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.
The infamous computer hacker Lisbeth Salander teams up again with journalist Mikael Blomkvist but also NSA agent Ed Needham to take down cybercriminals and Stockholm’s worst called “The Spiders”.
When the trailer was initially released, the first comment was: “The film no one asked for…”. Sony, to secure the rights for the film, acquired the rights for the fourth book which was not written by the late Stieg Larsson. A direct sequel to “The Girl with the Dragon Tattoo” (2011), the film bypasses two books and here’s what happened to both character and story:
Salander here is not a victim anymore but a vigilante. If there was a batsuit anywhere you would be watching “Batgirl”. She knows how to fight and how to shoot, and race on a WRC level. She knows how to hack your phone, your computer, and your car from a Nokia 6110 while beating chess Grandmaster Garry Kasparov. She can find in time dozens of dildos and use them to turn an airport upside down to free an NSA agent that she doesn’t know where he is. What can I say? Makes me look my uselessness in the eye, and jump out of the window.
Story-wise, it gets better… Wanting to keep a low profile she steals a brand new Lamborghini. She deals with a computer program that makes absolutely no sense whatsoever. All clues are placed conveniently in plain sight where they can be found by anyone, yet no one finds them except the right person at the right time (it’s called gimmick). The villain doesn’t show any qualities to match Salander’s (superhuman) level. Other than she has suffered, we never find out anything about her capabilities other than she can put together and lead the toughest and remorseless criminals who wouldn’t hesitate to chop off your face.
Clare Foy is an extremely charismatic and diverse actress that does a brilliant job here. The story though and the character development don’t give her much to work with. If you are Lakeith Stanfield’s fan, watch “Sorry to Bother You” (2018). As for Fede Alvarez, I highly recommend “Evil Dead” (2013) and “Don’t Breath” (2016). Gory!
A gang of lowlife crooks called the Wild Bunch, with the help of an accountant, steal money from a Russian developer that was meant for a London mob boss who has a drug addict, troubled stepson.
What could go wrong, right?! Storytelling like Guy Ritchie only knows how to deliver! “RocknRolla” makes it to my list of the top 3 Guy Ritchie films, followed by “Snatch” (2000) and “Lock, Stock and Two Smoking Barrels” (1998). The editing controls the information exactly as it should have and enhances the humorous side of a British action/crime. Gerald Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Mark Strong, Tom Hardy, and Toby Kebbell work brilliantly together and clash with each other adding 100% A-list British quality acting.
In a different context now… What could go wrong, right?! People! People didn’t bother. I can only assume that one reason is “seen it all before”. But it isn’t. It is snappy, surrealistic, stylish, quirky, Cockney, and adds to the formula. Yet, what was meant to be a trilogy will never be. Our loss. Favourite scene: Robbing the Russians for the second time. Priceless!
Join me in filing a petition for the “Real RocknRolla”!!!
An aging assassin, just before retirement, gets double-crossed and becomes the job.
How much do you want to forget your problems? If the answer is “I can’t put it into words”, this one is for you! In two hours of shooting, killing, torturing, f@#!$%, and cursing, “Polar” recruits every cliche under the sun that every a film of that magnitude has delivered over the past four decades. Now, the funny thing is that it is absolutely enjoyable. Probably not the best way to adapt Dark Horse’s homonymous graphic novel “Polar: Came from the cold”, as it doesn’t really take itself seriously – which is fine – but, on occasion, it resembles a humorous parody. Oh well… from the opening scene, you know exactly what you are getting into.
Mads Mikkelsen was one of the three reasons why I watched it, and with Katheryn Winnick and Vanessa Hudgens being the second and the third, I got a bit disappointed as they were highly underused. Winnick is an extremely talented martial artist who could have been the main villain and give Mikkelsen a good run for his money. As for Hudgens, she needed a lot more screen time as she is an extremely talented actress and amazing woman that must have taken a tremendous effort to make her look like an ordinary girl. And even then, it is impossible not to stand out.
That kind of storyline has been beaten to death. Only a few weeks ago, I watched and reviewed “Asher” (2018) and straight away I thought it was the same but more surrealistic and brutal version of that. And then Richard Dreyfuss shows up in the exact same role!!!
If you want to watch an equally graphic but way much more realistic action/crime adaptation, go for Marvel’s series “The Punisher” (2017). Hands down!
A little girl is trying to prevent a sketchy multinational company from kidnapping Okja, her genetically modified pet and best friend.
It would be great if “Okja” was “R” rated. To properly reveal what humans and animals alike mean to most multinational companies and organisations. Bong Joon Ho behind the camera, holds back to a certain extent but captures the essence nevertheless. Brad Pitt and Netflix in the production back him up, and Seo-hyun Ahn, Tilda Swinton, Jake Gyllenhaal and Paul Dano in front of the lens, support a vision that all of us need to stop turning the blind eye to. I salute cast and crew and pay my respects to them as they all give us a mild lesson on the paranoia behind a colossal company’s beautiful facade, its fancy logo, and its unfathomably brainless slogan.
The Animal Liberation Front exist, they are a real, leaderless organization, fight for animal rights all around the globe, and they are not as funny as they are portrayed in the film. Even so, “Okja” should be for everyone to watch and get an idea of how filthy and disgusting the mammoth food corporations are.
