Search
Search results
Awix (3310 KP) rated The New Mutants (2020) in Movies
Aug 31, 2020
Absolutely the last gasp of the original X Men movie franchise essentially gets a dump release, which to be honest it deserves. Five young people with burgeoning mutant powers are confined in a spooky old hospital; they variously squabble and bond while creepy things happen around them.
Interesting idea to do a horror movie using Marvel characters: the problem is that this one isn't very frightening (flat characters and too much bland CGI); the script and performances aren't strong enough to support the introspective tone and inert feel of the movie. Plus, the story is built around a conceit which is very, very easy to guess if you're familiar with these characters. A couple of half-decent performances and the climax (when it most resembles a conventional superhero movie) acquires a certain momentum, but it feels very drab and pointless. Maybe the corporate politics that have kept the film stuck on a shelf for years haven't helped, but I doubt this could ever have been much more impressive.
Interesting idea to do a horror movie using Marvel characters: the problem is that this one isn't very frightening (flat characters and too much bland CGI); the script and performances aren't strong enough to support the introspective tone and inert feel of the movie. Plus, the story is built around a conceit which is very, very easy to guess if you're familiar with these characters. A couple of half-decent performances and the climax (when it most resembles a conventional superhero movie) acquires a certain momentum, but it feels very drab and pointless. Maybe the corporate politics that have kept the film stuck on a shelf for years haven't helped, but I doubt this could ever have been much more impressive.
Awix (3310 KP) rated North by Northwest (1959) in Movies
Sep 30, 2020 (Updated Oct 1, 2020)
Super-slick espionage thriller from Hitchcock's late-50s imperial phase is one of the greatest pieces of escapist cinema ever made. Hapless ad executive Cary Grant finds himself mistaken for a secret agent and pursued across America by the bad guys and the cops, and forced to become a non-existent adventurer. Sparkling dialogue and effortless suspense is intercut with iconic set-pieces (the crop duster attack, the chase across the faces of Mount Rushmore).
Hitchcock makes it all look bafflingly easy, assisted by a very smart script and some charismatic performers (Grant is perhaps a touch too old - he was 55 at the time - but makes up for it with sheer star power). Maybe the plot doesn't completely hang together and the title has no relation to the story, but who cares? A deservedly enduring film, perhaps in more ways than one: add a touch more grit and some globetrotting to this recipe and you'd have something that looks very much like the formula for a Bond movie. Superb entertainment.
Hitchcock makes it all look bafflingly easy, assisted by a very smart script and some charismatic performers (Grant is perhaps a touch too old - he was 55 at the time - but makes up for it with sheer star power). Maybe the plot doesn't completely hang together and the title has no relation to the story, but who cares? A deservedly enduring film, perhaps in more ways than one: add a touch more grit and some globetrotting to this recipe and you'd have something that looks very much like the formula for a Bond movie. Superb entertainment.
Awix (3310 KP) rated The Hellstrom Chronicle (1971) in Movies
May 25, 2020
Playful, technically impressive and possibly very influential wildlife documentary. Scientist Nils Hellstrom, PhD (Doctor of Philosophy), MS (Master of Science), and WF (Wholly Fictitious), expresses his fears for the future of the human race, believing we are likely to be outcompeted by insects in every respect. Startling and occasionally grisly clips showing the lives of insects and other arthropods illustrate his thesis in great detail.
Well, Hellstrom (or more accurately writer David Seltzer, who went on to script The Omen twice) isn't a great biologist (he refers to insects as a species rather than a class), but the photography in the film is great and Lawrence Pressman's well-judged performance adds a lot to the impression the film makes: it's tongue in cheek, but still thought-provoking. As a gimmick to make people watch a wildlife documentary, it's an interesting one; you can sense echoes of this film's innovative use of music and narrative to add drama in many much more respectable nature documentaries (most of David Attenborough's blockbuster series, for instance). An oddity, but a good one.
Well, Hellstrom (or more accurately writer David Seltzer, who went on to script The Omen twice) isn't a great biologist (he refers to insects as a species rather than a class), but the photography in the film is great and Lawrence Pressman's well-judged performance adds a lot to the impression the film makes: it's tongue in cheek, but still thought-provoking. As a gimmick to make people watch a wildlife documentary, it's an interesting one; you can sense echoes of this film's innovative use of music and narrative to add drama in many much more respectable nature documentaries (most of David Attenborough's blockbuster series, for instance). An oddity, but a good one.
