A disgraced rookie drone pilot and a prototype android officer are sent to enemy territory to stop a nuclear attack.
Very bad from the very beginning! Having served in the special forces, let me put it this way: There is NO WAY you can get away with what Harp did! You are done! Finished! In and outside the army! From thousand of miles away, eating gummy bears, chilled, while marines in the battlefield drop like flies, and then you kill your own! NO. WAY.
I would say that from then on the film goes downhill but this would require for it to have started from a certain height. It starts from the bottom and stays there. It miserably fails to evoke any emotion at any level in all three acts. No suspense, no drama, no humour, no relatable action, no relatable characters, and then, no science, no reason, confused moral compass, and confused geographic compass. All the confusions and the no’s are nothing but the result of a bad production that is the result of a terrible script. It is like John Wick (2014) meets Terminator 2 (1991) meets Lord of War (2005) that finally meets none of the above and fosters a two-hour, old-fashioned, American, propagandistic, nonsensical, pedantic mashup of nothingness.
I do value Netflix, director Mikael Håfström, and Anthony Mackie and I hardly speak like that about the films I review. This one though undermines human intelligence and has immoral and dishonest intentions so, I’ll pretend I never watched it and move on. I suggest you do the same, and if you haven’t watched it, don’t!
Producer/actor/director George Clooney has put his heart and soul to it. He might not be appearing enough lately – his last feature film was Money Monster (2016) – but in front of the camera he is as great as he meticulous behind it. Suspense’s favourite narrative technique is “delay of resolution”. The journey of Augustine and Iris to the weather station will make your heart skip a lot more than a beat as will the meteor shower’s sequence in space. Extra credits go to the sinking container scene. Both the journey on Earth but also in space, go through various tribulations and the dramatic parts in between will give you the time to bond with the characters. Felicity Jones, David Oyelowo, Kyle Chandler, Demián Bichir, Tiffany Boone, and introducing Caoilinn Springall, give amazing performances and enhance both the drama and the suspense.
But I believe the film’s strongest suit is the narrative structure where the fabula and the shyuzet are organised in such manner that reveal only what you need to know, when you need to know it. Keep postponing what you want to know. What has happened will not be revealed to you that easily and will you definitely need to read between the lines. The levels of knowledge vary throughout the film. You don’t know exactly what Augustine knows but you still know a lot more than the crew does. On the other hand, you know almost everything that is happening on the satellite when Augustine knows nothing but you know as much as they do when it comes to the global disaster. No matter what the narration remains restricted at all times and you are not the omniscient spectator you would like to be.
After most of it is said and done, it all comes down to what your expectations are prior to hitting ‘play’. It is not an action film. It is a cosmic journey to finding a place to start anew and it an esoteric journey to remorse, redemption, and our deepest regrets. Yet, people found the ending… unfulfilling.
It is not the ending that is unfulfilling. It is the connection with ourselves, and, consequently, the connection with the people we love and they love us back.
An ambitious architect who thinks that everything is an obstacle to his success finds a remote that, allegedly, can solve all of his problems.
Honestly, I never thought this would be one of my favourite comedy/dramas – especially with Adam Sandler in it. But the story resonated with me for more than one reason. Let me get the pleasantries out of the way though.
Adam Sandler is funny, he is made for roles like these. The exaggerated tragicomedy surrounding a remote that controls your life could be a bunch of different films in the hands of different writers. Steve Koren and Mark O’Keefe wrote a condensed comedy (for the first part) about a guy who just wants to succeed in life as he had enough looking at the greener grass next to him. He finds this remote and, as probably most of us, uses it exactly as a child would. With Sandler always being a man-child, it is guaranteed that the remote’s uses will be definitely inappropriate. Changing colour of himself or the shape of others, muting them, dubbing them in different languages, and so much more, deems Click, admittedly, a funny comedy. Until it turns into drama…
The dire long-term effects of the remote’s use are seen halfway into the film and the realisation of what has happened, is happening, and will be happening from that point on is also the unfortunate time of one’s life where they realise that… Time. Does. Not. Go. Back. No matter how hard we wish it did, it does not. Click is paying close attention to that fact and sugarcoats it with humour but still manages to make your eyes wet. I’ve written some mediocre reviews on other Sandler films, but in this instance he is good. The balance between comedy and drama is maintained very well by director Frank Coraci in the second part of the second act and hits you a bit harder than you expected as you never saw it coming when you initially put the film on.