Booed at least three times at the Cannes Film Festival just for being Netflix, “Okja” itself does not deserve booing. This is the political side of cinema that I’m staying out as, whoever gets in the middle, gets caught in the crossfire of the Industry Giants’ war for money and power. Streaming vs Theatre and which productions deserve to go to which festival and why is not for us to decide and has nothing with us anyway.
You wanna see the real “R” rated version of “Okja”? Watch “Earthlings” (2005) and feel free to be ashamed. And cry your eyes out. I quit meat that very same day and wholeheartedly apologised for being human. https://www.youtube.com/watch?v=BrlBSuuy50Y
With no one to turn to and no one to trust, a female bodyguard must protect a rich, young heiress in Casablanca when kidnappers go after her.
A female version of “Man on Fire” (2004) taking out most of the Hollywood aspects in regard to character and story development. With no cheesy lines or slow-mo for dramatic effect, “Close” is loosely based on Jacquie Davis, a world-class bodyguard who, in the last 30 years, has been “stabbed, shot at, and thrown through a window” protecting from the Beckhams to the royal family.
The editing controls the pace, balances action and drama, moves the story forward, and reveals the information when it needs to be revealed. Also, amazing cinematography and Vicky Jewson’s directing gives the opportunity to Noomi Rapace and Sophie Nélisse to unfold their amazing acting skills. Needless to say that given the right training, project, and budget, Rapace can prove herself being top-notch action heroin as (among others) Charlize Theron and Uma Thurman have in “Atomic Blonde” (2017) and “Kill Bill” (2003) respectively.
Netflix productions can go either way. “Close” went the right way and we can only hope that they produce more heartfelt action/thriller films and humanised heroes and heroines like this one.
Occult detective John Constantine teams up with a policewoman when her sister allegedly committed suicide, and all hell brakes loose.
Now, that’s how you adapt a graphic novel! Before Warner Bros and DC started getting those shockingly dreadful reviews, there was “Constantine”. Hardly a superhero, definitely an antihero, John Constantine exists in the DC Universe and kicks demonic and angelic ass in his own blunt, cynic, and supernatural way.
Behind the camera, Francis Lawrence and his team, write, edit, and direct an action/fantasy (although not horror really) with a lot of humour, amazing photography, and great visual effects that help the story advance. If there were any gimmicks, flaws, or holes you wouldn’t bother finding them and, even if you did, you would turn the blind eye as it is that enjoyable.
In front of the lens, Keanu Reeves, Rachel Weisz, Djimon Hounsou, Shia LaBeouf, Pruitt Taylor Vince, Tilda Swinton, and Peter Stormare stand together and clash against each other throwing countless punchlines and keeping you entertained for two solid hours. Well, if you are too religious maybe not that entertained.
Anyway, I give my permission to Warner Bros to hire Francis Lawrence and his crew back to rebuild DCCU.
The discovery of a mysterious device in Egypt will teleport a linguist and a Colonel with a military mission galaxies away to a world where Ra rules over an ancient civilization.
Who built the pyramids? How were the pyramids built? When were the pyramids built? Blending history with fiction, Rolland Emmerich manages to build up an engaging premise surrounding the aforementioned questions which, to this day, people post online or publish books and articles.
“Stargate” has everything. Brilliant directing and photography, strong storyline, relatable characters, impressive visual and sound effects, great performances, excellent music score, and right editing pace. A solid sci-fi flick with no kitsch and no cliche, offering an entertaining take on Egyptian Mythology that will especially satisfy the thought-provoking conspiracy lovers believing that once the aliens paid us a visit. And not only.
That said, between them and those who think that “Stargate” contains “Americans liberating the world” right-wing hidden messages, “religion is oppressive” beliefs, and “power to the people” left-wing ideologies… I’ll side with the “Aliens built the pyramids mirroring Orion” dudes…
A man with teleporting abilities, living a carefree life, gets caught in an ancient war between Jumpers and Paladins.
There is a lot of negativity surrounding this film. It was meant to be a franchise but the box office results scratched the idea off the producers’ mind. From where I stand, Michael Rooker has been under-utilized. For a guy who usually does the villain in the story, it’s really great to see him as a washed-up yet filled with remorse dad who pays the price. I would definitely want to see more of him on the screen. Samuel Jackson is always great but could have been even greater as the fanatic Paladin. Reciting passages from the Bible like in “Pulp Fiction” (1994) would have elevated his character to the sky.
Jamie Bell is always at his best so there is nothing much to say, which leaves us with Hayden Christensen and Rachel Bilson (who got engaged after the film). Once again, there could have been a strong story between them – and even stronger subtext for the film – after what happened in their childhood years.
To cut the long story short, production and budgetary issues watered down a what could have been a brilliant story and a brilliant film. That said, it definitely deserves a watch as you’ll spend an entertaining hour and a half forgetting about your own problems. For this one, my round of applause goes to the visual and sound effect department. Spot on!
A game night between a group of friends goes awry when one of the participants gets kidnapped by gangsters.
It is exactly what you expect from a Jason Bateman comedy: Foul language, surreal characters, brilliant chemistry between the actors, non-realistic, yet comedic and graphic twists and turns, and shameless jokes. And, as there are a lot of game references, a really clever and befitting idea is the use of “tilt-shift” lens which gives the aerial shots the miniaturized look of the board game “Game of Life”.
You loved “The Switch” (2010), “Horrible Bosses” (2011), “Bad Words” (2013), and the like? You’ll love “Game Night” too.