#Mark Wahlberg's performance is HILARIOUS throughout the film

[tio-trile]

What do you think Crowley's reaction to the film The Happening(the film where plants kill people). Would he be meaner to his plants after watching that or would he be nicer to them?

The Happening feels like a film concept pitched by Crowley’s plants to try to get him to be nicer to them, but Crowley got word of this and through divine devilish intervention made this film so much of a joke it not only became a terrible movie it also ended M Night’s entire career

#What?? No!!!!!.gif #why are we talking about the Happening...in 2019 #I'll give it that this film is very much of a so bad its good movie #Mark Wahlberg's performance is HILARIOUS throughout the film #superdogbiter #ask

[ratingtheframe]

Enola Holmes, The Devil All the Time and i’m thinking of ending things: Everything I watched in September.

Thank God we are almost at the end of the year. With October just around the corner and 2021 in full view, it seems like the film industry is slowly piecing themselves back together after months of being on a complete hiatus. Cinemas are slowly starting to return back to normal and streaming services are now full to capacity with content.

Netflix in particular has some exciting things to come and the successful release of Harry Bradbeer’s Enola Holmes and Antonio Campos’ The Devil All the Time, has proven that their ability to produce outstanding content hasn’t been stunted at all by COVID-19. Here are the 31 titles I watched this month and for you to add to your watch list. 

Searching (2018) as seen on Netflix

Searching recently came onto Netflix, however the film was actually first released in 2018, screening at Sundance Film Festival. It had a very impressive response and grossed $75 million worldwide and with a budget of only $880,000 it was certainly a success. I rate this film highly, due to the simplicity and execution of it, with a lot of twists and turns in appropriate places. Structurally, the film is flawless and it’s clear a lot of thought had gone into the payoff of the entirety of the film. Certainly an indie filmmaker's dream and a film to watch to learn about the “less is more” rule of screenwriting.

Score: 10/10

Zodiac (2007) as seen on Netflix

I’ve been avoiding Zodiac on Netflix for a loooong time, and after watching it I wonder why I didn’t check it out sooner. David Fincher’s (Fight Club, Panic Room, the Social Network) thriller based on the case files of the “Zodiac Killer” stars the likes of Mark Ruffalo, Robert Downey Junior and Jake Gyllenhaal, all of which had amazing on screen chemistry. The dialogue and structure is Aaron Sorkin-esque as you figuratively become one the detectives, unravelling the case as the two and a half hour film delves deeper and deeper. You honestly feel as if you become one of the team whilst watching Zodiac and just for that, it goes down as a praise worthy film with a perfect structure and surprising twist to the end. Zodiac is the thriller of thrillers.

Score: 11/10

I See You (2019) as seen on Netflix

Now a film like I see you has me questioning

Netflix’s

choices a little. The film scores handsomely on

Rotten Tomatoes

, with a metric score of

78%,

which is quite high for a largely gimmicky film. I can’t quite fault the overall concept, however the story itself fell flat by the end. Things just seemed to mount too much to the point that it became overtly inauthentic and questionable. Instead of paying attention to the movie, I found myself picking up all the irregularities such as why a police man would suffocate someone, drive them to their own home and then shoot them in the head. Surely a policeman would just leave her in the woods? On a brighter note,

Judah Lewis’ (Babysitter: Killer Queen)

was quite praiseworthy in his performance, but it wasn’t enough to drag the film out of a hole of confusion.

Score: 2/10

Fear and Loathing in Las Vegas (1998) as seen on Netflix

If there is one film that you NEED to watch from this list, it would be Terry Gilliam’s Fear and Loathing in Las Vegas. The crackhead energy in this film is OFF THE CHARTS as Johnny Depp and Benecio Del Toro play two drug addicts exploring Las Vegas. The production design in this is marvellous and really captures the psychedelic world the two men enter every time they’re high. I particularly enjoyed Depp’s narration throughout this; his voice is the most sensual yet hilarious thing to listen to for 2 hours straight. Fear and Loathing in Las Vegas is HILARIOUS and such a well rounded, off the wall film to watch.

Score: 12/10

I’m thinking of ending things (2020) as seen on Netflix 

Even though I watched i’m thinking of ending things nearly a month ago, I’m still recovering from it. Charlie Kaufman (Adaptation, Being John Malkovich) directs this satisfying yet highly confusing tale based on the Iain Reid book with the same title. Despite it’s perplexing plot, I certainly can’t fault the film’s performances or set design. Jesse Plemons, Jess Buckley, Toni Colette and David Thwelis made a surprisingly good ensemble and the makeup in this film is probably the best I have ever seen. HOWEVER and this is a big however, the waywardness of the story can’t override the success of artistry behind the film. I feel like there’s becoming a trend where films are visually perfect but make zero sense. By sense I mean a clear, concise story, that has character journeys and some sort of resolution at the end, no matter how big or small. I’m thinking of ending things that had just about NONE of these elements, and that doesn’t make it a bad film at all. It’s certainly not a film I’ve seen before and perhaps it raises the questions whether films need to make complete sense in order for them to be good. We can take a look at experimental cinema to delve deeper into that theory, for within this type of cinema, films can still be appreciated even when they are confusing. Perhaps the meaning of i’m thinking of ending things, is more powerful and higher than the average movie goer can understand, but still appreciate.

score: 9/10

Hacksaw Ridge (2016) as seen on Amazon Prime

Again, another film I’ve been avoiding for a loooong time and regret not watching sooner. The film stars Andrew Garfield as a devoted Christian who goes to war to serve his country, but refuses to carry a weapon yet lives to tell the tale. Preacher Desmond T. Doss saved the lives of between 50-100 men on Hacksaw Ridge during the Second World War. He was heavily commended for his service and the film itself earnt 6 Academy Award nominations. It’s a story that was born to be on screen and it’s hard to believe it was all true. Andrew Garfield’s performance was exemplary and he is definitely underrated as a truthful actor.

Score: 10/10

Fear (1996) as seen on Netflix 

I am sucker for a thriller, good OR bad and this one from 1996 was surprisingly decent. Starring Mark Wahlberg and Reese Witherspoon in their early days, Fear follows a pair of young lovers whose strong relationship turns into a possessive one, when Witherspoon’s character, Nicole learns the true intentions of her boyfriend. It's a 90s teen flick that isn’t talked about enough and certainly an easy one to get sucked into as a guilty pleasure.

Score: 10/10

Make Up (2019) as seen at the BFI Southbank 

Make Up first screened at the London Film Festival last year and was later released this year. I wanted to catch it at the festival and was glad it made it into cinemas. The eeriness of the british film directed by Claire Oakley, was a slow burnt, intriguing watch, however as artistically visual it was, a satisfying resolution to the film was missed. The payoff of the story was easy to define despite it’s ambiguity, however it wasn’t as hard hitting as it should’ve been, which is common in most indie features. The better ones expose ideas and truths in a punchy way, such as La Haine or Whiplash. The film’s genre was also undefinebale and although the story was interesting, I wouldn't be inclined to come back for more of it. 

Score: 7/10

Zoolander (2001) as seen on Netflix

I’m not a huge comedy fan, however it’s about time I watched Zoolander, for it’s probably one of the most iconic films of the early 2000s. The film follows a model targeted by a fashion brand who wants him to kill the prime minister of Malaysia. Anyone who was anyone in the 00s is in this film, from Naomi Campbell to Lil’ Kim, Paris Hilton, Donald Trump, Lenny Kravitz, Natalie Porter and even David Bowie. How they managed to get these famous faces as well as the actual cast (Owen Wilson, Ben Stiller and Will Ferrell) onto this film is certainly a mastery at casting. As far as comedies go, Zoolander is iconic and a must watch for those who are thoroughly in love with these types of outlandish films. 

Score: 8/10

American Pie (2001) as seen on Netflix 

This is the my first time seeing American Pie and for someone who hates comedies, it thoroughly made me laugh. I definitely had to look past at the amount of misogyny and questionable scenes in this film and just sit back and enjoy it all. I felt that all four leads (Jason Briggs, Thomas Ian Nicholas, Chris Klein and Eddie Kaye Thomas) were well casted as an ensemble and were really down to earth in their performances. They were authentic in being high school boys still figuring themselves out and in the end I found each one to be highly likeable. As a comedy, this is definitely a go to and an iconic film from the early 2000s. 

