During a radio producer’s last show, a serial killer invades her home threatening to kill her family.
The overwhelming suspense! Three thrilling acts that will keep you glued to your seats until the very end. There is not one dull moment throughout the film. Korean suspenseful narrative that, as usual, it does not hold back and does not disappoint. This is a story-driven thriller where all utterances and actions are held accountable for is going to happen next.
Excellent directing that the fast-paced editing unfolds the fabula and syuzhet exactly when the information is needed to be disclosed. Soo Ae and Ji-Tae Yoo shine on camera, creating a stimulating chemistry. Extra round of applause goes to the little girls for their equally brilliant performances.
Midnight FM is a must-watch and no matter what I say will not make it more appealing. I hope you enjoy it as much as I did.
A female assassin accepts a mission that turns her world upside down.
One of the most impressive and bloody opening action sequences you have ever seen! Nikita (1990), meets Kill Bill: Vol. 1 (2003), meets Doom (2005). And then, they all meet a tad cliché and unnecessarily convoluted storyline.
A young girl who witnesses her father getting murdered (1), gets saved and recruited by some people (2), who help her avenge her father’s vicious murder (3), but then gets caught by a government organisation (4), which offers to train her (again?) (5), and ten years later, she starts a normal life (6), but goes back to doing missions (7). That’s the story’s development. And then there is the character’s (un)development. Finishing the second training, she comes out with fewer skills than the first.
The editing is somewhat confusing too. Ten years fly by like months. And time flies by after that too until the last mission where it decelerates to real-time. The rhythm and pace of this film is a case study. As for the directing… Honestly, it feels like the opening sequence’s director quit or got sacked during act two, and came back just for the final confrontation.
Please watch it if you haven’t already, and feel free to share your opinion. Maybe it’s me.
A group of immortal mercenaries is been set up and hunted down, but together they’ll take down anyone who stands in their way.
Well-shot! Good job by Gina Prince-Bythewood as international films, especially of that magnitude, can never be easy. Too many locations, too much cast and crew, too many permissions to shoot, and too many visual effects. I believe it’s her most ambitious film to date so, well done! Charlize Theron and her multinational/multiracial team of mercenaries create great chemistry in front of the camera, offering plenty of action but also laughter when they take out and wield their weapon of choice.
Now, I would say that the film’s score is not a perfect match. Maybe I kept having the graphic novel in mind while watching, and, while reading the comic back in the day, that’s not the music I had in mind. I can understand that the film’s target audience is not me so, for younger people maybe it makes more sense. It is very well edited though (on that music), so the rhythm and pace compensate.
Before hitting “play” remember: This is a Skydance & Netflix production. The Old Guard follows the standard, New Hollywood narrative, aiming at an audience that has no interest in Italian neorealism. It is entertaining though and I enjoyed all the effort put from everyone in front and behind the camera. I hope you do as well.
Determined to avenge the death of his partner, a huge cop with limited vision recruits an Uber driver to take him to the city’s most dangerous parts.
Watch the trailer! What you see is exactly what you sign up for. If you like it, you’ll like the movie. If not… Bob’s your uncle. In a nutshell, Stuber and the genres accompanying it, describe accurately what kind of a film it is: action/comedy/crime. There is a crime and then there is a lot of comedic action that follows it. Dave Bautista and Kumail Nanjiani make a funny duet in a project that looks like… erm… a… version of Taxi (1998)? It isn’t, but you get the idea. Mira Sorvino, Natalie Morales, Betty Gilpin, Iko Uwais, and Karen Gillan complete the cast and charm the film even more with their presence.
There is no reason to be negative and bitter about films such as Stuber. It is an R-rated funny-buddy-action flick with the only noble intention to entertain you and nothing more. After watching the evening news, Stuber is definitely the right choice before bed.
A hard as nails cop joins forces with a crime boss to take down a serial killer.
