An unusual, if somewhat topical, subject for the cinema of today and would probably have been better served as a longer mini series on TV. As it stands it feels slightly too long as a feature film. The subject is always interesting and the performances here help enormously, Russell Crowe hasn't been this good in years and his Herman Goring is humanly evil. Rami Malek, JohnSlattery and Michael Shannon offer fine support and the courtroom scenes at the end truly focus the attention, with one stand out moment from Richard E Grant.
Predictable Didactic and dull. This overlong take on the women's movement and Gloria Steinam is only made bearable by Julianne Moore's presence in the second half. This subject was tackled so much better in TV's Mrs America last year and this film just rattles on and on at a length that defies **** begin to believe that you are living the whole thing!
Julie Taymor's direction is unimaginative and the whole enterprise comes over as portentously pretentious. Acting in other roles ranges from indifferent(Vikander;Hutton) to downright awful (Bette Midler).
Undoubtedly one of the worst films of the year.
The movie itself would be quite conventional but for the beautifully nuanced performance of Sophia Loren. For me she surpasses the only other memorable turn she gave in 'Two Women' back in the sixties. The film itself is packaged nicely in music and production departments. The song Lo Si (Seen) just slays you. If the film doesn't win another single Oscar, the song must. Go Diane Warren. It's about time!
For the first forty minutes or so the film comes over as inauthentic with characters mouthing dialogue that sounds phoney. However as things progress the film seems to ignite into action and the performances sparkle. Sacha Baron Cohen and Frank Langella in particular are exciting to watch. The film threatens to be over rated but ultimately it delivers in spades.
All the more disappointing for being surprisingly slow. A couple of shock tactics work very well and things liven up towards the end even if one can see the intended twist coming a mile off. Sound and music are impressive, but special effects are kept to a minimum. The whole movie is somewhat redeemed by the excellent Elisabeth Moss who dives into her character with a resilient determination of which the film itself is unworthy.
Written and played in a beautifully understated way, which in the hands of Hollywood would probably have been over the top schmaltzy drama. Liam Neeson is better than usual, but it is the wonderful Lesley Manville that breaks your heart. What a fabulous actress she is.
A Feast for the eye and ear. This 4 Oscar winning film is compelling and ingenious. Do not be put off by the subtitles as this is both quality film making and also accessible to a mainstream audience. The less you know about the story the more enjoyment you will get from the movie. Just be assured this is a real treat!
Not a film for everyone and definitely not one for your nan. But, boy oh boy, what fun this is. Guy Ritchie directs with his tongue firmly in his cheek an absolutely entertaining gangster opus that is a joy from beginning to end. The script is surprisingly witty and intelligent despite the plethora of four letter words and the players are sublime. Who knew that Hugh Grant could be this good. He steals the acting honours in a role that I could never have imagined him doing. Treat yourself to a real and unpretentious comedy.
A film demonstrating style and technique over strong story telling. The result is actually quite slow and, dare one say, boring. This is a movie that does not match the sum of its parts. George Mackay is very good in the lead and Sam Mendes direction, whilst to be applauded on an aesthetic level, is lacking in pace. He has to take the blame for this as the one shot gimmick leaves little room to blame it on the editing. Roger Deakins' cinematography is an amazing achievement, and the production design looks like it should for a war zone/ battlefield. Sound is great when dealing with planes and explosions but simple dialogue is sometimes hard to understand. The score, although not hummable, works very well within the film and is very effective in underlying what is going on screen.
Whilst one cannot blame the producers for wanting to cash in on the original film's success, this time out it's like watching a precocious child acting up, both irritating and unlikeable. The screenplay is overly complex for adults, let alone small children, and the dialogue and characterisation is often quite patronising. The animation is still great, but the songs fail to hit the heights. A couple of them aren't too bad in themselves but as presented here add nothing to enhance proceedings. The opening ballad is blandly nice, but 'lost in the Woods' is embarrassingly showcased like a pop video of the 80's. As for 'Into the Unknown' it follows all the familiar cadences of 'Let it go' but a classic it definitely isn't! Perhaps we can now say goodbye to Elsa and co and let this franchise go. With box office receipts as they are, I somehow doubt it.
