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 highly trained hitman decides to retire but the organisation he works for sends… a younger version of him to execute him.
Watching the trailer, I couldn’t see how there is going to be a mind-blowing twist somewhere. There isn’t. More or less, what you see is what to be expected: Will Smith vs Will Smith. For a film that started been developed in the ’90s, with so many different names attached over the years, with the torch been passed on from studio to studio… the script is poorly developed. IMDb couldn’t care less with a logline that gives away the plot. Script-wise, there is nothing really fascinating at all. I think this is the first Ang Lee film I have ever watched that I was wondering why he signed up for this. Meaning, the film has two impressive sequences: the motorbike chase (Smith vs Smith) and the hand-to-hand combat (Smith vs Smith). All the credits should be shared amongst the visual effects department for coming through with some ground-breaking visuals, the sound effects department, and the frequent Ang Lee editor, Tim Squyres. His editing is immaculate and stitches Lee’s most difficult shots together with delicacy and finesse, creating incredible unity and continuity.
I’m really being nice here. One of the film’s six (6) nominations is from St. Louis Film Critics Association, US for… Worst Film of the Year! Anyway, to cut the long story short, and just in case you haven’t figure it out by now, this is Smith vs Smith film. I must admit, at some point, this eerie feeling took over me that it was Deadshot fighting The Fresh Prince…
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on the Qatsi trilogy. A cinematic statement about civilisation, technology, nature, and the relationship among the three. A trilogy left behind in the shadow cast by blockbusters, forgotten by time, buried in oblivion.
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,
A young couple moves into a house with many secrets and a room that… grants wishes.
I’ve been told that in Los Angeles, everyone has an idea about a great film. Do you know why almost no one makes it? Because no Industry Professional cares about any kind of idea. The Room is based on a brilliant idea: What would you do if all your wishes could come true… inside your house! Very thrilling idea. Especially, if you ask for a kid.
Its development though irreparably ruins it. Noël Carroll, in “Toward a Theory of Film Suspense” analyses suspense, its development, and its potential outcomes. Highly recommended read. Here, Matt is looking for the room’s key, he finds it. He wants to find that man, he finds him. The man calls at the house and the kid picks up the phone, he knows exactly what has happened and explains everything.
I don’t want to be more negative about this one. Feel free to watch it and make up your mind. The film’s intentions are noble, it just lacks of… almost everything! Very unfortunate.
A chef finds himself getting killed over and over by anyone he knows.
Completed through the 48 Hour Film Project in Shanghai, and winner of GOLD BEST MICROSHORT, SILVER BEST HORROR SHORT, SILVER BEST DARK COMEDY at the OCTOBER 2019 edition of Independent Shorts Awards (ISA), Ostinato marks the narrative debut for Luke Luoh. As I point out in most of my reviews, the intentions of the film are what I am always aiming at and Ostinato, even though it knows exactly where it stands, it doesn’t disclose its intentions from the start. Sets off as a comedy/horror, ostensibly, with the sole purpose of entertaining you but towards the end of Act II, it gets your mind to start thinking in reverse.
From a narrative point of view, Luoh follows the paradigmatic narration – each segment introduces a new story, location, character, etc. So, it can be viewed as short films within the short film, with every story having a beginning, a middle, and an end. The way editing contributes to this narration enhancement is by making the sum bigger than its parts. Something that you will eventually get at the film’s second plot point – the bridge between Act II and III. Be it as it may, this cerebral film wouldn’t be the same if all actors and especially the Makeup and the Special Effects Makeup artists wouldn’t have done the AWESOME job they did. Last but not least, pay attention to Kaunas’ photography and his interesting choice of “red”.
Leaving no one out, all cast and crew deserve a round of applause for the film’s final cut. If you are not adept at music terminology or just happen not to know what the title means, watch the film first and only then ask yourselves, how many times can one die? Well, in this case, as many times as one can…
In April 1986, the Chernobyl nuclear power plant exploded, causing the most calamitous nuclear disaster in history.
How outstanding this five and a half-hour TV film/mini-series is, is outrageously beyond comprehension. Directing, acting, editing, writing, direction of photography, visual effects, music, art direction, stunt coordination, sound design, costume design, makeup department, and every other department get a lengthy standing ovation… HBO once more proves that the sky is anything but the limit. Released halfway through the last season of Game of Thrones (2011) – HBO again, Chernobyl, at first, went under the radar and once the former came to an end, it shone like no other mini-series shone ever before.