Based on a true story, The Gangster, the Cop, the Devil will get your undivided attention right off the bat from the opening scene. The South Korean film school proves time and time again that no matter what the genre, the outcome will be fulfilling and worth every minute you spend on it. Mu-Yeol Kim and Ma Dong-seok as cop and gangster respectively, develop excellent chemistry in their unlike partnership, offering a high-octane action / thriller trying to capture an unknown serial killer.
Captivating photography, engaging editing, and brilliant character and story development. Ma Dong-seok, after his amazing performance in Train to Busan (2016) comes back, punching above his league and comes out a winner stealing the show. Also, check Mu-Yeol Kim in Forgotten (2017) https://kgpfilmreviews.com/2020/05/25/forgotten-2017-mystery-thriller/. Both films HIGHLY recommended.
A young woman picks up her husband from prison but a car accident will put them up against hostile locals and a monstrous legend of the woods.
I’ll start with the good news, it’s less. Intriguing story. Not very original, but makes an interesting bigfoot logline for a film. The ones who have worked hard on this film are the makeup department’s boys and girls, making everyone’s death gory and fun.
All the rest belong to the opposite of good news. Directing, acting, and script are at best mediocre. Shame to see a decent story be somewhat crashed by the very departments that were meant to elevate it. But the story survived the crash… only to get irreparably crippled at first and then face a slow, painful, and vicious death – worse than any creature can cause – by editing. It is by far one of the worst edited films made in modern history. Absolute shame.
A fifty-year-old list of numbers prophesying every major catastrophe that took place ever since will make a professor of astrophysics, and a single parent, to race against time to prevent the ones that are yet to happen.
Is pessimistic optimism a term? Does it make sense? It doesn’t, does it? Be it as it may, that’s the oxymoronic feeling you get out of Knowing. But first things first…
“Randomness vs Determinism”, from a philosophical and/or scientific point of view, will become the setup’s foundation, and your mind’s internal debate while watching the confrontation unfolding. One of my favourite Nicolas Cage movie from the noughties where, back then, I couldn’t find many flaws. Watching it now for a second time, eleven years later, I spotted certain plot holes and gimmicks but I didn’t let them get in the way. Yet, it answers all the questions it raises halfway there (not even in the end), and that feels a bit spoonfed for my taste. Regardless, Cage is the right man for the job, Rose Byrne delivers a great performance, the kids are surprisingly convincing, and Ben Mendelsohn, be it in a leading or supporting role, always nails it. Once again, it’s a shame that the film answers everything for you.
The man in the director’s chair is Alex Proyas, a director whose niche is dark fantasy/sci-fi. My personal bests are: The Crow (1994), Dark City (1998), and I, Robot (2004). Unfortunately, he has not been involved in many projects and some of them, I believe, were beneath him. I look forward to watching something of his ’90s style soon.
(Not)Fun fact: The film predicted the BP’s oil spill in the Mexican gulf the year after.
A self-destructive, black market mercenary signs up for a deadly mission where allies and enemies are difficult to tell apart.
I’m gonna start with the bad news: The script, unequivocally, has more holes than Swiss cheese. Something that, unavoidably, leads to clichés. Without wanting to decimate both the story and the plot, know what yousign up for! Two hours of standard Hollywood, action narrative, seriously lacking plausibility, and character depth.
Now for the good news: As a representative example of cinema of attractions, Extraction‘s mid-fighting sequence, where everyone is after Tyler and the kid, the seemingly almost-12-minute, protracted shot is brilliantly made. This type of filmmaking is challenging as hundreds or thousands of people put their magic touch to look as impressive. A lot of people are getting injured in front of the camera, and a lot of people are working endlessly day and night behind it. What’s more, Chris Hemsworth nails his part as the tough as nails guy who suffers internally more than he suffers when he gets run over and shot. Sam Hargrave’s directorial debut who has come a long way from a stunt double (Chris Evans’ as Captain America), to stunt choreographer to here. And been produced by the Russo Brothers, I can assume that MCU is indeed… a family. I admire people like Hargrave. He reminds me of other successful stunts turned directors and producers such as Chad Stahelski and David Leitch, and Zoë Bell. It is a hopeful sign that talent and hard work pay off.