Dull and conservative film making that thinks it's saying something important. The lead performance is over rated and the running time goes on forever. Only some pretty cinematography manages to capture the eye. Please don't give this awards as it is not deserving and would smack of insincerity.
Predictably well acted and a generally good yarn, but it lacks the compelling urgency that made the book so riveting a read. The twists are good, but somewhat signposted even if you haven't read the novel. Also the flashbacks tend to slow the plot and the action down reducing one's tenuous involvement even further.
The screenplay may be informative, corny and cliched by turn, but it serviceably showcases the visuals which are exhilarating. overall this is criminally underrated and a bloody good watch. Go and see a real popcorn movie and enjoy!
This Stephen King film adaptation of his sequel to 'The Shining' is immediately more impactful than I remember the book being, even if neither attain the heights of the original (book or film of 'The Shining'). The film starts slowly and one's initial response is that we are in for yet another unremarkable screen treatment. However, once Ewan McGregor's grown up Danny Torrance makes contact with Abra, the little girl with his same gift, things start to rock n roll. The film is high on atmosphere with some brilliant cinematography and bombastic, but effective sound, and once it has a hold the film is mesmerizingly creepy and extremely effective. Impressive reconstructions of the sets from the original film come into play at the end and an effort has been made to style the look of Danny's parents around the original actors as played by Jack Nicholson and Shelley Duval. Make up and special effects add their contributions and, unusually, in today's cinema, the film gets better and more involving as it goes on. It's all complete tosh of course but it comes as a pleasant surprise to find that the film's hefty running time of 151 minutes has literally flown by.
The first thing to be said about 'Judy' is that Renee Zellweger gives a very good performance. Whether or not it is a good characterisation of Judy Garland is another matter altogether. All too often one can see the familiar inflections of Zellweger behind the mask. However, she is still the best thing about a film that is wildly uneven in nearly every aspect. Some scenes ignite, whilst others count for little. The backstory and screenplay are just not worthy of the central performance and the film ultimately seems like a series of vignettes of varying quality. A lot has been commented on about Zellweger's lack of a singing voice to be compared with that of Garland. This may well be true but, for me who is not a Garland aficionado, she seemed absolutely fine. Of course this brings me back to my first point and hinges on whether or not you are comparing her to Garland (which ultimately we are being asked to do)or just enjoying a consummate performance of someone who could be playing anyone. So what works: Well, a scene of two devout fans meeting her at the stage door and taking her home for a late night supper is beautifully played, as are most of the staged musical numbers (appreciation of the voice not withstanding). Flashbacks to Garland as a young girl are also pointedly compelling. Costumes are evocative and the make-up is generally very convincing. However, even here at certain angles, the real Zellweger shines through to remind us of the artifice. The last twenty minutes packs an undeniable emotional punch with Zellweger emoting 'Over The Rainbow' to moving effect, despite some rather jarring, not to mention manipulative, direction from Rupert Goold. Overall not bad but, it should, and could have been so much better.
My favourite film of all time, which I must have seen getting on for 150 viewings. The iconic Carrie is astonishingly powerful and heart breaking as portrayed by the brilliant Sissy Spacek. Kudos to all the cast who were fresh at the time, although only Travolta really went on to further acclaim. Piper Laurie was already an established name from the 50's and she is supurb here. DePalma's direction is faultless. Style and confidence rule the day. Editing is fluid and Pino **** score reminds one that they really don't compose lush melodies form films anymore.
A sublime fim. One to see again and again.
A somewhat lacklustre and unnecessary reboot of the far better 90's toon. Whilst watchable this Aladdin fails to fly even with the aid of a magic carpet. Will Smith, although not bad, is no substitute for the comic brilliance of Robin Williams as the genie and the songs lack strong orchestration in their arrangements. The new song 'Speechless' also underwhelms. Production Design and Costumes are fine, but their is a lack of an authentic feel to the whole enterprise. The special visual effects are probably the best thing about a production that just feels flat and uninspired.
For a film that gets so passionately hot under the collar about change and equal rights, this is quite conventionally made. Felicity Jones does a good acting job, but I'm never convinced that she is anything like the real R B G. Entertaining it is, but a trailblazer it most certainly isn't!
