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Daniel Boyd (1066 KP) rated Bad Times at the El Royale (2018) in Movies
Oct 24, 2018 (Updated Oct 24, 2018)
Good ensemble cast (2 more)
Cool set design and use of space
Nice cinematography
Enjoy Your Stay
In this day and age, it is becoming increasingly difficult to go into a movie without already knowing a bunch of information about it. Somehow Bad Times At The El Royale managed that. Even though I was a week late to seeing this movie, I was still able to go into it with very little knowledge about what was going to unfold. That in and of itself is an impressive feat in 2018.
I had a great time with this movie. I loved the cast here, Jeff Bridges and Jon Hamm are among my favourite actors working in Hollywood and I though that Chris Hemsworth did a fantastic job playing the villain for a change. The rest of the cast were fantastic too, other than Dakota Johnson, who was pretty wooden, (as we have come to expect from her.) As an aside, Cynthia Erivo's voice completely blew me away, I know that she has done some Broadway shows in the past, but she sounded incredible in this and I liked the way that her singing was tied in with the plot.
Bad Times is written and directed by Drew Goddard, who was also behind Cabin In The Woods and there are some similarities here, if you swap the horror elements out for mystery. I have also seen multiple reviews compare this to a Tarantino movie. There are obviously similarities in the structure that this film uses and the out-of-chronological-order structure that a Tarantino movie tends to follow, but I'd argue that Bad Times has it's own distinct and unique style.
I also thought that the cinematography was very effective throughout the film. The opening scene was very well shot, as was the scene when Hemsworth's character was introduced. The score also worked well with the plot and the dialogue and script were well written too.
The main negative that affected my enjoyment of the movie, were the decisions made regarding the pacing. The movie is split up so that we see things happen out of sequence or they are seen more than once from a different perspective. We are introduced to each new character and then we are given their backstory via a flashback. The main issue with this structure is that the flashbacks break the momentum of the events happening in the current story. Without spoiling too much, towards the end of the movie, everything comes to a head and an intense fight/shootout breaks out. Then, for some unknown reason, the filmmakers decide to slam on the brakes and give us another arbitrary flashback. It totally broke the immersion and intensity of the shootout sequence for me.
Overall, I had a good time watching Bad Times. I had no expectations going in as I didn't know much about the movie other than what had been shown in the trailers and I enjoyed witnessing what the movie had to offer. If you are looking for an exciting, suspenseful thriller, then you could definitely do worse than spending a stay at The El Royale.
I had a great time with this movie. I loved the cast here, Jeff Bridges and Jon Hamm are among my favourite actors working in Hollywood and I though that Chris Hemsworth did a fantastic job playing the villain for a change. The rest of the cast were fantastic too, other than Dakota Johnson, who was pretty wooden, (as we have come to expect from her.) As an aside, Cynthia Erivo's voice completely blew me away, I know that she has done some Broadway shows in the past, but she sounded incredible in this and I liked the way that her singing was tied in with the plot.
Bad Times is written and directed by Drew Goddard, who was also behind Cabin In The Woods and there are some similarities here, if you swap the horror elements out for mystery. I have also seen multiple reviews compare this to a Tarantino movie. There are obviously similarities in the structure that this film uses and the out-of-chronological-order structure that a Tarantino movie tends to follow, but I'd argue that Bad Times has it's own distinct and unique style.
I also thought that the cinematography was very effective throughout the film. The opening scene was very well shot, as was the scene when Hemsworth's character was introduced. The score also worked well with the plot and the dialogue and script were well written too.
The main negative that affected my enjoyment of the movie, were the decisions made regarding the pacing. The movie is split up so that we see things happen out of sequence or they are seen more than once from a different perspective. We are introduced to each new character and then we are given their backstory via a flashback. The main issue with this structure is that the flashbacks break the momentum of the events happening in the current story. Without spoiling too much, towards the end of the movie, everything comes to a head and an intense fight/shootout breaks out. Then, for some unknown reason, the filmmakers decide to slam on the brakes and give us another arbitrary flashback. It totally broke the immersion and intensity of the shootout sequence for me.
