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April 3, 2018 at 10:48 am #1202523604
Watched Devil’s Knot starring a bunch of known actors but mainly Reese Witherspoon and Colin Firth. It was a bad movie, but other than that I realised Reese Witherspoon is underrated, I’m not saying she’s like a goddess of acting, but I think she can do much more than what she’s recognised for. And she proves that in this film where she’s not given really much material but also in Big Little Lies.April 12, 2018 at 12:32 pm #1202528605
Great film, all of the actors’ performances were great. Me and my friends predicted who did it and it was enjoyable. It was a bit too long though. SAG should stop acting like fools and actually nominate worthy ensembles like this one’s and not ensembles like The Big Sick and Get Out. Too bad the film was only recognized for its cinematography by the Oscars and that’s pretty much its only major nom, which is result of name-check (Roger Deakins). Rank: AApril 14, 2018 at 2:26 am #1202529366
That Thing You Do!
I guess the director’s cut is way too long but it’s still an underrated one, quite a feel-good movie, basically the whole cast is sympathetic.April 14, 2018 at 6:57 am #1202529396
^robbed of Best Original Song.
THE OSCAR 100 (#100-96): Kathleen Turner, Shelley Winters, Rosie Perez, Lesley Ann Warren and Kathy BatesApril 15, 2018 at 12:59 am #1202529587
Why did this film get nominated for Best Picture and Screenplay? Oh, right, Peter Jackson. And why did people like it so much? Like half a million people have voted on imdb and it has an 8/10 rating. It wasn’t a bad film, but it was not something wow either. I’m not gonna talk about how ridiculous the aliens looked, but the story itself wasn’t anything special either. I feel like I’ve seen this type of story somewhere else already. The film overall was boring for its first half and then its second half was more action-packed but still kinda disappointing. I have to say though that Sharlto Copley really did a good job.April 16, 2018 at 9:31 am #1202530398
120 Beats per Minute (aka BPM)
Rewatched it and fell in love with it all over again. All of the performances were amazing but esp. Arnaud Valois as a young man who has full blown AIDS but has found love with his neg partner. The tender scenes between the two of them are my favorites. I remember this time so vividly; I was in the Boston ACT UP group that is mentioned in the movie! I love the zest of youthful engagement in a political struggle; the commitment and the endless arguments as we find our way, our own core beliefs. The filmmaking is perfection: editing, camera work, performances, pace, script, music, sense of time and place – (:
A+April 16, 2018 at 7:29 pm #1202530802
This movie could’ve been so much better. So many terrible choices, al of them easy to fix. Awful director. Why did they do this to Malin Akerman and Jake Lacy? And also, what happened to Akerman’s career?April 26, 2018 at 9:21 am #1202536012
Lead character is unapologetically gay (or bi)
Charlize Theron wearing 1980’s-style fashion
Seedy glamor and stylized violence fail to distract from plot holes
Numbing number of double and triple-crosses
Verges on formulaic
Film ends with stupid homophobic joke while David Bowie and Freddie Mercury sing on soundtrack — ?!
Grade: B+April 27, 2018 at 11:41 pm #1202536821
Three Billboards Outside Ebbing, Missouri
A superb cast, with Frances McDormand in an iconic performance, and for me, the best original screenplay of the year.
Grade: AApril 28, 2018 at 7:39 am #1202536908
Rewatched All The Money In The World; besides Christopher Plummer giving a superb performance the other perforamnce that leapt out at me was from Romain Duris, the French actor playing an Italian kidnapper speaking in English and Italian – truly excellent.
I could have lived without the violence of the ear scene but otherwise I really enjoyed it. Michelle Williams is great, Mark Wahlberg was fine, the direction was excellent and everything was excellent in all areas of production.
Grade: AApril 28, 2018 at 9:42 am #1202536963
In Bruges (spoiler free review)
A lot has been said about Martin McDonagh as a writer. He’s often been criticised for aping Tarantino and the Coen brothers to an unbearable extent, that any quality in his scripts are overridden by his indiscretions for those writers.
Now, this film, and this script proves everything I have said to be completely wrong.
It must be said, that there is definitely Tarantino influence in McDonagh. He crams as much stylistic detail into everything, even the most rudimentary of ideas. He has a propensity for extremely crass, ctude dialogue and humor darker than the depths of space. But in In Bruges, those literary idiosyncrasies are utilised to impeccable extent.