Score: 9/10

Clemency (2019) as seen on Amazon Prime 

A Sundance Film Festival graduate, Clemency was a deeply moving and well shot film that exposed the shocking reality of prison inmates on death row in the US. The word clemency is essentially a term used to define an act of mercy by the justice system, who at the last minute of a prison’s life can grant “clemency” if they feel worthy of doing so, stopping them from being executed. Factors such as new evidence or a parole grant can influence this decision and this film shows the abrasiveness of such an idea. Imagine being a prisoner moments away from death and because of Clemency, you sit there thinking your life can still be saved. But as this film depicts, this isn’t always the case and the masterful acting of Alfre Woodard puts this grief into context beautifully. Her performance ignited this film and it was easy to see this story got to her on a deeper level, that went beyond serving a character. A seriously good film that is professional, dynamic and heart wrenching.

Score: 10/10

Gladiator (2000) as seen on Netflix

I never saw myself as someone who would like Gladiator, however Ridley Scott’s Oscar winning film thoroughly surprised me in an unexpected way. Moving past the amazing visuals and outstanding production value of this film, the actual story itself was just so damn good. It had an excellent, Hollywood worthy structure that saw a hefty and clear journey of it’s lead, Maximus (Russell Crowe). I was VERY surprised to see Joaquin Phoenix play alongside Russell Crowe, who gave a great performance as a bratty roman emperor. Gladiator was nominated for 12 Academy Awards in 2001, which is unsurprising seeing as it's a pretty much flawless film, with the character’s fierce journey being the main contributor to this. 

Score: 11/10

American Pie 2 (2001) as seen on Netflix 

Now sequels are known to be the downfall of some films, especially as the first films were okay on their own. However, I definitely enjoyed American Pie 2 as much as I enjoyed the first. The performances of all characters seemed to get better with time and it still remained outlandish and hilarious to watch. 

Score: 9/10

3096 days (2013) as seen on Netflix

When you laugh more at a film than you should have, there’s something clearly wrong. This Netflix film based on the true story of the kidnapped Natascha Kampusch was directed by German-American director Sherry Hormann. This is gonna sound whack, but one of the most annoying things about this film was the lighting. It felt as if it was never truly dark in this film and because of that, it distracted from the fear of the situation young Natascha was in. Lighting plays an important role in thrillers and horror films, as the idea of these films is to keep people constantly on edge and the dark is something that does that perfectly. I felt safe when watching this film and although it’s meant to be a biopic, I don’t think it captured Natascha’s situation as best as it could have. Another thing that really let the film down was the dubbing from German to English. This is a pet peeve I have with films, but is understandable seeing as the majority of people are too lazy to follow foreign language subtitles and miss out on some of the best films ever made. Because of this, it forces foreign language films to cater towards an English speaking market so the film becomes more viable. I would’ve respected this film a lot more if it was completely in German and had English subtitles.

Score: 5/10

Cruel Intentions (1999) as seen on Netflix

About a year ago, I saw the Glenn Close and John Malkovich film version of the french novel Dangerous Liaisons and I fell asleep. Maybe it was the film I had seen before it that had made me nod off or the fact I couldn’t understand what the hell was going on. However, Cruel Intentions follows the same story with younger leads; Sarah Michelle Geller, Ryan Phillipe and Reese Witherspoon and is set in the modern day. As you can probably tell by now, I am a sucker for a 90s teen movie and Cruel Intentions was all that and more, for the performances and story structure in this film were top notch. Ryan Phillipe is a much underrated actor and heartthrob, playing a jealous and callous Sebastian, the step brother of Sarah Michelle Geller’s character, Kathryn. Both of them were spiteful, abrasive and mean and I LOVED IT. Their non-fuckery was enviable as they cheat and turn the lives of others upside down. Reese Witherspoon was an angel in this film, and I thoroughly appreciated the strength of her character throughout. Cruel Intentions sits highly as a film from the 90s and boasts a hoard of young talent from that era.

Score: 10/10

Wildlife (2018) as seen on Netflix

If you are in love with Paul Dano as much as I am, you’re gonna want to marry him after you find out that he’s also a director. His first feature Wildlife, stars Jake Gyllenhaal and Carey Mulligan as a couple battling the demons in their relationship whilst caring for their young son. I really really REALLY can’t wait to see what Paul Dano directs in the future based off this film. It’s everything I love about a good indie film; well shot, a perfect cast and a touching story. It truly is a beautiful film and one I would recommend to my indie lovers out there.

Score: 10/10

The Perks of Being A Wallflower (2012) as seen on Netflix

My excuse for not having seen The Perks of Being A Wallflower is that I thought it would be yet another predictable high school blunder, with flat dialogue and basic character arcs. And I was half right in that. The first half of the film (mostly exposition) was filled with cringey dialogue and basic high school motifs that set up the film. Some moments were overtly far fetched and it took me a while to fall in love with the main character instead of feeling desperately sorry for him ALL THE TIME. Ezra Miller, Emma Watson and Logan Lerman all together as an ensemble was whack casting that just about worked. However, once we made it through the blizzard of exposition and got to the heart of the story, it truly was a touching and tear jerking movie to watch and for that, it scores highly. “We accept the love we think we deserve” was the ringing message of the film and certainly something I carry around with me daily as I reflect on the unfulling crushes I’ve had in the past.

Score: 9/10

The Devil All the Time (2020) as seen on Netflix

Probably my most favourite film on this list, The Devil All the Time is pure ART. I have a full review uploaded onto my tumblr account so please do check it out to see an in depth review of the Netflix film. All I will say is that it is a must watch film with an unreal cast and story.

https://ratingtheframe.tumblr.com/post/629443058079055872/the-south-of-america-meets-gritty-gothic-horror

Score: 11/10

Way of the Gun (2000) as seen on Amazon Prime 

Ryan Phillipe and Benicio del Toro star side by side in this action packed crime thriller about two guys who kidnap the wrong woman. Simple in it’s log line with the potentiality to be limitless in its telling; ie the basis of every good film. Juliette Lewis (the it girl of the 90s) also stars in the film and really compliments the performances of both leads. Any film that Juliette Lewis is in, is a good film and she is an actor with a very impressive portfolio of work under her belt.

Score: 9/10

Judy and Punch (2019) as seen on Netflix

I’ve been waiting since the end of last year to see Judy and Punch and was thrilled to see it had been put onto Netflix. However, after watching it, that thrill deteriorated and what was left was a disheartened feeling towards this film. It’s a shame to say this, seeing as the story of Judy and Punch is so satiable and fulfilled in its possibilities of telling it. However, probably the biggest problem within this film was its pace; it was too quick of a film. The beginning was organic and smooth, but as it went on it started to become continuously rushed. There were characters I didn’t have time to get to know and actually didn’t even end up knowing their names. There’s a point in the film when Judy is welcomed into an isolated society outside of her home, most of which in that society were women. I would’ve liked to get to know them better and see how they influence Judy’s character and revenge on her husband. The film felt very rushed, which is a shame because everything else; acting, production and story were well aligned.

Score: 6/10

22nd July (2018) as seen on Netflix

I remember the 22nd July 2011 as clear as day but for all the wrong reasons. On this day, 77 people in Norway were killed by a terror attack caused by a right wing, anti-immigrant supporter, Andres Brevik, who was a member of a radical organisation and spent nine years preparing his attack on Oslo and Utøya Island. The most shocking part of this massacre was what happened on Utøya Island, which was the main body of Netflix’s film 22nd July. Viljar Hanssen was a teenager attending a political youth camp on Utøya Island in the summer of 2011. Whilst on the island with his younger brother, a bomb went off in the centre of Oslo, outside a government building, killing 8 people. By the time news of the attack got to Utøya Island, its perpetrator had also arrived, and begun gunning down the kids on the island. 69 people were killed, most of which were under 18. Viljar Hanssen was shot five times, in the head, arm, legs and hand. The attack lost him an eye, several fingers and bullet fragments still remain in his brain. He also lost close friends and the ability to perform in many activities he used to do growing up. His ordeal and that of many on the island, is captured in 22nd July, that from beginning to end, approaches this story with sensitivity and facts. Out of the many events I have heard of that include a massacre of some kind, this attack always sticks out in my mind. The perpetrator was truly merciless in his rage against immigrants coming into Norway and he made sure to express that hatred in such a shocking and profound way. The entire story is one that is so hard to believe and is important in preventing future attacks of this kind.

Score: 11/10

Les Misérables (2019) as seen at Curzon Bloomsbury

Les Misérables was nominated for Best Foreign Language film this year at the Oscars and despite it being thrilling and highly well made, I felt quite disappointed by it. The film was accurate in exposing the many communities now prevalent in France today and it was definitely one of those gritty, Cannes worthy films to sink your teeth into. It's not a bad film at all, it's just one I found hard to relate to and therefore I switched off whilst watching it. In fact, I think Portrait of a Lady on Fire was a better contender as Best Foreign Language film at the Oscars and I was left fuming when I found out it hadn’t been nominated in that category. Les Misérables is a film I’d recommend but found it hard to love it overall.