Overall, I had a good time watching Bad Times. I had no expectations going in as I didn't know much about the movie other than what had been shown in the trailers and I enjoyed witnessing what the movie had to offer. If you are looking for an exciting, suspenseful thriller, then you could definitely do worse than spending a stay at The El Royale.
Andy K (10821 KP) rated Overlord (2018) in Movies
Dec 1, 2019
Saving Private Ryan meets Resident Evil!
Had heard mixed reviews on this, but saw it for 4 bucks for Black Friday so I figured I couldn't lose!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!
Heather Cranmer (2721 KP) created a post
Sep 8, 2021 (Updated Sep 8, 2021)
Darren Fisher (2447 KP) rated Tough to Kill (Duri a morire) (1978) in Movies
Dec 13, 2020 (Updated Dec 13, 2020)
Not so much Tough to Kill as Probably Quite Easy to Kill
Not so much Tough to Kill as Probably Quite Easy to Kill, as the main character gets a bullet in the leg early on in the film and is carried around a lot in the jungle. Poor bloke doesn't really get a chance to prove if he's tough to kill or not until nearer the end of the film. Even then, I'd rate my chances if we had to fight it out in a sweaty jungle...
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
JT (287 KP) rated The Guest (2014) in Movies
Mar 10, 2020
If there was any further indication needed that British leading men make for accomplished villains, this is a prime example. The softly spoken Dan Stevens (Downton Abbey) can now walk shoulder to shoulder with the likes of other talented antagonists such as Mark Strong, Tom Hiddleston and Ben Kingsley.
Director Adam Wingard‘s home invasion horror You’re Next received high acclaim so this was always going to be an exciting follow up. When I caught the trailer not a lot was given away. I like the fact that you’re going in almost blind. It makes for better viewing.
David (Stevens) enters the life of the Peterson family who are still grieving from the loss of their son Caleb who was killed in Iraq. Quickly he becomes an integral part of their lives, always around to help them out of difficult situations or as a shoulder to cry on.
It’s clear there is something more disturbing beneath his chilling blue eyes and it doesn’t take long for us to find out what. The Guest is a tense intriguing thriller that never gives too much away, making it one of its strong points. We all know there is something wrong with David, that much is clear from the shots of him grimly staring into the distance.
He manifests himself as a psychotic guardian angel with ulterior motives that are never revealed until the bodies start to pile up and we get to delve further into his back story. Even then Stevens plays his character with deadpan charm that makes us like him even more.
There are a number of genres all thrown in that ultimately work well alongside each other. A nice dose of action thanks to a backyard shootout is quickly morphed into an 80s slasher horror that echoes Halloween. The soundtrack is slick and pulsating, with comparisons drawn to Drive not just from the score but from Stevens somewhat uncanny resemblance to Ryan Gosling.
It never feels disjointed at any point and while it might wobble a little with the surprise ending (of which you knew was coming) it doesn’t damage the overall integrity if the story.
Director Adam Wingard‘s home invasion horror You’re Next received high acclaim so this was always going to be an exciting follow up. When I caught the trailer not a lot was given away. I like the fact that you’re going in almost blind. It makes for better viewing.
David (Stevens) enters the life of the Peterson family who are still grieving from the loss of their son Caleb who was killed in Iraq. Quickly he becomes an integral part of their lives, always around to help them out of difficult situations or as a shoulder to cry on.
It’s clear there is something more disturbing beneath his chilling blue eyes and it doesn’t take long for us to find out what. The Guest is a tense intriguing thriller that never gives too much away, making it one of its strong points. We all know there is something wrong with David, that much is clear from the shots of him grimly staring into the distance.
He manifests himself as a psychotic guardian angel with ulterior motives that are never revealed until the bodies start to pile up and we get to delve further into his back story. Even then Stevens plays his character with deadpan charm that makes us like him even more.
There are a number of genres all thrown in that ultimately work well alongside each other. A nice dose of action thanks to a backyard shootout is quickly morphed into an 80s slasher horror that echoes Halloween. The soundtrack is slick and pulsating, with comparisons drawn to Drive not just from the score but from Stevens somewhat uncanny resemblance to Ryan Gosling.
It never feels disjointed at any point and while it might wobble a little with the surprise ending (of which you knew was coming) it doesn’t damage the overall integrity if the story.