'In Plymouth everyone knows everything' states a minor character to Matthew McConaughey's ex war vet turned struggling fisherman. His reply of 'except what the f*** is going on', is totally apt. Given an impressive trailer, that promises a different film, and two Oscar winning stars on board this should have at least been journeyman work. Unfortunately, it can't even be called a good bad film. It's just very bad. McConaughey is not the only one in the dark with regards to the silly and baffling plot. He, along with Anne Hathaway as a somewhat down trodden femme fatale give the worst performances of their careers egged on by the appalling screenplay. Matt mugs shamelessly and Anne is borderline hysterical throughout. One pities poor Diane Lane, usually so poised and elegant, but who here just manages to maintain a semblance of dignity by being mercifully underused. Probably the worst film you will see all year. You have been warned.
A fairly entertaining revenge thriller which requires very little brain power. Liam Neeson does what he does in this kind of role and does it well enough. The Canadian locations are just fabulous and Tom Bateman makes for a very charismatic baddie. I must say I went in expecting not to enjoy it, but it does sort of engage you even if at times the editing feels a bit slack and the pace a tad off. The violence is often offset by some delicious black humour. On the negative side Laura Dern is just wasted.
Hannah starts off looking like it is going to be one of those arty bores that is their only to please the initiated few, and in fairness it doesn't dispel those initial feelings entirely. However, as the film unfolds a superlative Charlotte Rampling draws the viewer into her small and somewhat tragic world. The film has little dialogue, no big action scenes and a lot is left unspoken as to why her life is as it is. Reasons are actually not important as the film is more interested in showing us this character gradually breaking down due to her situation rather than from what caused it. Hints are given, but it is finally left to an intelligent audience to come up with any answers.
Punctuated by some amazing scenes (An early celebration turns violent; the couple menaced by a racist cop)that are very well written and acted, the film is ultimately undone by too many others (Two male friends discussing prison) that are protracted and uninteresting. One's investment in the story soon dwindles and even admiration for technical achievements (Cinematography; editing; music)diminishes as the film finally limps in at nearly two hours. Also, it has to be said that Regina King's performance (Oscar! Really!) must be one of the most over rated for years. She's fine, but that's it.
Fast furious and frenetic. This is like reading a book without punctuation. An indecipherable story line still provides much wit and invention that will keep those kids and adults interested more than content. Throw in at least 3 reasonable songs and adulation will just soar. For those less enamoured everything is certainly not awesome and the drawn out multiple endings is just the nail in the coffin for the detractors.
This documentary about free soloing enthusiast Alex Honnold is often so nerve janglingly tense that it is often very difficult to watch. However, watch we do with a mixture of awe and horror as Alex scales El Capitan, in Yosemite National Park, without the assist of ropes or any other support. Courageous or foolhardy is just one of the questions that immediately come to mind. Whatever the answer the doc makes for very emotional and visceral film making. Yosemite looks like the Amazing place that it is and I am sure tourism will increase as a result of the film. The song 'Gravity' at the end credits is a nice final touch.
Nowhere near as good as The Jungle Book despite some reasonably good visual effects. The telling is just not vital enough. However, the main problem is the disconnect between characters and the actor's voices playing them. Only Cate Blanchett and Benedict Cumberbatch convince as Kaa and Sher Kahn respectively. Otherwise portrayals are lame and embarrassingly unconvincing.
This Critics darling will find its nemesis with the general public. I mean, really , what is their to love. It's long, slow and largely uneventful. The baby scene and the swimming scene, which come towards the end of the film is as good as the drama gets. The most over rated film of this year which underlines how pretentious a lot of film critics are. Come back Bohemian Rhapsody their was nothing to forgive!
The concept is quite simply brilliant, but after about an hour it seems to have played itself out. Adults may enjoy it more than children as it is too sophisticated for young kids to really understand. Let's face it isn't the Emoji Movie which was generally more enjoyable and probably easier for kids to digest. Flashes of brilliance abound, however.