Score: 9/10

A Cure for Wellness (2016) as seen on Netflix

The logline for Shutter Island (2010) is as follows: Teddy Daniels and Chuck Aule, two US marshals, are sent to an asylum on a remote island in order to investigate the disappearance of a patient, where Teddy uncovers a shocking truth about the place. 

And the logline for A Cure for Wellness is as follows: Lockhart, an executive, is sent to a wellness spa in the Swiss Alps to retrieve his company's CEO. At the centre, he encounters strange activities that make him investigate the illness of the people.

Notice anything? They are literally the same film and it's not just the loglines that share an alikeness. On watching A Cure for Wellness, I noticed how similar it was to Shutter Island, from the location, to the colour grading, costumes and even lighting. Both films are almost identical and I pretty much hate both films anyway. I’ll admit, A Cure for Wellness has a better story and tells it better as well, but if it's just a rip off from Shutter Island, is it all that good? I appreciated the production value of this film yet it was hard to tear it away from Shutter Island’s own production. Overall, I found it quiet gimmicky and too close to Shutter Island for it to have much originality.

Score: 6/10

U want me 2 kill him? (2013) as seen on Netflix 

The only thing that let this film down was the acting. There’s something about solely British productions that rub me the wrong way. Admittedly, their structure is always good and the story is well put together, however the artistic side of these films lacks in parts, from acting to set design. U want me 2 kill him? Is based on a true story which really alleviated the film. I thoroughly enjoyed delving into this story and it was an interesting, engaging plot. However, its production value and acting is what let it down.

Score: 7/10

After (2019) as seen on Netflix

So in short, this wasn’t a good film. The twist was satisfying, however the rest of it was just plain annoying. Any film that uses reality tv type music in its montages pisses me off. It's just such a cringey way of showing emotion on screen and I’d much rather they use music with no lyrics or music that actually conveys the emotion of the scene. The relationship between the leads, Hardin and Tessa (Hero Fiennes-Tiffin and Josephine Langford) was very predictable and the conflict between the two only made up like 5% of the film; 2.5% at the beginning and a further 2.5% at the end. For the rest of the 95% of the film, they were pretty much happy throughout, meaning the story had nowhere to go, besides the fact that Tessa’s mom disapproves of Hardin. But besides that and a shocking revelation..that was about it. No one died, no one was really hurt. Hardin was made out to be more troubled than he actually was (his dad is chancellor of a college for fuck’s sake) and I found myself laughing when I shouldn’t be. As for After We Collided, I can’t wait to tear it apart this month.

Score: 4/10

Miss Juneteenth (2020) as seen at BFI Southbank

Miss Juneteenth is the underdog movie of the month for me. You can read a full, in depth review of it right here:

https://ratingtheframe.tumblr.com/post/630357041253400576/she-my-dream-now-miss-juneteenth-review

Score: 11/10

Monsoon (2020) as seen at BFI Southbank 

Why this film was praised by critics is unknown to me. The number one thing that this film did wrong was not showing ANY conflict on screen whatsoever, the characters merily TALKED about conflict. Conflict and actions based on those conflicts is what moves a story forward, and this film was certainly static. The story follows a man (Henry Golding) and his return to Vietnam as he learns about the war and the life he left behind. But the film shows no war, no deprivation or heartache that many vietnamese people had to go through. It's just filled with empty shots of Vietnam and Henry Golding looking out at the city. Why not just make a documentary about The Vietnam War with Henry Golding presenting it, as that is what this film was virtually. You can’t get away with nice looking shots to produce a praise worthy feature. Maybe I’m getting the wrong jist of the film, but in terms of its telling, I didn’t feel anything at all whilst watching it and if I didn’t feel anything, I wasn’t thinking about anything because it was so mundane.

Score: 5/10

The Riot Club (2014) as seen on Amazon Prime 

I’ve had a strong soft spot for Sam Claflin since he played Finnick in The Hunger Games. My crush on him was further confirmed with The Riot Club a British Production based on Laura Wade’s theatre play Posh that shows the ongoings of Oxford’s Riot Club. The group of ten men are all self entitled posh twats who think their education and parent’s money allows them to act in a horrendous way, with their initiation ceremonies and club rules. Sam Claflin plays Ryan, a 1st year student at Oxford and one of the Riot Club’s newest members. Max Irons plays Miles, another new member of the club, who becomes the focal point of Ryan’s jealousy, causing him to do some unspeakable things in one night out of envy for Miles. The ten men in the film work brilliantly as an ensemble, which is unquestionable seeing as five of them went to Guildhall School of Music and Drama, three went to LAMDA, one studied drama at University and the last went to Bristol Old Vic. All the leads in this film are well trained and it's clear to see that in their performances. A really enjoyable, yet eye opening film that exposes the privilege of some living right in the UK, including Boris Johnson and David Cameron, who were former members of this heinous club.

Score: 10/10

Enola Holmes (2020) as seen on Netflix 

Hmmm...there is a great deal of hype going around for this film and with a 92% rating on Rotten Tomatoes, Enola Holmes is well liked. This is understandable, seeing as Fleabag’s director Harry Bradbeer directed this film for Netflix and the cast includes the likes of Millie Bobbie Brown, Henry Cavill and Sam Claflin. I have never seen Millie Bobbie Brown in anything and yet I don’t think she’s doing anything special for me at this moment in time. As a viewer, I am 100% not into actors talking to the camera, a communication technique that I think should stay in theatre. I get this is a big part of Fleabag however I think Enola Holmes could have done without it. Another movie pet peeve is when the opening of a film explains what the film is about directly, something Enola Holmes did in an artistic, yet blatant way. Audiences aren’t dumb and will catch on with given clues, there’s no need to go through a character’s entire history in the opening of a film. For kids aged between 8 and 12, this film is great and Enola Holmes makes a great hero for many young girls. I don’t fall in this age bracket and therefore I enjoyed it a whole lot less.

Score: 6/10

American Murder: Family Next Door (2020) as seen on Netflix

Netflix is known for producing some of the finest, most eye opening documentaries out there. Despite this one being quite simple using found footage, its impact is certainly something that grew organically throughout the documentary. You can read my full review of American Murder: Family Next Door here:

https://ratingtheframe.tumblr.com/post/630780350645354496/netflix-documentary-delves-into-the-murder-of-a

Score: 10/10

Peppermint (2018) as seen on Netflix

I was thoroughly shocked to discover this film was made 2 years ago. You’d think we’re past a time of creating bad films that actually get released, but I guess we’re not. Peppermint was released in the same year as The Favourite, Blackkklansman and A Star is Born, three courageous films, all of which were showered with awards. Peppermint had two major problems; 1) it was boring and 2) the lead wasn’t orchestrated properly. The mexican drug cartel who murder the protagonist’s (Jennifer Garner) husband and child was almost insulting. Because it felt so inauthentic and gimmicky, I didn’t really understand why the drug cartel in the film was even mexican. Peppermint proves that a good story can turn bad in the wrong hands. The script was quite terrible and surrounding that was the nonsensical, half asked directing which saw Jennifer Garner get way too many injuries to still be alive in the end. The whole thing just had my eyes rolling, as nothing about it was original or provoking at all. In fact, the film didn’t even EXPLAIN how Garner’s character became a bloodthirsty vigilante. It merely showed us her training as a cage fighter. Das it. Nothing else in her character made her into this dominant and highly skilled fighter who takes down an ENTIRE DRUG CARTEL ONE HANDED. It, made, no, sense and sits a good example of how NOT to make a film. Also the only reason why it was called Peppermint was because of peppermint ice cream...yeah I don’t get it either.

Score: 2/10

And that is September, which marks an entire year since I’ve been critiquing movies and in that time, I’ve watched well over 350 films. There’s a lot more to come though, for the London Film Festival commences in October and titles such as Dune and the No Time to Die await a winter release. Stay tuned!

#movie review #netflix #movie recommendation #SeptemberMovies #movies #the devil all the time #enola holmes #zodiac #reviews #im thinking of ending things #cinema #bfi london film festival #bfi southbank #curzon

[aion-rsa]

Old Review: M. Night Shyamalan’s Makes Another Happening

https://ift.tt/eA8V8J

Filmmaker M. Night Shyamalan has left his unmistakable stamp on some of our culture’s most primal fears: ghosts, beings from another world, and even unnamed monsters in the woods. Yet in his latest effort, the cryptically titled Old, the storyteller attempts to wrap his arms around the greatest terror of all: time itself.

