The day’s unprecedented heat brings out everyone’s worst side in Bed-Stuy, Brooklyn’s diverse neighbourhood.
31 y/o and Do The Right Thing couldn’t be more relevant! The absolute comedy/drama on hysteria and bigotry could as well be a case study on human behaviour. Inspired by a true event (Howard Beach), it manages through ‘love and hate’ and laughs and tears to serve as a reminder that it is up to us to either move forward or stagnate into primitive notions about who we are, where we belong, and what our rights but also obligations in this world are. It is also a wake-up call as the gravitas of our utterances and actions really matter, affect and profoundly shape the society we live in. Finally, it is Spike Lee’s testament to the fact that the problem doesn’t lie in someone else’s skin colour but in front of the mirror.
Danny Aiello, Ossie Davis, Ruby Lee, Richard Edson, Giancarlo Esposito, Spike Lee, Bill Nunn, John Turturro, Joie Lee, Samuel L. Jackson, Rosie Perez, Martin Lawrence (film debut) and so many more deliver one of the most vivid and memorable performances of their lives. The actors’ numerous improvisations throughout the film make it one of a kind and everyone in front and behind the camera deserves a round of applause. An extra standing ovation deserves Kim Basinger for acknowledging the film in the 1990 Oscar ceremony, and Thomas Philip Pollock, the Universal President at the time, who genuinely understood and truly believed in Lee’s vision and distributed it without interfering with the creative process.
13 years before Edward Norton’s [25th Hour (2002)] infamous monologue against every race under the sun, there was Do The Right Thing. See how it all started and wonder what the right thing to do is…
A young boy who struggles in Hitler’s Youth finds out that his well-respected by the Nazi party mother is hiding a Jewish girl in their house.
Unwillingly, I was informed that an archipelago of 10/10’s swarm across IMDb about JoJo Rabbit. So, I thought to myself, ‘interesting…’ Having been familiar with the plot, I thought that it would be The Pianist (2002) meets Top Secret! (1984) – weird, I know! Well, it wasn’t. So, I am partially to blame for this as I prepared myself for something that was simply not. The first hour or so made me smile on a couple of occasions but I struggled to find it funny. Then, due to the particular type of satire, I struggled to find it dramatic. 30 wins and 142 nominations, including Oscar win for Best Adapted Screenplay, and I couldn’t make my mind until about an hour into the film whether I like it or not.
But then the last half an hour the film found a balance that, me personally, I think it lacked before. And Roman Griffin Davis, Thomasin McKenzie, and Sam Rockwell made this last half an hour a proper gem. This last half an hour got my undivided attention. If you’ve watched it or if you intend to watch it, let me know what you think. Rebel Wilson, Alfie Allen, and Stephen Merchand are brilliant additions to the cast. Scarlet Johansson’s two Oscar nominations this year must have a put a yet greater smile on her (lovely) face. In the Marriage Story (2019) she definitely deserved that nomination. Here, once again, I struggle to see why. Shame that Sam Rockwell wasn’t heard much, he makes all the difference in the world.
Regardless of what I think of the film, Taika Waititi is a true artist so, I really hope you enjoy it.
Ten years have passed since the zombocalypse and Columbus, Tallahassee, Wichita, and Little Rock must now face dumb, smart, stealthy, and rough zombies, deal with domestic issues and ally with lookalikes, hippies, and a bimbo.
Double Tap, is the sequel I was reasonably afraid it will have nothing more to offer when it comes out. Having seen numerous sequels over the years flopping due to franchise fatigue or been outshadowed by their predecessors, can you blame me? Well, ten years later, Double Tap did come out, proved me wrong, and it was more than I was hoping for. Director Ruben Fleischer, intentionally influenced/inspired by George A. Romero and Edgar Wright, manages to find new creative ways to either put a smile on our face or make us laugh out loud. The script is solidly inundated with comedic additions and alliances, and horrifically funny villains, offering the well-known by now group of four an arsenal of punchlines, perfectly fit for every occasion. Out of the A-list star cast, which does a brilliant job in front of the lens, Woody Harrelson and Zoey Deutch unequivocally stand out for being surrealistically funny.