'It's a mess' states Dakota Johnson with remarkable insight around the 2 hour mark of this appalling remake of a not so 'classic' 70's horror. It's going to get worse is Tilda Swinton's depressing reply, and indeed it does culminating in a blood bath that brings to mind the over the top orgy scenes of Ken Russell's 'The Devils' made in 1971. Dario Argento's original film made in 1977 at least had some striking visuals and a decent colour palette going for it even if it does remain an over rated mystery to me. This loose remake is almost desaturated of any colour, and story wise is an awful mess lacking any cohesion or interest. My rating of '1' is purely down to two fairly well edited dance sequences. As for the rest what was director Luca Guadagnino thinking. Yes, this is the same director who gave us such delights as 'A Bigger Splash', 'Call Me By Your Name' and 'I Am Love'. Let's hope he returns to form soon. This is a disaster!
'Let's Go' exclaims Viola Davis around the 2 hour mark of what has up to this point proved to be a tedious and unexciting venture purportedly based on the British 80's tv series. One suspects that she should have made this remark to director Steve McQueen a lot earlier. The subsequent 20 minutes do nothing to redress the balance and the film ends up a long and pretentious dud demonstrating no 'GO' whatsoever.
The cast do their best with Davis demonstrating one pained expression after another and Elizabeth Debicki providing eye catching support. However, it is Robert Duvall who really brings his few scenes to life as the retiring politician disenchanted with the political path being taken by his son (Colin Farrell). McQueen seems to be better at handling more complex/important issues in films like '12 Years a Slave' and 'Shame'. His direction here is as slow as a tethered tortoise lacking any urgency or pace that the genre requires. The routine screenplay doesn't help and the movie ends up feeling messily truncated in many scenes, although at nearly 2 and a quarter hours tighter editing would have been a welcome relief.
The final heist is an almost insignificant let down and the film on the whole is a major disappointment. Also what is it about Daniel Kaluuya that has critics reaching for superlatives? His appeal definitely eludes me! The best thing about this misconceived enterprise is the end titles song by Sade called 'The Big Unknown'. On this evidence the film deserves to remain just that!
A WORTHY CANDIDATE FOR THE MOST UNDERRATED FILM OF THE YEAR. Attacked by most critics for what it isn't rather than for what it is. Most Freddie Mercury fans want to remember him as presented in this film. The more seedy or sensationalist side is not pertinent for what his fans want to see. Rami Malek is just sensational in the lead role and the other band members are not given short shrift in a screenplay that is much better than reported. The film is compelling, thoroughly entertaining and the music speaks for itself. The recreation of live aid is fabulous and a special shout out needs to go to hair and make up for just an amazingly believable and wonderful job. Critics stop being so sniffy and enjoy the movie for what it is and not for what you wanted it to be!
despite a less than auspicious beginning, Colette finally finds a satisfying rhythm with the introduction of the first Claudine book. Keira Knightley and Dominic West have enough chemistry to keep the picture interesting and the costumes and music add another sumptuous dimension to a not unrewarding production.
Whilst this is undoubtedly the best version of this often told tale it still isn't without its faults. The first half of the film is almost perfectly constructed and Director Bradley Cooper has done a superb job in giving us a feel for the places and characters, an achievement that carries right through to the film's end. The problems arise mainly within the screenplay, the story of which is so familiar that the opposing fortunes of the two lead characters are predictably delineated in scenes that are clipped and rather awkwardly written. This aside though, there is a hell of a lot to admire and enjoy. Lady Gaga makes an impressive debut and is especially good when in her element performing the musical numbers. Dramatically she is no slouch either. There is also a very fine turn from Sam Elliott as Cooper's put upon brother. However, the real news and star being born here is Bradley Cooper. Wearing at least four hats as producer, Director writer and star, he excels in at least three of these roles. Not only is his direction fluid and rich, creating a milieu that is totally believable and enveloping, but his performance is also incredible. Who knew? Definitely the best of his career thus far. It is due to him that the film reaches some real emotional highs.
On the production side the cinematography of Matthew Libatique is stunning and the music delivers as we knew it would. At least three of the original songs have a chance at an Oscar win come March and my personal favourite 'I'll Never Love Again' perfectly closes a film, that whilst not perfect itself, is almost certain to endure and improve with age and repeated viewings. Eat your heart out Barbra.