Like the ticking clock inside Peter Pan’s crocodile, time has stalked every creature on this planet to their inevitable doom. It can often be ignored or compartmentalized, but it finds you in the end. Which is why, on paper, Old should be terrifying. By adapting a graphic novel called Sandcastle by Pierre-Oscar Lévy and Frederick Peeters, Shyamalan is attempting to prevent us from looking away. This is a film where once you step foot on a mythical beach, you will live a lifetime in a day. Who has time to distract themselves from the ravages of decay when it’ll be here by dinner?

And yet, that is not the movie Shyamalan made. Despite being a film supposedly preoccupied with the future that awaits us all, Old feels like a relic of its director’s past. For here is another half-baked and clumsily constructed series of clichés strung together by sequences which vary wildly from quality to kitsch, and from horrifying to hilarious. His characters might be rapidly aging, but the filmmaker’s undeniable talent feels as if it’s regressed back to its awkward and gangly The Happening days.

Also like that Mark Wahlberg misfire, Old is a story that mistakenly believes it’s obligated to overthink and explain its fairy tale logic. Which is a shame since the actual setup of the film is simple enough: Two sets of families, plus two other childless couples, are offered a once in a lifetime opportunity by their isolated island resort. They will be driven to the far side of the island where there’s a secluded beach surrounded by a cove with special minerals. Alone on white sandy shores and in the bluest waters, they can get to know each other and sample the good life.

There are more characters than are worth listing, but suffice to say the important ones are Guy, an actuary accountant played by Gael García Bernal, and his museum curator wife Prisca (Vicky Krieps). Despite being of separate international origins, they’ve raised the all-American nuclear family with daughter Maddox and son Trent (Alexa Swinton and Nolan River… at first), and are determined to give their children a happy childhood, even as their marriage appears to have long rested at the water’s edge. However, once they reach this magical beach populated by many other underdeveloped characters, it becomes an open question how happy a life can be had when their children rapidly age into teenagers and then young adults in the span of a morning… and that rich doctor down the way (Rufus Sewell) begins showing signs of late stage Alzheimer’s after only a few more hours.

Old is a genuinely creepy premise, which in the right hands could unnerve as the ultimate body horror. What instills more existential dread than seeing your youth turn to wrinkles, and golden halcyon days go gray inside of 90 minutes? But inexplicably that is not the movie Shyamalan chose to make. To be sure, there is some basic use of humans’ natural transmutations, but it’s mostly through the perspective of parents watching their children age like bananas. And credit should be given to the hair and makeup folks, as well as the younger actors, who convincingly pull off the continuity of Maddox and Trent’s accelerated lifespans.

But for each effective moment, such as when teenaged Maddox and Trent approach their parents confused and horrified at why their voices are different, there are five more of Guy, Prisca, and an ensemble of wildly inconsistent adult performances standing around trying to justify their film’s lunacy with laughable pseudo-science. Rather than delve into the ripe existential phobias that are growing around its cast like coconuts, Old is content with mostly coasting on being a Fantasy Island episode that adapts And Then There Were None—complete with a surprise killer running around. The movie thus plays less like an artist grappling with mortality than it does one slumming in B-movie trashiness.

And if The Happening should’ve taught Shyamalan and his audience anything, it’s that intentional trash has never been his forte. As with the revelation of why folks were killing themselves in The Happening, Old spends far too much time setting up a rationalization and an inevitable third act twist, which plays a bit like if at the end of The Birds, Alfred Hitchcock revealed the title creatures had been trained by a mad scientist down the shoreline. It’s unnecessary and, like so much else of the film, focused on the wrong questions. But then even the ideas that Old does concern itself with are haphazardly explored and articulated.

After proving he still has a gift for quirky and clever dialogue with films like Split, the perfunctory and ham-fisted nature of nearly every adult character interaction is baffling here. From on-the-nose lectures wherein parents tell their children in the first scene they’re too young for this and not old enough for that, to the robotic way in which Guy and Prisca unconvincingly talk about their marriage, the banality of the screenplay is as ceaseless as the sea. Framing and blocking for the camera is similarly roughshod throughout the movie. Sequences meant to evoke genuine horror—including a surprise pregnancy teased in the trailer—become outright giggle-inducing in their final execution. It’s in fact hard to think of any theatrical screening this summer with more laughs drifting through an auditorium.

By the time of its hokey and melodramatic finale, Old has collapsed on every level as a horror movie, but may have cemented its status as a cult midnight movie classic.

I take no joy in writing this. As someone who’s seen virtues in most Shyamalan movies, even damnable ones, it was a real pleasure to witness the “Shyamalanaissance” emerge in the wake of The Visit and Split. I even enjoy the autobiographical subtext the filmmaker inserted into Glass. But if those movies were a validation of his cinematic powers, then Old is the puddle waiting for him in the parking lot.

Old opens in theaters on Friday, July 23.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Old Review: M. Night Shyamalan’s Makes Another Happening appeared first on Den of Geek.

from Den of Geek https://ift.tt/3kZWdUL

#aion-rsa #Den of Geek

[52inayear-blog]

Movie #1- “The Departed“

"The Departed" is not a huge departure for Martin Scorsese. The godfather of crime drama has directed almost thirty feature films, and the majority of them revolve around the American criminal underworld. In 2006 he released “The Departed”, a film based on “Infernal Affairs”, a crime drama produced in Hong Kong and released four years prior. “The Departed” was more favourably received than more recent attempts to americanise Asian entertainment, such as the remake of Pak Chan Wook's "Old Boy" and the live action remakes of "Ghost in the Shell" and "Death Note". It was a critical success, earning over €255 million worldwide and winning four Oscars, and has subsequently become a cult classic.

"The Departed" features an all-star cast that will be familiar to anyone who has experienced Scorsese’s filmography. Silver screen veterans Martin Sheen, Alec Baldwin, and Jack Nicholson are accompanied by young but established actors Matt Damon and Leonardo DiCaprio. DiCaprio's mouthy Billy Costigan portrays an undercover police officer tasked with infiltrating and bringing down the crime ring of the Irish mob boss Francis Costello, played by Nicholson, a task he executes pretty poorly as he quickly begins to unravel under the pressure. Nicholson portrays the dominating Costello as only Nicholson can, a staccatic and unpredictable Irish mob boss, whose character was inspired by the real life and crimes of the recently ‘departed’ Whitey Bulger. Costello has also infiltrated his adversaries’ organization, by grooming Damon’s Colin Sullivan, a fresh recruit with insidious intentions. Vera Farmiga plays Madolyn, a walking, talking trope, filling the role of both the unusually disarmable and suggestible police psychiatrist, and the dastardly, confusticated woman who just can't make up her mind and props up the love triangle with DiCaprio and Damon’s characters. Not all of the cast nail the Boston accent, Alec Baldwin and Vera Farmiga being among the worst offenders. There is great variety in the characters and performances and despite it being a crime drama, not every character oozes toxic masculinity and bravado, a fresh take for this genre. The casting does throw its' audience the challenge of distinguishing between Matt Damon and Mark Wahlberg, but distinguishing them is made slightly easier by the fact that Wahlberg was apparently built like an M1 Abrams in 2005.

The dialogue is economic, unapologetic and frequently humorous, and will entice people back for repeat viewings. Wahlberg’s Sergeant Dignam steals the show in this regard but most of the cast get a swing at some memorable deadpan delivery. Mark Wahlberg is well known for initially (and repeatedly) rejecting the role of Sergeant Sean Dignam in this film. He has openly talked about his indignation at the dogged attempts of his agent and Scorsese to secure him for the role. He expertly funnells this ire into his performance and it bounces off the other cast members to hilarious effect. His performance was so successful he has been playing variations of that character ever since, particularly in “The Other Guys”, a comedy he and Will Ferrell released only four years later.

"The Departed"'s cut is surprisingly punchy and stylized for a Scorsese crime drama, and is frequently reminiscent of Michael Mann's work. The cut keeps the audience engaged as the plot jumps between the two central characters quite a bit. The viewer is expected to parse a lot of backstory and character relationships quickly. Visually this film is a bona fide time capsule of the early 2000's. Bulky plastic flip phones, baggy nylon sweats, and a cool blue grading shape this film’s visual language.