I’ll seize this opportunity to say this as I’ve been holding it for some time now… Abigail Breslin seems like she doesn’t want to act anymore. Is it the burden carrying from her mesmerising performances in Little Miss Sunshine (2006) and My Sister’s Keeper (2009)? Is it the ‘curse’ of the child actor/actress? Is it personal or professional obstacles that we are not aware of? I still believe that given the right role she can ‘shine’ again and I really look forward to that day.
Definitely worth the just over hour and a half in front of the telly as it will make you forget your problems and send you to bed. And next day is always a new day… with a new film!
A married couple with a little kid decides to break up and both parties reveal their best and worst hidden sides of themselves.
Even though ‘it takes a village to make a film’ and every department plays a significant role in a film’s success or failure, five major ones (not in a particular order) need to become a solid one to guarantee Marriage Story‘s success: Directing, cinematography, editing, writing, and acting. Writer/Director Noah Baumbach, cast actors Adam Driver and Scarlett Johansson during the script development and all three of them put the ‘FADE OUT’ in the end. As all three of them had been or were going through divorces, the film is largely based on their real-life experiences, and it is that kind of realism that is translated to the big screen and the film’s final cut. Everyone poured their souls in it and, as per IMDb, this is what happened: Top Rated Movies #171, nominated for 6 Golden Globes, and another 81 wins & 177 nominations.
The way editing controls the film’s pace and rhythm is remarkable. Without saying it’s right or wrong, the cuts during the dialogue – cutting from the person talking/crying/exploding to the other person’s reaction – make an interesting case as, me personally, I would expect maybe less reaction. I bet the drafts were endless though and, since the final cut works, I just take it as it comes. The mise-en-scène is flawless and Baumbach with director of photography Robbie Ryan have captured and framed only the essential to the story elements. Last and most certainly not least, Johansson and Driver purely unleash their thespian talents and, arguably, deliver the most hair-raising performances of their lives. Forgetting the high budget tentpoles they are currently in – Avengers and Star Wars respectively – they become part of a love story wrapped in self-absorption and insecurities. Interesting background production details can be found here: https://www.imdb.com/title/tt7653254/trivia?ref_=tt_trv_trv
The labyrinthine nature of a human being knows no limits. When two human beings come together, the stakes and unpredictability are doubled and when a family is created a small society is born under the same roof. Hundreds of millions of these societies form bigger societies that constitute the world as we know it. And its intricacies and complexities can only be matched with the Universe’s mysteries.
Men in Black, the secret government organisation with the cream of the crop agents and the advanced technology from all over the known Universe is now having a mole who threatens to destroy the Earth.
The reasons are obvious as to why it didn’t perform well. Barry Sonnenfeld, director of Men in Black I (1997), Men in Black II (2002), and Men in Black III (2012) gave MIB an appealing character to men, women, and children of all ages. F. Gary Gray and the studios decided it’s a wise choice to ‘devote’ Men in Black: International to millennials and, as a result, it was turned into something unfulfilling for everyone else – even them evidently. To be more specific:
Online childish slang (?) such as ‘you had one job’ and ‘that happened…’ were only put there just to have these lines heard by their favourite actors/actresses.
Both men and women, we acknowledge that Chris Hemsworth is attractive. Fair enough, but to make him look like he just finished a fragrance photoshoot or an underwear ad throughout the whole film kills the vibe, throws the fans of MIB off, and ultimately depreciates the franchise’s value.
I know it’s an action/comedy/adventure but the main hero comes to realise something he never expected about himself (no spoilers). Do we feel like he is really affected by it? No. That kills the drama. And as a whole, I didn’t really feel anything about anyone as it was all…
Fun! Comedy works in mysterious ways and what makes people tick varies. BUT… having a punchline for everything that happens for almost two hours creates one emotion for every situation.