Regarding the rest of the cast, Kate Beckinsale brightens up every shot she’s in, David Hasselhoff is hilarious, Julie Kavner is amazing, and Henry Winkler deserves a special reference. The sequence where he looks at Sandler and says: “I love you son” and then turns around to leave, is a tearjerker. If you think otherwise, you are not human. Winkler significantly contributes to the dramatisation of the film and his performance is out of this world.
Oh, you also get the film’s full force for another reason. Michael Newman (Sandler) reminds you of you. Reminds you of these times you said: “Can’t wait to be done with this…”, “Can’t wait for this project to end…”, “Can’t wait to finish…”. Newman is all of us who don’t appreciate the present, the today, the “now”. Newman represents all of us who don’t appreciate the beautiful person next to us, the fact that we and our people are in good health, and how much “love” can enrich us with everything money or fame can’t. Careful what you wish for…
P.S. As per IMDb, R.L. Stine, in 1995, in his “Tales To Give You Goosebumps” wrote something similar and almost sued Sandler for plagiarism but it was all considered in the end… a coincidence. After all, they could both be based on the old French tale, “The Magic Thread”.
Born to a mom who was hit by lightning while she was pregnant with him, a kid grows up and shows abilities and IQ like anyone has ever seen.
The year draws to a close and, as always, I choose to watch films that, at some point in my life, they meant something to me. Powder is one of them.
From narrative’s point of view, it’s all about a boy who’s special and the physical and mental differences between him and the rest of the world make him a loner. Very well written and directed by Victor Salva, excellent performances by Mary Steenburgen, Sean Patrick Flanery, Lance Henriksen, and Jeff Goldblum, and brilliantly composed by the late Jerry Goldsmith. Setup, confrontation, and resolution are meticulously developed, offering moments of self-realisation in regard to what we know and what we think we know and how we deal with it. After everything is said and done, in the last scene, just ask yourselves this: where does Powder return to?
From sociology’s point of view, it tackles quite a few aspects… Our schools are incapable of handling different and, consequently, incapable of teaching anyone how to handle different. Our society is still in the dark ages, on an ongoing witch-hunt with modern torches and pitch forks. Our level of understanding about what is going on around us or what lies ahead is laughable – Yes, that includes especially the people we entrust to guide us. Finally, our inability to comprehend the fact that we are not on the top of the food chain and we should stop acting like it and respect nature as much as we should be respecting one another despite our so many differences, quirks and foibles. You wanna make a change but you don’t where to start? I follow Michael’s advice: “I’m starting with the man in the mirror”…
P.S. I believe the film would have performed better if the director Victor Salva hadn’t been convicted for child molestation a few years prior to the film’s release. Thus, much of the “touching” in the film was misinterpreted or interpreted, after the wrap, in an inappropriate way. But, please, don’t see it that way because it has nothing to do with it. I don’t know how much that affected Salva’s career as he kept writing and directing.
P.P.S. It is not mentioned why Doug is not speaking to his estranged son. Why don’t you all take a guess…
It’s Christmas Eve, and five interwoven stories reveal the dark side of Christmas.
A Viking-looking Santa who is about to face something evil, a radio host who wants to lift your spirits, a student film crew that investigates a violent ritual school crime, a family who just wants a Christmas tree, and an Anti-Christmas spirit that is released, chasing wicked people.
Very promising and original opening sequence that will most definitely get your undivided attention. Every story unfolding is a treat and, despite their flaws, they are still dark, eerie, and enjoyable for, admittedly, mostly millennial horror fans but not exclusively. Surely not for the whole family, each and every one of them, twists the meaning of Christmas and explores the darkness within us in days that our light is meant to shine. The ending is a real twist that, unfortunately, is no fantasy and our world has seen similar in numerous variations. For the avoidance of spoilers, I cannot elaborate further and, personally, I feel like I shouldn’t do it anyway.