The cut is well paced, entertains throughout, and starts ramping up with an hour left on the run-time. Both the character building cat & mouse plots and the small handful of actions scenes are skillfully delivered. The two and a half hour run-time flies by. Some late-stage questionable decision-making by DiCaprio’s Billy Costigan prevent the story from wrapping up flawlessly, which is disappointing as the film gets most of the way there. This issue perhaps stems from the fact that the film is a re-imagining and from the need to wrap up storylines of slightly re-written characters. The result is a strange sense of rooting for the film’s antagonist because of all the effort they put in and because they appear more capable. Despite this, “The Departed” is both accessible, and a shining example of its genre, making it an easy recommendation for most audiences.

#thedeparted scorsese film crimedrama review

[akpans-blog]

How old is Mark Wahlberg, does he have a new film out.

For the return of Saturday Night Takeaway, they’ve brought out the big guns – Hollywood A-lister Mark Wahlberg will appear on tonight’s show. Ant and Dec revealed to Richard and Judy that the actor would be taking part in the ‘Get Out of Me Ear’ segment, which sees a celeb perform Ant and Dec’s every wish through a hidden earpiece. Dec commented: ‘It was hilarious, I don’t think he knew what he had gotten himself into. We gave him the ear piece and said, “Do you promise to say and do everything we tell you to do?” And he replied, “By the end of this you’ll be doing everything that I tell you to say and do!”’ How old is the star now and what is he promoting on Ant and Dec?

How old is Mark Wahlberg? The star – who was famous in the 90s for his Calvin Klein ads and Marky Mark persona – is 48 years old.

He was a model and musician, performing with Marky Mark and the Funky Bunch, before branching out into acting. Throughout his career he’s had starring roles in cult classics including Boogie Nights as well as leading massive franchises including Transformers. Who are Mark Wahlberg’s brothers and sisters? There are a lot of Wahlbergs. Mark has eight older siblings – and you might recognise some of them. His brother Paul Wahlberg is a chef who runs the diner Wahlburgers, which had a spin-off reality show documenting the family-run business.

Donnie Wahlberg is another actor in the family. He has appeared in The Sixth Sense and the TV shows Band of Brothers and Blue Bloods. His other siblings aren’t in the public eye, but include older sisters Michelle and Tracey, and older brothers Arthur and Paul. If that isn’t enough to keep track of, the Wahlberg’s have three half-siblings from his father’s previous relationships; Scott, Buddy and Donna Wahlberg. What’s Mark Wahlberg’s workout routine? The actor is famously disciplined – even down to laying out his sock

In an Instagram post, he received plenty of attention for how impressive/baffling his regime is. The post revealed that he wakes up at 2:30am for prayer, before a breakfast at 3:15am and a workout from 3:40am to 5:15am. Other highlights included cryo chamber recovery at 9:30am and another workout at 4pm.  

[sandysreviews]

Catching Up On Reviews Post 2

My second post to catch up on reviews!! This post includes the following; A Cure For Wellness, Get Out, John Wick Chapter 2, The Mummy, Baywatch, Guardians Of The Galaxy Vol. 2, and Transformers The Last Knight. A Cure For Wellness – Absolutely phenomenal movie!! Creative and unique storyline, with a spectacular leading performance by Dane DeHaan – it’s a psychological thriller which plays with the mind, while creating an interesting story that doesn’t drag on through its 2 and a half hour duration. If you haven’t seen this movie, I highly recommend checking it out – it’s not for everyone, but it’s a movie you should definitely witness yourself. Get Out – Another Psychological Thriller that should definitely be seen!!! The cinematography throughout the film is incredible, and gives so many scenes double meaning, that can allow endless interpretation. The whole cast give a fantastic performance, and it’s definitely a film worth seeing. John Wick Chapter 2 – I absolutely love John Wick, and Keanu Reeves is one of my favourite actors so I was super excited when this was announced. Unfortunately, Australia got this film 3 months late – some how I managed to avoid all spoilers and it was worth it! The storyline was fantastic and did just as well as the first, the action/fight sequences were enjoyable, with great cinematography/light effects to emphasise many of the fight sequences. If you love John Wick, you will definitely love this. Can’t wait for Chapter 3!! The Mummy – I love The Mummy starring Brendan Fraser, so when I thought this might be a potential sequel or a rehash to continue on that story I was pretty excited. This doesn’t really acknowledge the other films (with the exception to a book) so I’m unsure if it was hinting at a sequel or not. I did enjoy this film regardless, but it definitely wasn’t as good as the others… Tom Cruise, Jake Johnson, and Sofia Boutella was great in the movie – but the storyline was lacking as the subplot kept taking over and they cared more about the special effects rather than providing a strong story/franchise. Worth seeing if you’re a fan of ‘monster’ movies. Baywatch – While I was never a fan of the TV show, the movie is pretty enjoyable. It’s very over-the-top but quite hilarious. The chemistry between the cast helps the jokes be funnier/believable making the characters and their development more enjoyable. Comedy fans should definitely check it out – I saw it twice and the jokes hold up on both viewings. Guardians of the Galaxy Vol. 2 – I wasn’t a huge fan of the first, but I did enjoy the humour and I of course loved Groot – so I was very excited to see baby Groot. The second is even better than the first – a pretty solid storyline with a surprising twist, great character development that was deprived from the first film. Fans of Marvel and GOTG will definitely like it – the 5 after credit scenes were a bit much, but at least funny. Transformers The Last Knight – Is the latest Michael Bay Transformers film for a franchise that should’ve stopped 2 movies ago. Although with saying that The Last Knight was a decent film, way better than Age of Extinction so it was an improvement to the story – Mark Wahlberg had a decent performance (and thankfully his daughter is no longer in this one). My major issue with this with the misleading trailer of Prime being ‘bad’ and the unnecessary swearing in almost every scene. I am not uptight about swearing in the slightest, but have Sir Anthony Hopkins saying ‘bitch’ and other transformers saying ‘bitch’ in every scene – it just seemed very odd considering the audience used to be targeted towards younger children. Anyway The Last Knight is a slight improvement – so worth checking it out if you like the previous Transformer movies.

#Movie reviews #2017 movies #2017 reviews #A cure for wellness #Get out #John Wick Chapter 2 #John Wick #The Mummy #Baywatch #Guardians of the galaxy vol 2 #transformers the last knight #The last knight #Transformers #Marvel #GOTG2 #Guardians of the Galaxy #personal opinion #sandysreviews #Dane DeHaan #Keanu Reeves #Brendan Fraser #Tom Cruise #Sofia Boutella #Jake Johnson #Dwayne Johnson #The Rock #Zac Efron

[funnythingshere0-blog]

Netflix: What's new? What's worth it?

New Post has been published on http://funnythingshere.xyz/netflix-whats-new-whats-worth-it/

Netflix: What's new? What's worth it?

Daddy’s Home 2

The 2015 original about a step-father (Will Ferrell) who goes head-to-head with the biological father (Mark Wahlberg) for affection from the kids was a comedic misfire.

With terrible timing, poor slapstick jokes and a lazy script, I thought it was one of the most underwhelming films of that year.

But with this sequel — bolstered by the grand chemistry of the returning leads — things are redeemed.

It follows the two men, now friends, who try to get through the holidays when both their fathers visit.

John Lithgow and a hilarious, gruff Mel Gibson are polar opposites, and by far the best part of this sequel.

It’s a feel-good film that packs a lot of funny.

4/5 Stars

S.W.A.T.

[embedded content]

This fantastic action flick marked the early period in Colin Farrell’s career when he was more rugged, handsome action star than serious thespian.

Here, he’s a hot-headed recruit to an elite police squad run by a veteran officer (Samuel L. Jackson).

It’s just smart enough to manage and doesn’t take itself too seriously either. With a game cast that also includes Michelle Rodriguez, LL Cool J, Josh Charles and one of A-lister Jeremy Renner’s first big roles, it’s better than anyone could have expected.

The thrills are aplenty, the action is awesome, and there’s a killer soundtrack. It all makes for a heck of a time.

4/5 Stars

Please Give

[embedded content]

This little indie gem follows a New York City couple who fight endlessly with the granddaughters of the elderly woman in the apartment they own.

Catherine Keener and Oliver Platt are affable and uniquely human as landlords planning to renovate, redecorate and expand upon the eventual death of the woman next door they rent to.

Seeing their slightly predatory, matter-of-fact nature, granddaughters Rebecca (Rebecca Hall) and Mary (Amanda Peet) continue a complicated relationship with the couiple next door.

This is a sweet, darkly funny film that’s too quirky for many mainstream audience, but may surprise you if you give it a spin.