Chernobyl will grip you as much as it will terrify you. You won’t even care why the actors speak in their native accent. You won’t even notice. It’s a hauntingly, flawless HBO production that perfectly blends history, politics, science, and drama! Behold the atrocious side of human nature unfolding side by side with its oxymoronic, boundless grace.
If you don’t know the facts, it will lay them out for you. If you no longer remember what happened, it will all come back. If you were in any shape or form affected by the horror, now you will live it once again.
Mercenaries unite in order to protect the daughter of a billionaire who becomes the target of an elite assassins’ group.
Triple Threat is NOT, I repeat is NOT to be compared, contrasted, or associated in any way with Ong-Bak: The Thai Warrior (2003), the Undisputed franchise (2006-2016), The Raid: Redemption (2011), The Raid 2 (2014), The Night Comes for Us (2018), or any other film of that level.
It’s a real shame to have names such as Tony Jaa, Iko Uwais, Tiger Hu Chen, Scott Adkins, Celina Jade, Michael Jai White, and Michael Bisping in one film and get that result. But the film’s duration warned me even before watching it. So, I was pretty sure this was going to be a disappointing one, I just didn’t know how badly disappointing.
In about an hour and a half, we have:
Undeveloped characters that no one really cares about.
Bad acting / No chemistry between the actors.
Obvious difficulty from the non-native English speaking actors to express themselves.
Mediocre action / inconsistent fighting skills.
And the biggest problem that begets all problems: Horrible writing! I mean… Horrible!!!
As it is not in my idiosyncrasy to write negative comments just for the fun of it or to attract an audience so, I’ll stop here. Prachya Pinkaew, Gareth Evans, and Timo Tjahjanto have raised the bar to a level that newer directors and even themselves will have to go the extra mile to keep delivering the jaw-dropping action/thriller films they have been delivering so far.
Convicted for a murder he didn’t commit, Henri Charriere is sent to the Devil’s Island where, along with a fellow inmate, they plan an escape of a lifetime.
Based on Charriere’s memoirs, directed by Michael Noer – “R” (2010) and “Northwest” (2013) – and written by Aaron Guzikowski, “Papillon” didn’t get the publicity it deserved. Was it because people (or critics) thought that Charlie Hunnam and Rami Malek couldn’t replace Steve McQueen and Dustin Hoffman respectively? Was it because the story wasn’t known to today’s era audience? Or is it maybe because classic films should be left alone and be remembered for what they achieved when they were made?
Directing, Acting, Script, Photography, Soundtrack, Costume Design, all work as one and fulfill their purpose. The editing is disruptive though which unfolds the story intermittently. There must be an “Editor’s Cut” or “Director’s Cut” version, surely. It seems as if scenes, even sequences, have been omitted from the final cut. Crucial to the story elements that would make the audience engage more with “Papillon’s” suffering.
Overall, it is a very decent, intense, and gritty remake and cast and crew deserve to be recognised for this effort.
Hundreds of years from now, the world as we know it has been destroyed, the remaining cities have been mobilised, the major cities are hunting down the smaller ones, and two youngsters do everything in their power to change the status quo.
I’ve spoken before about budget and creativity as I have spoken before about the transferrable problems of a script to the big screen. I guess it was meant to be a saga but chances now are slim to none. Remember the “Golden Compass” (2007)? I’m not surprised. Mortal Engines‘ visuals are stunning. Hands down. The cast does a pretty decent job too; that is not a problem either. What was it then and it bombed?
Every time I watch a film, I’m always looking for that shot. The shot that will make me say “damn”! And then I’ll have to rewind and so can watch it again. What I’m also going for is a good line. Something that will make me say “I wish I have thought of that”! So, when independent films with 1/50 of Mortal Engines‘ budget have both, and “Mortal Engines” has none, it is only natural not to be impressed. To add insult to the injury, the same applies for the editing. Not only is there not even one good montage sequence, but the whole film feels rushed. It feels as if it got “chopped” fast to flush you non-stop down the FADE OUT.
Just “From the Producer of…” won’t cut it. Because as a household name, if you bring it up, you have to live up to your expectations and the reputation that precedes you. Shame really. Not for the money thrown away really, but mostly for the actors who want to catch a big fish, they let the small ones go, and they end up catching a boot.