The stories unfold in the fictional town of Bailey Downs. The same town where the Ginger Snaps franchise takes place but also, partially, Orphan Black (2013-2017). Filmmakers behind both projects collaborated for this one.
Last Christmas film review for this year! Stay safe and Merry Christmas!
When a rich boy is let down by Santa, he hires an eccentric hitman to kill him.
Well, isn’t that a Christmas film… A pistolero Santa who has a dodgy contract with the government of the United States of America ends up in a gunfight with an assassin.
How can I put it… it’s like a Christmas western shot in the North and Santa is the wanted man on the bullet hole poster. While the hitman tries to track down Santa, here’s what you get: the military outsourcing elves to produce more weaponry and the logistics behind Santa’s operation on Christmas Eve. You know what you get when the hitman actually tracks down the Republican, training-like-Rocky-Balmoa Santa? That’s something you need no commentary on. Writers/directors Eshom and Ian Nelms know exactly the kind of film they want to make and the final cut’s tone and pace give justice to their cause. Mel Gibson, Walton Goggins, and Marianne Jean-Baptiste understand their vision and offer nothing but pure entertainment.
Feeling stuck in your own house on Christmas day? Fatman is your unconventional Christmas movie that will keep you company for an hour and a half. Can you take it seriously? No. Is it meant to be taken seriously? No. So, sit back, relax, and digest the turkey.
On Christmas Eve, Ebenezer Scrooge gets three visits from spirits that show him the error of his ways.
Unarguably, the darkest adaptation of Charles Dickens’ classic Christmas tale to date. Right off the bat, poisonous truths are coming out of Ebenezer’s mouth, almost impossible to argue with. Why be nice to each other only once a year, indeed… But its darkness doesn’t solely lie in the writing’s truths. It lies in the acting, and above all, the haunting photography. A constant darkness from the opening sequence to the end credits. Keep these elements in mind for what comes next.
The Ghost of Christmas Past takes him on a journey that leaves some… eerie details to the imagination. Excellent storytelling that will get your undivided attention in an attempt to process if the story you’ve read and watched repeatedly in the past is currently taking the direction you suspect it does. And it does, indeed.
The Ghost of Christmas Present shows him the consequences of that past; a past that seems ostensibly irredeemable. It picks on nineteenth century’s socioeconomic problems that could not be a better fit for the present day (massively pounding on capitalism!). The emphasis on that family’s love and what he had been deprived of, and consequently never knew it existed, smoothly shape Ebenezer to what the spirits hope he will become.
The Ghost of Christmas Future is meant to be the real treat; the relentless. But here, unfortunately, the TV adaptation starts losing ground and the role of the Ghost of Christmas Future is cut short. The mini-series becomes too explanatory for an audience that is by now clear is not kids. Thus, certain explanations are not needed, but they are given nonetheless. Then, everything happens too fast as if the filmmakers suddenly realised that the mini-series’ runtime is coming to an end and they must hurry. But then, more explanations are given, forgetting the “show, don’t tell” rule. Furthermore, in the end, the story feels incomplete as the denouement does not address certain issues, i.e., “redemption” from his nephew or the coal miners’ families.
Guy Pearce, Andy Serkis, Stephen Graham, Jason Flemyng, Johnny Harris, and Charlotte Riley are but a few of Britain’s finest actors who perform brilliantly in front of the camera. Joe Alwyn and Vinette Robinson make excellent additions to that cast and play a significant role to the story’s development. Behind the camera. Steven Night, Ridley Scott, and Tom Hardy, among others, put on the producer’s hat and – in my humble opinion – must have done some serious pitching to the BBC to take on such distribution. I guess, if you are about to adapt a classic that has been adapted numerous times before, you may as well do it in a way that it has never been done before.
A mother who lacks the Christmas spirit gets a visit from an angel who shows her what the meaning of this season is.