Awix (3310 KP) rated The Last Witch Hunter (2015) in Movies
Apr 16, 2020 (Updated Apr 16, 2020)
Here we go again. Lumbering action-fantasy stomper based - I kid you not - on one of Vin Diesel's Dungeons & Dragons games. Mediaeval warrior Kaulder (spelt with a K presumably because it's kooler, a principle I will be observing karefully in this review) battles the Evil Witch Queen and is kursed with immortality. What ensues is basically Highlander meets Hellboy meets Harry Potter meets Blade meets Men in Black: mysteriously, this film attempts to pinch the best bits of all those films and ends up seeming worse than any of them.
Plodding script is largely to blame, also the fact that Vin basically just does his routine smirking-swaggering-smug performance for most of the film. Usual excess of CGI doesn't help the situation much either. Michael Kaine (look how kool I've made him seem) somehow manages to emerge with dignity, but he's about the only one. Lazy film-making in virtually every way that matters (although it scrapes another point for the moment when Vin Diesel dolphins a giant wooden insect). Are they really still planning a sequel? Kount me out.
Plodding script is largely to blame, also the fact that Vin basically just does his routine smirking-swaggering-smug performance for most of the film. Usual excess of CGI doesn't help the situation much either. Michael Kaine (look how kool I've made him seem) somehow manages to emerge with dignity, but he's about the only one. Lazy film-making in virtually every way that matters (although it scrapes another point for the moment when Vin Diesel dolphins a giant wooden insect). Are they really still planning a sequel? Kount me out.
Hip Hop: The Illustrated History of Break Dancing, Rap Music and Graffiti
Book
"Extremely well-written" --Dave Marsh.... "The best and most reliable history" --Robert Palmer.......
Lights! Camera! Puzzles!
5.0
Rate It
Book
The new novel in the ever-popular mystery series finds the Puzzle Lady on the set of a movie about...
LeftSideCut (3776 KP) rated Hellraiser: Inferno (2000) in Movies
Mar 29, 2022
The 5th entry in the Hellraiser series is certainly a mixed bag. It's has a script and narrative that clearly threw in Hellraiser elements as an afterthought, really scales back on the cenobite stuff, and has some truly dodgy effects work.
With all that being said, everything about Inferno that's surrounds those points is pretty positive. The corrupt cop who cheats on his wife/snorts coke/is a general asshole whilst trying to solve a huge case trope has been done a million times, but it lends itself well to the conditions of the lament configuration. The films whole vibe screams David Lynch, and there's some genuinely creepy imagery delivered with ambition by a feature-debuting Scott Derrickson, clearly showing off some stylistic choices that he would go on to hone in his future successful career.
Throw in some decent gore and a pretty solid cast, and we're left with a Hellraiser film that would 100% be seen in a more favourable light if it had been afforded a bigger budget.
With all that being said, everything about Inferno that's surrounds those points is pretty positive. The corrupt cop who cheats on his wife/snorts coke/is a general asshole whilst trying to solve a huge case trope has been done a million times, but it lends itself well to the conditions of the lament configuration. The films whole vibe screams David Lynch, and there's some genuinely creepy imagery delivered with ambition by a feature-debuting Scott Derrickson, clearly showing off some stylistic choices that he would go on to hone in his future successful career.
Throw in some decent gore and a pretty solid cast, and we're left with a Hellraiser film that would 100% be seen in a more favourable light if it had been afforded a bigger budget.
Lucy Buglass (45 KP) rated The Meg (2018) in Movies
Jun 20, 2019
Statham vs Massive Prehistoric Shark
Before I start my review, I think I should add a quick disclaimer. I knew fine well that I wasn’t walking into a Oscar-worthy, perfect film as soon as I booked my ticket for The Meg. With the exception of Jaws, how many shark films have actually been award worthy? We’ve seen a huge boom in shark popularity ranging from plausible to the downright stupid (yes Sharknado, I’m looking at you and your buddies). But despite my already low expectations, I still have a fair amount of criticism for what I saw.
My biggest problem from the get-go is that we get no explanation for why the megalodon, a shark that’s been extinct for 2 million years has suddenly came back to gobble people up. How did it survive? Why is it there? Even the most low budget, downright awful creature features try to offer some silly scientific explanation for why the antagonist exists at all. It’s dumb, but hey, at least they tried. The Meg makes no effort to try and explain anything which was frustrating to me. The most we got was “Oh hey, there’s this really big creature that we thought was extinct but it’s actually living down in the Marianas trench – surprise!”. This might be a sufficient explanation for some, but not for me.