3.5/5 Stars

The Foreigner

[embedded content]

After a seven-year hiatus since his last live-action hit, Jackie Chan is back with this action-drama, and he’s in form like we haven’t seen him in years.

He provides depth and an emotional core to the film as a man whose daughter is killed by IRA bombers in terrorist attack,

The film plays out like a riddle as Chan’s character blazes, kicks butt and takes no prisoners throughout the film as he tries to get the name of the people who killed his daughter.

He runs face-to-face with reformed IRA member-turned government official, Liam Hennessy, who he becomes convinced had something to do with it.

Pierce Brosnan, at the best he’s been in years, is a great villain here, and Chan turns in the most dramatic performance of his career.

4/5 Stars

Cargo

[embedded content]

This Netflix original about a man trying to find salvation and sanctuary for himself and his child during a zombie epidemic in Australia is a must-see.

Martin Freeman is known to Americans as a supporting player in franchise films like The Hobbit, Black Panther and as the star of FX series Fargo.

But he takes top billing in this largely solo effort as the father trying to secure safety, and he’s absolutely stunning.

This is a story of isolation and turmoil, and a zombie movie unlike many you’ve seen before.

4/5 Stars

Source: http://thechronicleherald.ca/artslife/1586998-netflix-whats-new-whats-worth-it

[its-just-like-the-movies]

I Heart Huckabees (04, A-)

Why this film?: Because I’ve heard too many good things about Huckabees to pass up the chance to watch it for a project, though I might have gone for a different film had I known about the smallness of Jenkins’s part beforehand. I’d like to say Flirting with Disaster, Let Me In, and Bone Tomahawk were the runners-up, but it was over once I saw that Huckabees was in his filmography.

The review: What’s the meaning of life? What’s the point of it all, in a world that can be both incredibly generous but perhaps even more cruel? Who are we, and how are we not ourselves, and how are we connected to the people and things and universes around us? I Heart Huckabees is premised on these questions, with a plum mix of earnest exploration as its protagonists undergo severe identity crises and rivalries, as well as the utter absurdity of these questions and the length folks will go to to engage with them or avoid them entirely. All of this is wrapped in an ensemble comedy stuffed to the nines with delightful performances, a bananas script, and some wittily used technical elements, every artist contributing their own distinctive flavor to the film while operating within an impressively light tone and assured directorial hand from David O. Russell. Everything looks effortless, and yet the seams never show or get tangled in each other even as the film hops between sincerity and skewering, never coming off cruel or too serious with its heady subject matter.

Jason Schwartzman is our entry point into the film, as an environmental activist and poet names Albert Markovski who believes that running into the same African teenager three times over the course of two weeks is definitely a sign of something. Scrambling to figure out what it could possibly mean, he hires Existential Detectives Bernard and Vivian Jaffe to help him out, though it becomes pretty obvious that his request won’t work out for a number of reasons. For one, the detectives don’t see this as a meaningful coincidence, and they start worrying that Albert is choosing to prioritize this over the far more serious and impending threat that his activist group is about to become victim to corporate takeover from the superstore chain Huckabees, spearheaded by the charismatic Brad Stand. Even as their methods for Albert to connect to himself  - and by extension, the universe - prove effective, their philosophy about the beautiful interconnectedness of all things do not give him the answers he wants and drive him further towards the allure of Caterine Vauban, a French nihilist who may have already turned one of the Jaffe’s clients to her way of thinking. Soon it seems as though most of the important people in Albert’s life are involved in this case either as new clients or people of interest, and it’s never entirely clear how much progress any of these investigations are making.

All of this reads as a dizzying amount of plot to traverse inside of a film waxing philosophical about the purpose of existence, so thank god for the film’s oddball sense of humor, alternating between earnest contemplation and having a laugh at how ridiculous all of this actually is. Dustin Hoffman, wearing a hideous oversized gray bowlcut of a wig as Bernard Jaffe, can shove Jason Schwartzman’s confused but eager client into a human-sized gym bag to help Albert unlock his connection to his own subconscious, and it’s allowed to be an insightful step forward to the man’s self-actualization and just plain silly. Conversations with the universe are realized at a level just above basic graphic design skills as characters inhabit fake environments and have their faces disassembled into rectangular floating bits that intermingle with other bits of other faces. The same swimsuit photo of Jessica Lange floats in a black void with whole or disembodied characters who repeat the same phrases directly into the camera over and over again. One technique to connect to your innermost self is called Pure Being, and is performed by whacking yourself in the face - by yourself or others - with a giant rubber ball until enlightenment is achieved. This does not stop a firefighter named Tommy Corn from falling into an even deeper pit of despair than the one his nihilistic ideologies were already courting, and he expresses his dissatisfaction by turning his hose on his fellow firefighters rather than the blaze they’ve already put out without him. Sometimes the film’s best joke is simply to put Vivian Jaffe in the middle ground or background of a frame as she’s following a lead, and sometimes that joke is made even funnier by showing Caterine Vauban skulking behind her with no one seeming to notice her.

But these examples lead more towards the silly than to the sincere, and the heart in I Heart Huckabees is more than worth defending, especially since it blends so well with the eggheaded comedy that the film somehow carries off light as a feather. Tommy Corn’s drop into despair is treated with the same level of care as Albert Markowitz’s, as Brad Strand’s and his girlfriend Dawn Campbell undergo their own reckonings after Brad hires the existential detectives purely as a slight against Albert and with no belief they’ll accomplish anything until they confront him about the persona he’s constructed for himself at work. “How am I not myself?” he asks, and which Bernard and Vivian parrot back at him, turning over the statement while gently mocking it after Brad had been so cheerily resistant to the mere concept of everything the Jaffes stand for. This statement is made even more dizzying not just by the corresponding crises of everyone else but perhaps most weirdly dramatized by fans, boys we’ve met before, getting autographs from an advertiser on photographs of the woman who had that position before her a few scenes after Brad makes this declaration. Caterine Vauban may be bottomless wellspring of nihilism, but she’s still able to provide a massive insight into Albert’s neuroses once he accepts her tutelage, though she’s just as willing to stir up trouble for the sake of proving a point. By comparison to her immediate action, the Jaffes come across as both the infinitely cuddlier option but perhaps less effective as they force clients to come to terms with startling truths about themselves, their rejoinder that it will all work out because everything is in sync with everything else seeming less concrete next to Vauban’s insouciance and conviction. The battle for Albert’s soul, dichotomized between the universal interconnectivity of the Jaffes and the universal emptiness of Vauban, is fought between two worthy opponents, and yet the film concludes with Albert and Tommy having found solace in a place outside of both worldviews that Albert would nevertheless have discovered without them.

It is tremendous that any film is able to find such a welcome solace between the absurd and the intelligent, earnestly exploring its very conceptual ideas about the world while still finding room to set that all aside and make fun of what these folks are doing to themselves for the sake of understanding themselves or refusing that understanding. Jon Brion’s score is operating on this wavelength, floating between loony and contemplative like a Regina Spektor album and deliriously entertaining throughout. It’s snazzily edited, shot with elegant simplicity, and smartly dressed its characters for the job they have, unless they’re wearing a bonnet in complete repudiation of said job. As bananas as I Heart Huckabees frequently is, David O. Russell and Jeff Baena have written it so that we’re always able to track what’s going on narratively and philosophically, giving the actors hilarious lines and even more hilarious characters for them to follow through so many spiritual crises. It’s miraculous coherent in tracking long-term arcs and one-scene scenarios, in glorious tandem with Russell’s direction and the enervating efforts of the cast. And what a cast it is; everyone in tune with a bizarre and slippery tone while contributing their own flourishes to difficult material. Jason Schwartzman is an ideal straight man for the film’s wackier characters to bounce off while charting his own arc, and Lily Tomlin and Dustin Hoffman smartly alternate between being the voice of reason and absolute loons. Isabelle Huppert is ideally cast as Caterine Vauban, crafting an unsettlingly poised and competent woman yet wholly in on the joke of a character whose dialogue reads like a parody of a Michael Haneke film. Jude Law and Naomi Watts are alarmingly chipper and even more alarmingly frayed as the corporate yuppy and his model girlfriend whose lives are unexpectedly changed by the arrival of the existential detectives, though her transformation is more sudden and pronounced than his is. Actors confined to only a few sequences like Richard Jenkins, Jean Smart, Talia Shire, Tippi Hedren, and Shania Twain are just as compelling as the primary cast members in the time allotted to them, but the very best, most brilliant performance comes at the courtesy of Mark Wahlberg as Tommy Corn, whose inability to get right with the universe is the funniest crisis of them all but just as weighty as the film’s most earnest breakthroughs. It’d be the kind of performance that’d make someone rethink their perceptions about an actor if his career wasn’t littered with so, so, so many nothings, but this is still the kind of artistic achievement that few actors can just pull out of their hat. The ensemble work is almost endlessly delicious, but Wahlberg has the honor of being its crowning achievement.