Remembering Mary Steenburgen in Christmas films, and more particularly in Elf (2003): https://atomic-temporary-153424946.wpcomstaging.com/2020/12/24/elf-2003-adventure-comedy-family/ I remembered One Magic Christmas. You see, I may not fan of Elf that much but this is a different kettle of fish. Director Philip Borsos invests in both story and character development and, if you are watching it for the first time, you won’t really know what to expect, or, at least, when to expect it. It takes forty five minutes for the inciting incident to happen but, until then, poverty, especially during the festive days comes to the foreground and that can be a film on it’s own. Countless of families were struggling then as much as they do now. They have been ripped apart while the vast minority is having a laugh. Destitution sucks the joy out everything and replaces it with misery and downright cynicism. Working from paycheck to paycheck, not being able to afford a decent meal – much less to dream… Can love be enough?
Well, that’s what the film is about. We all have the right to laugh and we all need hope. And Steenburgen, even though her reactions are watered down due to the nature of the film is absolutely thrilling. You might be watching a Disney film but don’t underestimate the harsh realities it dares to show. Do you know when you are watching a good film? When is full of plotholes, makes little sense, but still sucks you into it and evokes the emotions it was meant to.
Hey, it’s Christmas season so, turn the blind eye to the horrible reality out there and remember how you used to feel this time of the year as a kid. It will make a lot more sense then…
P.S. Film debut of the amazing Sarah Polley.
P.P.S. Despite his ongoing battle with leukemia, Philip Borsos kept directing till his last breath, at the age of 41.
Three lifelong friends who are about to spend their last Christmas together, get tickets to a party that will put their lives into perspective.
Vulgar language, anecdotal situations, surreal characters… anything you can expect from a Rogen/Goldberg production. Co-writer/director Jonathan Levine teams up again Seth Rogen and Joseph Gordon-Levitt, after 50/50 (2011) and with the amazing Anthony Mackie joining the crew… the fun has started already. On a second thought, more or less, everyone has worked with someone else more than once in the past. And, of course, James Franco pops up! Oh, did I mention Michael Shannon, Lizzy Caplan, and Mindy Kaling? This is quite the gang.
This is a trippy journey that, in its vast majority, it is very much to the bone. References to Die Hard (1988), Home Alone (1990) and Charles Dickens’ “A Christmas Carol”, make it a great buddy, Christmas film, especially, in times like these. Ultimately, it’s very predictable but you wouldn’t expect anything else from a Christmas movie, even an R-rated one. In all honesty, the church sequence is hilarious and the confession moment at Caplan’s front door is quite funny. Then, the amount of improvisation by almost everyone is also admirable.
Love it or loathe it, that is the kind of comedy you sign up for. Should you decide to watch it, just go along. We all deserve a laugh these days.
A white-sheeted, nostalgic ghost, permanently resides in its home and everything that, in the passage of time, becomes after that.
A friend of mine called me, laughing at IMDb’s reviews on this one. So, even though I don’t really look at reviews before I watch a film, I only read the titles. I’ve seen cases before where reviews are either 1 or 10 and nothing in between, and since the titles were entertaining, I decided to give it a shot.
Let me be clear from the beginning. A Ghost Story is not for everyone! What we are dealing with here is an interesting yet peculiar storytelling with protracted steady medium and long shots that initially make little sense. The narrative unfolds though and life, linearly or not, moves on with just a few edits. Be patient with these shots and think that your life does’t have cuts either. It would also help if you perceived the narration as omniscient – being everywhere simultaneously. During this journey, I couldn’t help but feel the ghost’s loneliness and entrapment. The ability to manoeuvre in time and the inability to do nothing about it. Imagine yourself seeing the world spinning, confined by your questionable existence. An existence that is unknown to everybody as much as it is to you. But still you wait for someone to finally acknowledge this questionable existence you have become. Admittedly, after the ghost’s free fall, the convolution becomes also questionable. But please remember what I said earlier about the non-linear.
Have you ever wondered what the origins of déjà vu are? Cinema is a form of expression. That’s why it’s art. The aforementioned protracted shots make sense somewhere halfway through the film while understanding the narrative and David Lowery’s subjective perception of time and space. Let the mise-en-scène inaudibly “speak” when the silence is deafening. You may be wondering where is she? Has she become a ghost too? Has she gone to a final destination? Is there a final destination? But then think of something that you can, potentially, answer. Who is waiting for you?
P.S. A few days after I watched it, it came to light that one of the producers was accused of raping one of the film’s young girls. Hollywood’s depravity spreads like pestilence!