So, who is this film for? For everyone who wants to forget our deeply damaged reality, consisting of shameless hypocrites and cowards who found themselves in power – or represent it. Turn off reality for a bit and see how popcorn entertainment can serve its purpose. My heart goes out to the people suffering. But remember:
“[…] Through every dark night, there’s a bright day after that. So no matter how hard it get, stick your chest out, keep ya head up…. and handle it.” ― Tupac Shakur
Following an inexplicable, devastating earthquake, the crew of an oceanic drilling company must find a way to the surface while their whole facility collapses and creatures they have never seen before are after them.
This is the first time I watch a film, feeling like starting with the second act. I mean, as if the first act has been completely edited out. I would really like to get the shooting script and see if the script faded in this way or this “innovation” took place in the cutting room. Anyway, that’s the first strike right off the bat. The film’s main problem starts before that… in Hollywood. The vast majority of Hollywood producers never truly understood H. P. Lovecraft’s vision. They never grasped what the Cthulhu Mythos is. I might be wrong here but, as kids, they never really turned the lights off and scared themselves sh*tless with his cosmic horror. As adults, they only saw his stories as the cash cow; a means to make money! And that’s why the results are such.
Lovecraft’s stories are meant to inspire fear. His creatures cannot be fought. They hunt you and they haunt you and there is nothing you can do about it other than run and pray. And even then, the denouement will most likely not favour you. My second-best Lovecraftian adaptation is Color out of Space (2019) – https://kgpfilmreviews.com/2020/02/07/color-out-of-space-2019-horror-sci-fi/ and even though there were unresolved issues, director Richard Stanley managed to conceptualise his vision. But my number one old-time favourite adaptation still remains John Carpenter’s In the Mouth of Madness (1994) – https://kgpfilmreviews.com/2019/01/04/in-the-mouth-of-madness-1994-drama-horror-mystery/. Only if you watch it (or if you have) you will know what I am talking about. Having said that, the visual and sound effects teams did an amazing job with the creature(s). I must admit that that was really impressive. As Jessica Henwick always is. This isn’t William Eubank’s fault. He is a brilliant director and I look forward to watching his next couple of upcoming projects – I loved The Signal (2014).
In the world of Lovecraft, there is no action. Only struggle to remain sane while desperately trying to find any way out of it.
After losing her family in a terrorist attack, a young woman goes to extreme lengths to find and confront the people behind it.
I was really looking forward to this one but when it was released all hell broke loose. I will assume that that was the case for thousands of people and, mainly, that that was the reason for “one of the worst box office openings in history” – Bad Boys for Life (2020) though was released a fortnight prior to it and triumphed.
So, as that cannot be the only reason, I’m trying to get the full picture here. The story itself is not original but there is no such thing anyway so, my guess is that there are two problems. One, lies with the low level of espionage and the information surrounding it. People are found just… easily. Secondly, Stephanie was taken in… easily. “B” thought she caused big trouble with her actions, he didn’t believe in her skills, yet, he started training her straight away. That didn’t really make much sense.
Having said that, the film is well shot. The photography is dark, the editing advances the story and drives it forward, Reed Morano’s directing is challenging, to the point where I would say exceptional, and Blake Lively proves to be the up and coming mercenary / assassin. The car chase is the film’s trademark and will get you on the edge of your seat. Also, the realistic fight sequences add extra believability to the heroine’s journey.
The film’s challenges are understandable but with James Bond‘s producers behind it, it shouldn’t be too much of a problem to get made. Again, my humble, unsolicited opinion is that the problem was the script. More time should have been spent on her acceptance, her training, and the difficulty to acquire the targets. Morano and Lively put a tremendous effort and that needs to be recognised.