Men in Black: International became a lose-lose situation for studios and audiences alike. Will Smith and Tommy Lee Jones (even Josh Brolin) became MIB by earning their stripes. F. Gary Gray is an amazing director. Friday (1995) and Straight Outta Compton (2015) are brilliant examples of his work but Matt Holloway’s and Art Marcum’s script didn’t do any favours to anyone. If you also want to admire Chris Hemsworth as a presence but also a thespian, watch Rush (2013), In the Heart of Sea (2015), Bad Time at the El Royale (2018), and of course, the Thor/Avengers franchise.
I’m not even gonna go into production details and I feel sorry for not having something good to say (except that Tessa Thompson is always mesmerising).
If you still feel fancy watching it, you can find it here:
Leading a repetitive life, Larry Burrows, on his 35th birthday, wishes his life was different, more exciting… and this is exactly what he gets!
How many times have I watched this film is beyond me… And I think I’m gonna grow old and grey and I’m still gonna be watching it. Yes, it’s very similar to the classic masterpiece It’s a Wonderful Life (1946), but since I was a kid when it first came out, I grew up with it, and I couldn’t help but stop thinking about… what if my life was different? As I kept growing up, till this very day, till this very moment, writing this review right now after just having watched it (again), I am wondering why does this film age so well? What is it that makes it so diachronic that I can’t stop having enough of it.
I guess I wouldn’t watch it any other period other than Christmas/New Year time. It is the time when, if not all of us, most of us contemplate a bit more about our new year resolutions. It is that time where we look back and ask ourselves, what could I have done differently? What do I lack? What do I have in abundance? Why would I want my life to be different anyway? It might be all these would haves, should haves, could haves that loop in our minds with warp f@£$%^& speed causing this effect. I think I’m digressing…
Anyway, Larry Burrows is John Belushi. And not like a film poster kind of way. I mean that I can’t imagine anyone else portraying him and I kinda don’t want either. Michael Caine is visual poetry. Linda Hamilton is to fall in love with and proves, once more, to be so diverse actress that I take my hat off to her and bow. Rene Russo always had been and always be lighting up the screen when appearing on it. As for Courteney Cox, she is… a killer! Last but lost least, it is an absolute shame that we don’t see the amazing Jon Lovitz in many films anymore – series mostly.
Mr. Destiny had a big impact on my life, and it has inspired my screenwriting in ways that I can’t begin to describe. I hope you enjoy it as much as I have over the decades.
An ambitious young man is put by the board of directors as president in a… convoluted company involved in a stock scam.
‘It takes a village to make a film’… and The Hudsucker Proxy is the living proof – and the best side of Hollywood. Joel and Ethan Coen write (alongside Sam Raimi), direct, and produce one of their best and underrated films to date, focusing on a man’s ambition, the crowd’s paranoia, the Media’s superfluous vanity, and the corporate greed! In addition, Carter Burwell’s music, Dennis Gassner’s production design, and Roger Deakins’ cinematography pay a true homage to the films of the ’30s and ’40s. Thom Noble’s meticulous and precise editing paces the film from beginning to end. Great montage sequences delivering passion, laughter, drama, and rhythmic film magic.
A naive Tim Robbins, an extremely articulate Jennifer Jason Leigh, a sexist Bruce Campbell, and the legend Paul Newman develop amazing on-screen chemistry and one cannot help but fall for them. The film’s brilliance is such where the devil’s in the details. For example, Robert Gallagher’s character ‘Vic Tenetta’ shows up for just a few seconds and the screen lightens up.
And now for the shocking facts: Not even one Oskar, Golden Globe or Bafta Nomination. 3 wins and 3 nominations all and all. And that’s not just it! It cost approximately $40M and made $2,816,518. I think, sometimes, it’s surprising what makes people tick and what doesn’t. But I know that, always, when it comes to the film industry, all bets are off!
Having never left the rock bottom, Willie follows again his angry sidekick and puts the Santa suit once more only, this time, to rob a Chicago charity.