Watchable, but vastly over rated not to mention overlong. This dissection of racism could only be made by a black man and comes over smelling of propaganda. The white man is painted less than his skin colour whilst the black man is cast as the hero. Hate is certainly the order of the day here, I would just question at whom that hate is aimed. A dangerous and provocative film that isn't actually that good!
Informative, emotive and at times shockingly revelatory documentary about the very talented, but ultimately tragic singer. This superior doc is so much more than a talking heads expose bringing into focus the times and the people surrounding the star. Director Kevin Macdonald has done well to ensure that the film is logically edited to maximise impact on Whitney's rise and fall leaving us with at least one sure thing for which she will always be remembered: That rich and beautiful voice.
The cast is the draw here and once you've said that you've exhausted all other possible interest in a film that gets by on a robbery. The robbery of an audience getting any entertainment value for their money. This is just a female cash in on an already limited and indifferent franchise. The cast surprisingly underwhelm. I really never thought I would find Cate Blanchett this dull. Anne Hathaway is the acting thief here really seeming to enjoy herself, and the film always livens up when she is on screen. However, that doesn't mean there will be an Academy Award waiting. The performance is strident, not subtle! The film itself is dull for the first hour, boring even. The robbery of the necklace is well executed, but credibility in all areas is such an issue that this temporary respite from disdain is just that. James Cordon is surprisingly good as the fraud investigator, but his screen time is short and can't possibly save a film that is already lost.
Excessive gore and a protracted running time eventually work against what is otherwise an above average **** thriller. It also helps that the two leads are very easy on the eye. Early scenes command attention and interest is kept high as one contemplates just where events will lead. However, the hunting down of culprits goes on for far too long to the overall detriment of the film. Sound is great and body make up is very convincing, the effects of which are sometimes hard to watch. The final confrontation is satisfyingly brutal bloody and exciting.
Glory be, I hear a lot of you say. A nearly all black cast superhero movie to push us yet further down that contentious road to equality. In addition a propensity of female names also headlining the behind the scenes tech credits, and it would appear that many will be signalling their approval and be very happy with the result. Add to this the appropriate accomplishments in Costume Design, Cinematography and (despite the odd wobble) Visual Effects and a positive euphoria must be sweeping all before it. Critically acclaimed, a box office behemoth and already garnering talk as the first superhero movie to be nominated for Best Picture at next year's Oscars. It almost seems too good to be true. Oh, did I not mention the script! How silly of me to omit all that mumbo jumbo of a storyline that seems to have nearly everyone in raptures. Forget 'Ladybird' and 'Call Me By Your Name' this seems to be the appreciated literature of today. Still, on a positive note, equality has most definitely been established as this is as underwhelming and mindless as are the white superhero movies. Bored anyone? ME TOO!
Sharply written and genuinely funny, dramatic and human by turn, this is a lot better than the rather cheap looking trailer implies. The cast are superb and Saoirse Ronan is fast becoming in danger of taking up the 'It Girl' mantle. I sincerely hope she doesn't because then all we can look forward to is the kind of disposable output that we often get from Roberts, Bullock, and now Lawrence. Greta Gerwig has made a film of real substance which is also accessible and delightfully entertaining.
Whilst the film has an abundance of funny lines it cannot seem to dispel a certain monotony which hangs over the whole enterprise. This results in the rather brief 89 minutes running time seeming considerably longer. That said, however, you could do far worse than indulge in the good natured intent of the production and it will certainly put a smile on your face.
A sublime film. Achingly well written. Beautifully and subtly performed and directed with such delicacy that you can feel and smell the environment. The score is pretty great too which includes an appropriately titled song called' mystery of Love', which is just gorgeous. The film looks wonderful,Sounds Wonderful and is one to be seen again and again. Timothee Chalamet stands out and Armie Hammer has never been better. Everyone may be talking about that fruity scene, but it is Michael Stuhlbarg's end monologue that raises the hairs on one's neck and arms. The scene is an electric wow and I doubt we will see its like for quite some time. Bravo.