Having said that, was it an entertaining film? Sure. I did really enjoy the visuals especially and thought they did an excellent job with the CGI and actually bringing this creature and the underwater facility to life. Cinematically it’s a stunning film to look at, and despite all this implausibility, it still transports you to this huge, unknown, underwater world for the duration. I’ve seen some terrible CGI in my time, but thankfully The Meg doesn’t fall into this category. These visuals make up for the cringe-worthy script and lines that were supposed to be serious and instead made me burst out laughing. But let’s be honest, I’d be disappointed if the script wasn’t this god-awful. You walk into a film like this expecting to face palm a couple of times, don’t you?
I would’ve liked a bit more brutality as the Meg is supposed to be a terrifying, monster shark that’s approximately 60 feet in length. (The Great White shark can grow up to 20 feet for comparison). Despite it’s 12 rating I’m sure more blood and violence would’ve been acceptable as Jaws managed to get away with it back in 1975. Who could forget that scene where an unfortunate fellow slides down into the shark’s mouth? Brutal. Whilst I appreciate this isn’t necessarily a horror film, it actually needed more violence and less filler scenes in my opinion. It’s not often that I ask for more violence,` especially in an action film, yet here we are.
To conclude, The Meg is a fun way to spend your evening, but it ultimately felt like a high budget B-Movie. The actors tried their best with the script they had, but even people like Jason Statham and Ruby Rose couldn’t make it better. (what was up with Statham’s accent, by the way?!). If you’re wanting a silly shark film with more substance, I’d recommend Deep Blue Sea instead
https://lucygoestohollywood.com/2018/08/19/statham-vs-massive-prehistoric-shark-my-thoughts-on-the-meg/
My biggest problem from the get-go is that we get no explanation for why the megalodon, a shark that’s been extinct for 2 million years has suddenly came back to gobble people up. How did it survive? Why is it there? Even the most low budget, downright awful creature features try to offer some silly scientific explanation for why the antagonist exists at all. It’s dumb, but hey, at least they tried. The Meg makes no effort to try and explain anything which was frustrating to me. The most we got was “Oh hey, there’s this really big creature that we thought was extinct but it’s actually living down in the Marianas trench – surprise!”. This might be a sufficient explanation for some, but not for me.
Having said that, was it an entertaining film? Sure. I did really enjoy the visuals especially and thought they did an excellent job with the CGI and actually bringing this creature and the underwater facility to life. Cinematically it’s a stunning film to look at, and despite all this implausibility, it still transports you to this huge, unknown, underwater world for the duration. I’ve seen some terrible CGI in my time, but thankfully The Meg doesn’t fall into this category. These visuals make up for the cringe-worthy script and lines that were supposed to be serious and instead made me burst out laughing. But let’s be honest, I’d be disappointed if the script wasn’t this god-awful. You walk into a film like this expecting to face palm a couple of times, don’t you?
I would’ve liked a bit more brutality as the Meg is supposed to be a terrifying, monster shark that’s approximately 60 feet in length. (The Great White shark can grow up to 20 feet for comparison). Despite it’s 12 rating I’m sure more blood and violence would’ve been acceptable as Jaws managed to get away with it back in 1975. Who could forget that scene where an unfortunate fellow slides down into the shark’s mouth? Brutal. Whilst I appreciate this isn’t necessarily a horror film, it actually needed more violence and less filler scenes in my opinion. It’s not often that I ask for more violence,` especially in an action film, yet here we are.
To conclude, The Meg is a fun way to spend your evening, but it ultimately felt like a high budget B-Movie. The actors tried their best with the script they had, but even people like Jason Statham and Ruby Rose couldn’t make it better. (what was up with Statham’s accent, by the way?!). If you’re wanting a silly shark film with more substance, I’d recommend Deep Blue Sea instead
https://lucygoestohollywood.com/2018/08/19/statham-vs-massive-prehistoric-shark-my-thoughts-on-the-meg/
BankofMarquis (1832 KP) rated Stuber (2019) in Movies
Jul 18, 2019
Lack of chemistry between the leads
"Chemistry" is a tricky thing in a film and one that "either you got it or you don't" - it's an elusive element that can sink or raise a film. Case in point 2 films I have seen this week.
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
Sarah (7800 KP) rated The Departed (2006) in Movies
Feb 20, 2021
The best gangster flick made to date
Film #15 on the 100 Movies List: The Departed
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