Still hilarious, still politically incorrect, still Thornton and Cox! Once more, the starting monologue followed by the alley vomiting, mirror the same reality Willie still lives on, highly indicating that he learned nothing for his past mistakes and that his life never took off. Thankfully for us, this is the case and consequently, he accepts Marcus’ next job… alongside his mother. The dysfunction in the family shows straight away, and we, as the audience, get to enjoy the results.
Even though not as funny as its predecessor, Bad Santa 2 is a must-watch during the Christmas period and the perfect antidote against… soppy, yawnsome, dead-boring romance/comedies which you’d rather watch paint dry. Thornton and Cox are still the Willie and Marcus we love and Cathie Bates is a great addition to the cast! Extra round of applause deserves Brett Kelly for getting Thurman Merman’s physique to match his old self. Oh, and Christina Hendricks is as seductive as always…
A miserable thief and his angry sidekick keep posing as Santa and elf to con people but their Christmas Eve job goes terribly wrong.
Watch the unrated version! Right off the bat, Billie Bob’s monologue! This is when you know exactly what you sign up for; ‘an eating, drinking, shi*ing, f*ing Santa Claus’! Billie Bob Thornton, Tony Cox, and the always missed Bernie Mac make you laugh hard for an hour and a half. Plenty of foul language – with the word ‘f*ck’ and its permutations (over 170 times) ruling at the top, ‘sh*t’ (74), ‘ass’ (31), ‘bitch’ (10), and 1 use of ‘bastard’ plenty of political incorrectness, and plenty of actual booze… for Thornton… acting himself. The Cohen brothers and director Terry Zwigoff have done a brilliant job refining Glenn Ficarra’s and John Requa’s script. Excellent mix of Christmas and classical music!
Despite its hilarious profanity and misery, Bad Santa sets off as a dark, dark comedy, ending up being an emotional journey of a lonely, broken man who finds a reason to live.
Six highly, uncommonly skilled – each in their own way – men and women have formed an anonymous team for the sole purpose of… making the world a better place.
Michael Bay does what Michael Bay does best. What do you expect from 6 Underground? Slo-mo? You got it. Slow-mo with car chases? But with also faster than you can blink cuts? You got it. Shots with choppers? You got it. From within choppers? Over the choppers? Against the sundown? With whirring blades (slo-mo of course)? Shots with men and women throwing punchlines at the brink of death, swapping to superficial drama, killers looking like they came out of underwear or fragrance ad? You. Got. It. All!
At a budget of $150 million, Netflix urges Bay to just destroy everything – preferably with explosions. Everything nice you see in the film will get destroyed. Simple as. Story-wise, the high levels of implausibility, improbability, and impossibility run through the film’s veins from the opening to the closing credits, making the Fast & Furious (2001- ) franchise look like a based-on-a-true-story. Meaning: The operations and the decisions taken throughout the operations are purely laughable, the chances of survival having suffered certain wounds are zero (much less keep running and jumping around, shooting, and kicking ass), the access to whatever they need, whenever they need it, the warp speed of getting from one country to the next… I can go on forever here! But… I have a favourite one: The brother’s speech causing the fastest revolution ever started in a film!!! The revolution started before even the speech ended. And, cinematically, guess how? Accompanied by pop, hybrid music, or whatever the hell it’s called nowadays, with lyrics calling to arms. I think I’m gonna stop here, you got the gist.
Here’s my two cents. Don’t take 6 Underground seriously for a minute. Know what you sign up for, sit down, relax, surround yourself with great company and horrible food, and enjoy the Bay style of filmmaking that makes all your problems disappear for two hours. This way, you’ll get to enjoy:
High octane, multiangular action sequences,
The destruction of everything looking fancy,
Entertainingly gruesome deaths,
Buildings and surroundings that are meant to be in one country but are shot in another,
Ryan Reynolds blatantly advertising his Gin,
Ryan Reynolds as an endless punchline machine,
Funnily foul language,
The “magnet sequence”,
“Rebellious” heroes and heroines who just came out of a Christian Dior and Calvin Klein photoshoot,