Directed with a heavy hand, this is a very dull and boring political drama rescued only by Meryl Streep giving another of her signature performances in an undeserving film.
Good if somewhat less daring than it thinks it is. Racism, homophobia, **** and violence are just some of the ingredients in the mix in this not entirely satisfactory concoction. A mother,Frances McDormand buys billboard space to incite the local community out of their apathy with regards to the unsolved murder and **** of her daughter a year earlier. The film touches on many prejudices and judgmental attitudes only to go soft on everyone of them within an unbelievable time line. Let's face it people don't change their views that quickly, but this film wants its cake and eat it and ends up feeling somewhat patronising. The acting is good across the board, but the writing just gets softer and softer and ultimately doesn't convince.
After a quirky and humorous first half an hour leading up to the murder the film begins to derail. The interrogations begin and the film, pretty much like the train itself, comes to a halt. Until this point, Kenneth Brannagh, the fine editing and the exemplary camera work have contributed to a promising start. Brannagh presents Poiret with much charm and charisma and is really the only cast member (Michelle Pfeiffer not withstanding)with anything of significance to do. Production values are as predictably as good as they should be, but are still somewhat behind those of the earlier 1974 version. And let's face it that was no masterpiece either. However, at least in that one the cast had a bit more to work with. A remake was certainly not out of the question, it's just a shame that the result should end up being an opportunity missed. Also at 2 hours the film feels as long as the train journey itself.
Visually sumptuous and beautifully understated. Sofia Coppola has directed with assured confidence her best film to date, a remake of the 1971 version starring Clint Eastwood and Geraldine Page. The screenplay quietly bristles with sexual subtext and Nicole Kidman, Kirsten Dunst and Elle Fanning are more than equal to the demands placed upon them by so intelligent a re-imagining, where subtlety is the order of the day. One is left compelled,gripped and exhilarated. Definitely better than the original.
Flashy, entertaining, but just a little bit too pleased with itself. To base a whole film around a soundtrack is almost certainly asking for trouble and inevitably Edgar Wright's idea and direction are both a lot better than his screenplay, which on more than a few occasions pushed the bounds of credibility. The cast are firing on all cylinders but the film annoyingly see-saws between good and fair throughout due to some loose writing. Strangely the music choices are often only ok, although credit must be given for them not having been over used in other films. Standout music piece is a track by 'Focus'(taken from Focus Three if I'm not mistaken)to accompany a chase sequence on foot involving 'Baby Driver' Ansel Elgort, who for once is actually good in a role. As befits a crime thriller the editing is sharp and the sound is clear. It must be said that the film definitely leaves an impression after disappearing from the screen. I just wish that the writing could have made that impression more consistent for me to appreciate the resultant movie better.
Jessica Chastain's excellent performance is just one of the many delights on offer in this moving drama. At first glance one is unprepared for the pedigree of the film. The production values are outstanding and the story is not just another holocaust telling. The animals, which I imagine are a mixture of real and CGI, go through so much that It might be necessary for the producers to provide proof that indeed no animal was, in fact, harmed. A lovely and rewarding old fashioned entertainment.
Thoroughly engrossing drama based on a good story by Julian Barnes has some top class British actors giving great characterisations. Jim Broadbent shakes off his usual predictable mannerisms and is actually very good here and the story keeps you guessing right up to the poignant end. It's always good to see Charlotte Rampling on screen and the film also makes very good use of familiar London locations. A small gem of a film which is my favourite of the year so far.
A little of this ludicrous 'Reservoir Dogs' wannabe goes a long way. Everything takes place in one location and although there is undeniable attention grabbing action throughout, there is also a certain repetitiveness which begins to pall around the half way point. A game cast do all they can with unoriginal dialogue and there are as many expletives flying around as bullets. The whole thing resolutely refuses to sustain viewer investment, and an air of pointlessness is unable to be dispelled despite snappily impressive editing and a manageable running time.
A few good gags and some great moments from the baby can't disguise the fact that this is a good idea badly let down by a limp and uninventive story. To underline its shortcomings the film keeps disappearing into dislocated scenes and flights of fantasy which are just not engaging. The trailer promised much. The finished film, however, delivers little.
