laid on Anderson (Oscar Nominated for his Direction in this film). He tried to give us a “slice of life” nostalgia piece like AMERICAN GRAFFITI or ONCE UPON A TIME IN HOLLYWOOD, but he just doesn’t pull it off.
An Oscar Nominee for Best Picture, LICORICE PIZZA seems to be riding the wave of nostalgia both for the times depicted - and the artist who put this film on the screen - but it just isn’t that good of a film.
Letter Grade B- (for Cooper’s and Penn’s scenes in this)
6 stars (out of 10) and you can take this to the Bank(ofMarquis)