As much credit is owed across the board, none of this would be possible without Russell’s directorial vision. His handling of actors, juggling of tone, and navigation of theme is so smartly. If I’ve focused too exclusively on how I Heart Huckabees handles its philosophical leanings, its aim is just as sharp with how the game of hypocritical corporate bullshittery is played, how easy it is for lefty activists to get suckered by that game, and how quick they are to fracture without unity of approach even with unity of message. These ideas are able to fully inform its central themes as embodied by the character’s arcs, allowing them to be shaped by their careers and social standing rather than limply hanging off the central storyline. Russell is able to shape all of this without letting his control get in the way or become the actual focus of the film. Huckabees thrives on its looseness and spontaneity, and Russell is able to keep an unfathomable number of elements in play while making them as different as they need to be to rub against each other even as they’re all completely in sync with the overall tone of the picture.

So what does one walk away from when they finish watching I Heart Huckabees? Well, there’s the almost endless barrage of stellar performances, working magnificently with the heady and hilarious ambitions of a writer/director who’s able to balance the zany and the sincere without undermining any of the concepts that the film is contemplating, all while playing the whole thing as completely effortless amidst so many disparate yet magically cohesive parts moving together. Maybe you walk away with news ideas about life, if not new ideas about filmmaking. Maybe you go out and buy a big rubber ball or a human-sized gym bag. Maybe you wonder why there aren’t more films that are able to sustain such a bizarre premise through such an astonishingly light touch and with this much energy coursing through every last second of it. It’s a movie that makes you think about any number of things, sure to provoke any number of responses from the oddball behavior and hardcore debates about the meaning of all things, so get in touch with yourself and the universe to see what you thought of it. Or, yourself. Or, the concept of how no being can view anything outside the prism of their own relationship to it. Or, just have a good time. That’d be good too.

#my posts #my reviews #where were they then? #i heart huckabees

[movies2000future-blog]

5 Unforgettable Scenes From Five Distinct Movies inside their Anniversary 7 days Starring Jason Statham, Steven Seagal, Christopher Walken, and Mark Wahlberg

Warner Bros./New Line Cinema/20th Century Fox/Columbia Pictures/CBS Films/Ringer illustration You will discover times once the universe allows you to recognize that it enjoys you, and that it’s shielding you, and that it needs you to be happy-and otherwise satisfied then no less than not sad. I’ll give you a straightforward case in point: Just one time, back once i was about 17 or so, I used to be likely to visit a social gathering that a number of people I halfway understood had been throwing. It had been going to be good. I’d gotten affirmation that a girl I favored was going to be there, as well as I’d just gotten an excellent haircut so I was seriously emotion myself, and also each of my mother and father ended up out of city that weekend, so I felt like I was many of the way totally free, so all over again: It was going to be excellent. Besides that it under no circumstances was. In fact, it never even bought the prospect to generally be. Simply because when i got into my car to head above there, it wouldn’t get started. I set the important thing in and turned it and nothing at all. There was no authentic basis for it to not work-it had been functioning great earlier that day. But it really just wouldn’t switch over. I attempted for a fantastic 15 or so minutes. I even tried using opening the hood and jiggling several of the wires, which was (and remains) the extent of my car-servicing abilities. Practically nothing worked. I identified as a number of mates to see if I could get yourself a journey, but most all people was gone already (and no-one experienced a cellphone since we had been all very poor and cellphones were being only for wealthy individuals in 1998). So I had been just caught there, at your house, for that total night, just like a chump.

But here’s the detail: I found out the next working day that the occasion was a total catastrophe. It’d started out out very well enough, but then a large battle broke out, after which many on the autos there had their home windows smashed by somebody (or someones), and after that just one from the neighbors referred to as the law enforcement, and after that lots of people got tickets, and two of them even ended up having legit arrested. (There was a rumor that a different particular person ended up getting tasered, but I’m rather confident which was a lie.) And on top of all of that, the lady I used to be hoping to court docket under no circumstances even confirmed up. The universe spared me lots of different varieties of heartache that night by draining my motor vehicle battery of the will to begin, is exactly what I’m indicating.

I’ll offer you an additional example, and one particular which is extra applicable and also extra timely: Everything of this perform 7 days, Monday to Friday, is usually a five-count anniversary of a wonderful movie. Listen to how amazing and ideal this is certainly: Monday could be the 25th anniversary of Underneath Siege (which, equally as an unrelated aside, isn’t my beloved Steven Seagal movie, but it’s surely quite possibly the most successful one). Tuesday will be the twentieth anniversary of Boogie Nights (which, equally as a further unrelated aside, is not my favored Mark Wahlberg motion picture, but it’s surely his greatest 1). Wednesday could be the fifteenth anniversary of Jason Statham’s The Transporter. Thursday could be the tenth anniversary of Joaquin Phoenix’s We Own the Evening (Mark Wahlberg is additionally in this particular a single, but Joaquin blows him from the monitor). And were it not for that 2012 intercalary year, then Friday could be the fifth anniversary of Colin Farrell’s 7 Psychopaths.

Have you ever viewed all of those films? I've viewed all of those movies many occasions. In fact, after i observed that every one of their anniversaries were being this week, I viewed them all all over again, inside the purchase they ended up detailed earlier mentioned. I believed that accomplishing so would perhaps help me unlock some kind of magic formula code; probably I’d comprehend they were being all tied together by some central concept, or by some grand that means larger than just about every individual movie’s very own indicating, or by some byzantine (but nevertheless discernible) existential conundrum which was actually a byzantine (but nevertheless discernible) existential revelation. That didn’t come about, however. Mostly I had been just sitting down there, scribbling notes down making an attempt to connect issues that most likely weren’t meant to generally be related, looking pretty a lot like a fewer handsome version of Russell Crowe in the course of the middle third of the Attractive Brain. (A gorgeous Thoughts will celebrate its sixteenth anniversary later on this year.) (Russell Crowe was 16 when he made a decision to pursue acting as being a job.) (It is all related.) (Even though it’s not.)

Probably the most preposterous but nonetheless excellent scene of every one of the scenes in Below Siege, Boogie Evenings, The Transporter, We Personal the Night, and 7 Psychopaths may be the just one during the Transporter in which Jason Statham has got to combat 8 diverse guys even though covered in outdated motor oil. Seem:

Three matters in this article, organized by get of relevance, minimum to most:

1. Statham is shirtless here since, about two minutes prior, a nasty person ran up guiding him and grabbed him via the shirt. Statham slid his way from it, then made use of the shirt to tie up two lousy fellas while combating them, and immediately after he tied them up, he knocked them both equally out by punching them in the same time, just one together with his appropriate hand and just one together with his still left hand. Here’s the double punch:

2. You have to be described as a serious and legit genius to, in the course of an oil battle, appear up along with the notion to get rid of the pedals from a bicycle in order to utilize them as grip throughout the rest in the fight. It is significantly far more remarkable when compared to the time he made use of the construction scaffolding through that huge combat scene from the Transporter two, or perhaps the time he made use of his shirt and jacket and tie all through that massive combat scene inside the Transporter 3.

3. The Transporter is often a fun motion picture to think about simply because it came in the course of this curious interval when action motion pictures didn’t genuinely understand what to complete with by themselves. They needed their heroes to generally be intimidating and cool, same because they usually had and generally are going to be, nonetheless they also wanted them to get hesitant and forced into motion (like what started off happening right following Die Really hard), nevertheless they also wished them to become really serious even though also becoming absolutely absurd (that's how you conclusion up having a scene exactly where an individual handles a garage flooring in oil and after that uses bicycle pedals to present himself grip even though all people else slides around helplessly). I don’t need to say it is a pivotal motion picture, simply because it is not, but it surely of course came throughout a transitional interval.

The best scene of every one of the scenes in Below Siege, Boogie Evenings, The Transporter, We Personal the Evening, and seven Psychopaths that prominently functions a penis may be the 1 at the conclusion of Boogie Nights*, though I think you presently knew that, along with the greatest scene of each of the scenes in Under Siege, Boogie Nights, The Transporter, We Individual the Night time, and 7 Psychopaths that prominently functions a nipple could be the a person for the commencing of We Have the Night, although I think you presently knew that, as well.