The performances are absolutely unforgettable. The ensemble manages to make the most of a masterful script and make every scenario that they have believable in any extent, even though McDonagh’s biggest weakness as a writer is possibly his tendency for implausible coincidences or unexplainables in his scripts. But they just make it work, and it’s glorious. Farrell is brilliant. But the standout is Brendan Gleeson, who expertly adds humanity and depth to his world weary man, in a career defining performance.
In Bruges, with magnificent performances, a script that frankly should be taught in literary classes and performances that never fail to leave you on the edge of your seat is a masterpiece of film, and Martin McDonagh’s finest work.
5/5 or A+
April 29, 2018 at 5:27 am #1202537140
- This reply was modified 1 year, 3 months ago by CitizenBlake.
I haven’t read the book, so I don’t get why this film is so poorly rated, but I really liked it. It was something different, a nice spy film. Obviously the novel author has a sex fetish which the screenwriter didn’t skip including in the film as well, but it was entertaining. I think Lawrence is a decent actress, I hate that she has an Oscar because it’s completely undeserved, but I liked her in this film. Rank: A-.April 29, 2018 at 7:32 am #1202537200
Love Field – to celebrate Michelle Pfeiffer’s 60th birthday. As recommended here, it’s really a fantastic performance by her, to me it’s second only to The Age of Innocence.April 29, 2018 at 7:52 am #1202537209
Pfeiffer is fabulous but yikes, Love Field is not a great film. She should’ve earned the nom for Batman Returns instead.
THE OSCAR 100 (#90-86): Morgan Freeman, Sally Kirkland, Jill Clayburgh, George Sanders and William HoldenMay 6, 2018 at 11:44 am #1202541419
With their third big screen collaboration (well, fourth, if you count his producing duties on Jennifer’s Body), director Jason Reitman and screenwriter Diablo Cody are more or less proving themselves the James Ivory and Ruth Prawer Jhabvala of suburban dramedies. (Which, I suppose, could make Charlize Theron their Emma Thompson).
Tully, their latest picture, is not quite on the level of their prior efforts, Juno and Young Adult. It lacks the sparkling ensemble of the former and the writing isn’t quite as sharp and gut-punching here as it is in the latter. (Nor is this film in the same league as Up in the Air, Reitman’s masterpiece.)
That said, this film remains wholeheartedly worth a look, if exclusively as a showcase for Theron, who once again proves herself one of the finest actresses working today.
Theron is Marlo, a wife and mother of two, about to give birth to her third child. Already exasperated by her two kids, especially her car seat-kicking, chicken nugget-guzzling son, Marlo is approached by her brother Craig (Mark Duplass), who suggests she consider hiring a nanny for nighttime duties. Marlo resists at first – that is, until little baby Mia graces the earth and proves a suffocating bundle of joy.
Ultimately, Marlo does give in and into her life arrives Tully (Mackenzie Davis, in a fetching, irresistible performance). Like a gift from the heavens, Tully is masterful in not only handling Mia but also providing Marlo with peace and surprising insights about motherhood and the importance of taking care of oneself. Marlo finds herself enlightened and invigorated by Tully’s presence – the question is, how long can their bond last?
Tully is especially satisfying and perceptive in its first half, with Theron soaring in this expertly written role. Cody continues to compose rich, shrewd dialogue in a fashion rarely seen in today’s comedies. By the hour mark, Tully becomes more haphazard and uneven, until an 11-‘o-clock-hour twist instills the proceedings with much of the freshness found earlier.
Unlike Juno and Young Adult, Tully isn’t much of an ensemble showcase. Davis is a true delight, while Ron Livingston has the rather thankless duties of taking on Drew, the amiable, hardworking husband who hasn’t a clue about the struggles of motherhood. Lia Frankland is sweet as their daughter Sarah but neither her role, nor anyone else’s beyond Marlo and Tully, is much fleshed out.
Tully may be a second-tier effort from its director and writer but it finds Theron operating at the top of her game and sports that dazzling turn from Davis – for them alone, it’s well worth watching.
THE OSCAR 100 (#85-81): Robert De Niro, Michael O’Keefe, Judith Anderson, Michael Caine and Jason Miller
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