JT (287 KP) rated The Sweeney (2012) in Movies
Mar 10, 2020
Nick Love’s take on the ’70s TV cop show of the same name packs every bit a hard knuckled punch as you would expect it to. The director of such films as The Football Factory and The Business even manages to stay clear of Danny Dyer and cast a slick and talented bunch of individuals, led by Ray Winstone.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Gareth von Kallenbach (971 KP) rated Free Fire (2017) in Movies
Jul 11, 2019
At a rundown warehouse in 1970’s Boston, Justine (Brie Larson) and Ord (Armie Hammer) are brokering a deal between a South African arms dealer (Sharlto Copley) and members of the IRA (Cillian Murphy & Michael Smiley). Tensions flare almost immediately between the two sides and an inevitable battle of wills and gunplay ensues when two members of their entourage take decisive action on a fresh grudge from the night before.
It may say Scorsese’s producing, but Free Fire definitely smacks more of a Tarantino-influenced affair and I can think of no better example, in recent years anyway, that proves the lasting legacy of his still awe-inspiring debut, Reservoir Dogs. After years of making deliberately obtuse films (High Rise, A Field in England), Ben Wheatley has finally made something accessible, but unfortunately, Free Fire can’t pack the same visceral punch and narrative competence as the films that it takes influence from. I’m having flashbacks to about this time last year when I reviewed another film from A24, Green Room. I walked out of Free Fire in much the same manner; on a high, feeling satisfied from what appeared to be something unique and notable. As the hours have passed and I’m preparing my summation, the sentiment has all but vanished and I’m wanting of something with a little more substance. Granted, an 90 minute runtime can only accommodate so much, but I have to ask: could all that time spent crawling around in the dust and the rubble, as realistic a light that it may or may not shine on the authenticity of an actual shootout, have been used instead to get inside our characters motivations, driving us to really care about their fates? There’s no doubt that from its style and attitude, there was the potential for this to be the Reservoir Dogs for a new generation, but ultimately it’s just not a very memorable experience.
What will save Free Fire from obscurity is a cast that, despite having little plot to work with, is firing on all cylinders. An exemplary job is done from Oscar winners on down to character actors whose faces you know, but names you don’t. There isn’t one weak link in the chain and their performances have an excellent balance of toughness and levity that grounds them just enough to allow for suspension of disbelief. I might chastise Ben Wheatley as a storyteller, but there’s no doubt that he has an ear for great dialogue and fine judgement on the performers to deliver it.
It may say Scorsese’s producing, but Free Fire definitely smacks more of a Tarantino-influenced affair and I can think of no better example, in recent years anyway, that proves the lasting legacy of his still awe-inspiring debut, Reservoir Dogs. After years of making deliberately obtuse films (High Rise, A Field in England), Ben Wheatley has finally made something accessible, but unfortunately, Free Fire can’t pack the same visceral punch and narrative competence as the films that it takes influence from. I’m having flashbacks to about this time last year when I reviewed another film from A24, Green Room. I walked out of Free Fire in much the same manner; on a high, feeling satisfied from what appeared to be something unique and notable. As the hours have passed and I’m preparing my summation, the sentiment has all but vanished and I’m wanting of something with a little more substance. Granted, an 90 minute runtime can only accommodate so much, but I have to ask: could all that time spent crawling around in the dust and the rubble, as realistic a light that it may or may not shine on the authenticity of an actual shootout, have been used instead to get inside our characters motivations, driving us to really care about their fates? There’s no doubt that from its style and attitude, there was the potential for this to be the Reservoir Dogs for a new generation, but ultimately it’s just not a very memorable experience.
What will save Free Fire from obscurity is a cast that, despite having little plot to work with, is firing on all cylinders. An exemplary job is done from Oscar winners on down to character actors whose faces you know, but names you don’t. There isn’t one weak link in the chain and their performances have an excellent balance of toughness and levity that grounds them just enough to allow for suspension of disbelief. I might chastise Ben Wheatley as a storyteller, but there’s no doubt that he has an ear for great dialogue and fine judgement on the performers to deliver it.