*After seeing Boogie Nights, I usually thought of the casting phone that must’ve absent out for that final scene. I questioned the quantity of distinct penises had been sorted through just before choosing the stunt penis. I wondered in the event the casting director (Christine Sheaks) appeared at them in genuine everyday living or simply through photos-and if it absolutely was shots, then was there, like, maybe a manila folder or one thing that she experienced somewhere in her place of work. The oral history of Boogie Evenings, though, which ran on Grantland in 2014, unveiled a solution that was someway much more entertaining and hypothetically hilarious: it absolutely was an enormous prosthetic penis that Wahlberg wore above his genuine penis.

The worst scene of each of the scenes in Beneath Siege, Boogie Evenings, The Transporter, We Have the Evening, and 7 Psychopaths was, fairly incredibly, in essence the many scenes in Beneath Siege, an action film where Steven Seagal plays a cook on the battleship that gets taken in excess of by Tommy Lee Jones in a very rhinestone jacket. 1 with the important plot details of Below Siege is always that Seagal’s character, Casey Ryback, will get locked inside a meat locker, if you can even feel that, which you ought to simply because it is a Steven Seagal movie. A different with the important plot points can be a stripper falls asleep within an enormous cake for half an hour. Which is the sort of film we’re speaking about here. I used to be honestly shocked by how lousy it absolutely was. It absolutely was like an individual explained, “Let’s make an motion movie, but let us miss the entire elements that make action videos enjoyable.” The only midway excellent component of it's close to the finish when Seagal rips a guy’s throat out together with his bare hands, but even that element is simply a retread of what Patrick Swayze did at the end of Highway Property.

The ideal opening scene of every one of the opening scenes in Less than Siege, Boogie Nights, The Transporter, We Very own the Night, and 7 Psychopaths will be the 1 in 7 Psychopaths when the two undesirable men stand close to waiting around to murder a woman only to end up obtaining murdered them selves. Look:

Two things in this article:

one. Seven Psychopaths is a really enjoyment film to watch. There are actually just a lot of great times and fantastic performances in it. Christopher Walken features a amazing element in which he refuses to put his hands up at gunpoint. Woody Harrelson, that is perpetually underrated, and Sam Rockwell, who could be far more perpetually underrated than Harrelson, possess a standoff that may be hilarious and superb. And Colin Farrell is great through. (Similar: This might be Colin at his most devilishly handsome. It is nearly offensive how handsome he is here.)

two. Michael Stuhlbarg may be the person with the dim brown hair within the scene previously mentioned. He's so, so fantastic. Irrespective of the film he is in, he usually manages to become just the correct quantity of charming and fast and smart. He was even perfect in Males in Black 3, and that is an particularly amazing issue given that it was Guys in Black three. (An apart: Tommy Lee Jones is in Adult males in Black 3.) (He’s fantastic, way too.) (He’s constantly fantastic, even when he’s negative.) (Like he was in Less than Siege.) (It is all linked.) (Even when it is not.) (Or whatsoever.)

[funnythingshere0-blog]

Remember, Deadpool 2 Is Not for Kids

New Post has been published on https://funnythingshere.xyz/remember-deadpool-2-is-not-for-kids/

Remember, Deadpool 2 Is Not for Kids

Two years ago, a certain Ryan Reynolds superhero action comedy debuted and, to almost everyone’s surprise, broke a bunch of box office records and earned a Certified Fresh 83% on the Tomatometer. But despite its comic book origins, Deadpool was decidedly not for kids. We warned parents about it then, but just in case your memory’s gone bad, Christy is here to remind you again not to take your little ones to its follow-up, Deadpool 2, and offer three slightly more innocuous alternatives that are also steeped in pop culture references.

THE MOVIE

Rating: R, for strong violence and language throughout, sexual references and brief drug material.

If you saw the original Deadpool in 2016, you know what you’re in for here. Director David Leitch’s film really earns its R rating, with a nearly non-stop cavalcade of gory violence, harsh language and crass sexual humor. The red-suited Marvel character may look like a lot of fun – and in Ryan Reynolds’ expert comic hands, he definitely is – but he’s also not for kids. This time, Reynolds’ Wade Wilson (a.k.a. Deadpool) hooks up with some of the lesser-known X-Men to form his own team. Their mission is to take on the powerful bad guy Cable (Josh Brolin), a soldier who has traveled back in time to right a wrong (and wreak havoc in the process). Kids are frequently in danger, but one kid in particular – a fire-throwing teenage mutant named Russell (Julian Dennison) – is as inappropriate and profane as Deadpool himself. But he also becomes Deadpool’s sidekick and pet project, which adds some tenderness to balance out the wrongness. It’s intense and boundary pushing, but Deadpool 2 also has an emotional undercurrent that gives the film more substance than you might expect. Fine for older teens and up.

THE RECOMMENDATIONS

Part of what makes the Deadpool movies so funny is that they’re crammed with rapid-fire pop-culture references. Since the vast majority of kids probably shouldn’t see this sequel, here are some other movies you can share with them that gleefully wallow in meta movie and music influences.

Rating: PG, for action and rude humor.

Basically, every LEGO character you could possibly imagine – plus a few truly inspired ones you never knew existed – co-mingle in this high-energy extravaganza, making it the ultimate pop-culture mash-up. From Batman and Wonder Woman to Shaquille O’Neal and Abraham Lincoln to Lando Calrissian and C-3PO, the characters cross time, space and storytelling boundaries to interact in this animated adventure, and it’s a blast. You couldn’t possibly catch all the references in Phil Lord and Christopher Miller’s movie in one sitting, but that’s OK. Revisiting The LEGO Movie and noticing new details each time is part of the fun. (If you have kids who are anything like my 8-year-old son, you’ve probably already seen it several times. “Everything Is Awesome” will eventually get unstuck from your head, I promise.) Chris Pratt (himself a superhero as Star-Lord in the Marvel Cinematic Universe) lends his voice here as an ordinary construction worker named Emmet. He goes on a hero’s journey with the rebellious Wyldstyle (Elizabeth Banks) when he’s mistaken as the Master Builder who will lead his people to freedom from the evil Lord Business (Will Ferrell). There’s a ton of action and danger here, but it’s mostly playful. A great choice for all ages.

Watch now on: Amazon, FandangoNOW, iTunes

Rating: PG-13, for sex-related dialogue and some teen use of alcohol and drugs.

The main characters are high school students named Cher (Alicia Silverstone) and Dionne (Stacey Dash), “after famous singers of the past who now do infomercials.” And that’s just the beginning in this generation-defining comedy that’s packed with a panorama of pop-culture references and influences. Writer-director Amy Heckerling’s film as a whole is inspired by the Jane Austen classic Emma. But it’s very much of its time with jokes involving Luke Perry, Ren & Stimpy, Calvin Klein, Kenny G and Mark Wahlberg (back when he was still rapping as Marky Mark), plus some older references to Barbra Streisand, James Bond and Sammy Davis Jr. It’s got quite a bit of teen partying and some sexual references, but on the whole it’s a light, sweet movie about finding out what’s important in life. Silverstone’s Cher is a materialistic Beverly Hills queen bee, but she’s loyal to her friends and her heart is in the right place. A solid choice for viewers around 11 and older.

Watch now on: Amazon, FandangoNOW, iTunes

Rating: PG-13, for thematic elements including strong language and some bullying behavior, a suggestive image, drug material and teen smoking.

This movie is a complete charmer, and if you didn’t catch it when it came out a couple years ago, now is the time. Irish writer-director John Carney’s semi-autobiographical film is an excellent choice for the teens and tweens in your house, capturing vividly the longing ache of adolescent first love. The performances are all lovely, but the ‘80s-inspired music is what really makes it sing. Ferdia Walsh-Peelo stars as Conor, a sweet teenager who finds himself an outcast when he transfers to a rough new school. Along with the few friends he makes, he starts a band to impress the beautiful and mysterious older girl (Lucy Boynton) who lives across the street. Early MTV videos are a major influence on Conor and his pals as they hone their look and sound, from Duran Duran to The Cure to Hall & Oates. Sing Street is full of insanely catchy, original songs – and the accompanying music videos the band shoots are hilarious — but the poppy sound of the era is pervasive. Conor also has the benefit of an older brother (Jack Reynor) who helps shape his musical tastes, and their intense conversations about what’s good (the Sex Pistols) and what’s bad (Phil Collins) are consistently amusing. There’s quite a bit of bullying, language and smoking, but for the most part, Sing Street is a total joy.

Watch now on: Amazon, FandangoNOW, iTunes