TheDefunctDiva (304 KP) rated The Boondock Saints (1999) in Movies
Sep 26, 2017
B is for Bad A**
Contains spoilers, click to show
This entertaining action film opens with aerial views of Boston and narration of the Lord's Prayer on St. Patty's Day. Soon, we are introduced to two Irish brothers, Connor and Murphy MacManus. The terrible twosome work in a meat-packing plant: in their spare time, they slaughter evildoers. What could be better? With their black shirts, black blazers, and blue jeans, the brothers seem like Mormon missionaries gone horribly wrong.
Connor and Murphy (played by Sean Patrick Flanery and Norman Reedus), fall into the
profession of murdering bad guys quite by accident. Initially, the fact that they killed a Russian crime lord, and his associate, after a bar fight seems a coincidental act of self-defense. They are hailed, at first, as heroes. They somehow continue to avoid prosecution, though from the beginning they are being pursued by FBI agent Paul Smecker. They start targeting the crime lords on purpose, and they eventually end up being hunted by a more ominous figure, the legendary hitman Il Duce.
Willem Dafoe gets an A for awesome in my book for his performance as FBI agent Paul Smecker. Smecker is a homosexual, and he is not apologetic about it. In fact, he draws attention to his orientation in many scenes. Particularly memorable is the moment where he corrects an officer’s use of the word “symbology” by hissing a pronounced s: “ssssymbolism.” Later in the film, Dafoe even gets the opportunity to use his feminine wiles by dressing in drag, a visual experience which I promise is as disconcerting as it sounds.
The presentation of Smecker’s crime scene explanations was particularly impressive. The crime scene was shown first, and the events that created it unfolded in retrospect as Smecker described the scene. Enhanced by the intensity of the score, Dafoe offered a memorable narration of an epic shootout, during which he resembles an insane conductor.
The writing in this film was great, with witty one-liners throughout to break the tension. There were several moments in the film where one wonders if the brothers’ success is due to dumb luck or divinity. The MacManus twins certainly seem to believe that their cause is a righteous one.
I must also acknowledge the score, by Jeff Danna, which beautifully compliments the opening sequence and the rest of the film. The score even includes a variation of a hymn, infused with a beat you can dance to.
I love a good revenge film, and this is one for the ages. To sum up my complex feelings about the vigilante-style justice in this film, I must end with a quote by Connor MacManus: "I'm strangely comfortable with it."
Connor and Murphy (played by Sean Patrick Flanery and Norman Reedus), fall into the
profession of murdering bad guys quite by accident. Initially, the fact that they killed a Russian crime lord, and his associate, after a bar fight seems a coincidental act of self-defense. They are hailed, at first, as heroes. They somehow continue to avoid prosecution, though from the beginning they are being pursued by FBI agent Paul Smecker. They start targeting the crime lords on purpose, and they eventually end up being hunted by a more ominous figure, the legendary hitman Il Duce.
Willem Dafoe gets an A for awesome in my book for his performance as FBI agent Paul Smecker. Smecker is a homosexual, and he is not apologetic about it. In fact, he draws attention to his orientation in many scenes. Particularly memorable is the moment where he corrects an officer’s use of the word “symbology” by hissing a pronounced s: “ssssymbolism.” Later in the film, Dafoe even gets the opportunity to use his feminine wiles by dressing in drag, a visual experience which I promise is as disconcerting as it sounds.
The presentation of Smecker’s crime scene explanations was particularly impressive. The crime scene was shown first, and the events that created it unfolded in retrospect as Smecker described the scene. Enhanced by the intensity of the score, Dafoe offered a memorable narration of an epic shootout, during which he resembles an insane conductor.
The writing in this film was great, with witty one-liners throughout to break the tension. There were several moments in the film where one wonders if the brothers’ success is due to dumb luck or divinity. The MacManus twins certainly seem to believe that their cause is a righteous one.
I must also acknowledge the score, by Jeff Danna, which beautifully compliments the opening sequence and the rest of the film. The score even includes a variation of a hymn, infused with a beat you can dance to.
I love a good revenge film, and this is one for the ages. To sum up my complex feelings about the vigilante-style justice in this film, I must end with a quote by Connor MacManus: "I'm strangely comfortable with it."
JT (287 KP) rated Contraband (2012) in Movies
Mar 10, 2020
This is an action film of epic underrated proportion, director Baltasar Kormákur, who was a producer on the original film Reykjavik-Rotterdam, gives us a good old fashioned heist where you root for the bad guys, or in this case the good guys.
When Chris Faraday (Whalberg) has to help out his brother-in-law Andy, after his attempts at smuggling in drugs for Giovanni Ribisi’s excellent villain go pear shaped, Faraday must go back to his criminal roots in order to save him and his family.
Do you feel lucky?
It certainly isn’t as slick as Ocean’s Eleven but it has a similar impact, in that you are desperate for these guys to succeed and pull off the job, and what a job it is! The heist or smuggle as you want to call it is as elaborate as anything that Danny Ocean himself could have put together, its all just a little rushed and certainly not all that conventional.
Whalberg’s crew, a band of misfits, all work on board a container ship heading to Panama where they will pick up a van and fill it with counterfeit bank notes, a plan which would seem simple enough. They’ve even gone to great lengths to make sure the ship stays in port long enough for them to get the job done.
Of course it doesn’t all go to plan, and in the mean time Briggs (Ribisi) is terrorizing Faraday’s wife Kate (Beckinsale) and his family. Andy still manages to try and pull off (and f*** up) his own job mid way through, and Faraday’s best friend Sebastian (Foster) has a little more about him that meets the eye.
The plot has a distinct Gone in 60 Seconds feel to it, with a relative coming to the aid of another family member which results in them racing against time to pay off the bad guys. The action is OK, an elaborate car chase and shootout is probably the most notable sequence, while the rest of the time we watch and wait as Faraday plans the heist.
I enjoyed this quite a lot, its a format that I find if done right works well which in this case it was. Ribisi was a standout for me, not just in his mannerisms as a psycho drug lord but his voice and look about him made me think he put some real effort into this role. Wahlberg is an action hero at the end of the day and here, he is out doing what he does best, Beckinsale is left out in the cold a bit but as a supporting role she does alright.
When Chris Faraday (Whalberg) has to help out his brother-in-law Andy, after his attempts at smuggling in drugs for Giovanni Ribisi’s excellent villain go pear shaped, Faraday must go back to his criminal roots in order to save him and his family.
Do you feel lucky?
It certainly isn’t as slick as Ocean’s Eleven but it has a similar impact, in that you are desperate for these guys to succeed and pull off the job, and what a job it is! The heist or smuggle as you want to call it is as elaborate as anything that Danny Ocean himself could have put together, its all just a little rushed and certainly not all that conventional.
Whalberg’s crew, a band of misfits, all work on board a container ship heading to Panama where they will pick up a van and fill it with counterfeit bank notes, a plan which would seem simple enough. They’ve even gone to great lengths to make sure the ship stays in port long enough for them to get the job done.
Of course it doesn’t all go to plan, and in the mean time Briggs (Ribisi) is terrorizing Faraday’s wife Kate (Beckinsale) and his family. Andy still manages to try and pull off (and f*** up) his own job mid way through, and Faraday’s best friend Sebastian (Foster) has a little more about him that meets the eye.
The plot has a distinct Gone in 60 Seconds feel to it, with a relative coming to the aid of another family member which results in them racing against time to pay off the bad guys. The action is OK, an elaborate car chase and shootout is probably the most notable sequence, while the rest of the time we watch and wait as Faraday plans the heist.
I enjoyed this quite a lot, its a format that I find if done right works well which in this case it was. Ribisi was a standout for me, not just in his mannerisms as a psycho drug lord but his voice and look about him made me think he put some real effort into this role. Wahlberg is an action hero at the end of the day and here, he is out doing what he does best, Beckinsale is left out in the cold a bit but as a supporting role she does alright.
Matthew Krueger (10051 KP) rated Payback (1999) in Movies
Jul 15, 2020
Get Ready To Root For The Bad Guy
Payback- is a intresting revenge action thriller. Maybe its me, but i fell like this movie is boring. Its good, but some what boring, like nothing going on. Also its kinda of confusing, again it might just be me, but i fell like its confusing as well. Like i said before its good, but in the end its both boring and confusing.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.