dw_krause Reviews

Hijack (2023)

Low IQ manipulation passed off as drama

[3/10 · 12 August 2023]

...a little girl gets lost on a hijacked plane...a detective lets a suspect leave the room to get a tissue when a tissue is on a kitchen counter right behind him...and more idiotic, insultingly lazy plot points that the writers and directors pass off as drama. At best, Hijack is a pancake breakfast marathon. At worst, gut wrenchingly insulting to anyone with an IQ over stupid.

If you like entertainment fit for sheep and cattle (e.g. Snakes on a Plane or Butler's Plane) climb aboard this catastrophe. If not, Flight 93 or Sully this is not...even in the same airspace.

Only redeeming quality= Idris Elba. Poor lad musta needed money to put himself through this disaster.

65 (2023)

Infantile

[2/10 · 15 July 2023]

Pretty sure this script won a screenplay contest for kindergarten wanna-be filmmakers. Each mini conflict is preceded by the question: Let's see who's stupider: the audience for continuing to watch or these boneheaded "humans" (don't get me started with the "65" concept) who make decisions more in-line with a brainless infant.

That said, some brilliant jaw sagging/grunty performances by the two actors, who (Adam Driver obviously needed a paycheck) will more than likely never want to speak of this catastrophe again.

It's criminal how much money was flushed down the toilet to make this.

If you want to go into a self-induced coma for 4 hours, I suggest a double feature with After Earth.

Btw, I should mention my dog thoroughly enjoyed it.

Inventing Anna (2022)

Definition of "Plot Stretching"

[4/10 · 11 March 2022]

Typical for Netflix shows now: stretching decent plots so thin it's annoying and repetitive. First 3-4 episodes were interesting...Last 3-4 ridiculous and boring.

The Humans (2021)

Talking does not equal drama. Uninspiring characters don't either.

[4/10 · 3 December 2021]

Talking does not equal drama. Uninspiring characters don't either.

Not a huge fan of plays to screen (that said, "Mass"succeeded this year), and very seldom impressed by the eat and chat for four hours at Thanksgiving dinner table drama. Usually, these flicks are overdramatized, and preachy, and desperate to pull heart strings. No exception here.

Of course, some Thanksgiving flicks have some likeable character. I really hated these people after a half an hour. Whiny, iirational, uninspiring and simply put stupid: Buy some new lightbulbs for crying out loud?!?

I understand the life is horror, house breaking down symbolism, but meditative Malick-like close ups of debilitation only work if there are people to care about. Imagery should enhance, not force. Aside from Richard Jenkins and a solo phone call scene from Schumar, none of actors moved me (Beanie Feldstein was local theater embarrassing). Further, the faux "moments" in these people's lives were dull and smelled of last second reminders from the director of their backstory. You can't just ball up a handful of issues/events, hand them out to each character, vomit them out over dinner, argue, yell, act irrational and then expect to pass it off as a realistic drama...In my book, that's what I call lazy and pretentious writing.

I guess this why I watch movies and not plays.

The Power of the Dog (2021)

A Masterwork of craft from every angle of filmmaking.

[10/10 · 3 December 2021]

Campion's vision and precise execution is simply a masterwork of craft from every angle of fillmaking, most impressively her strategy to keep the audience entrenched in two stories: the backstory of Bronco Henry's influence and the present plot, all the while deceptively layering a third story which is only revealed at the film's bookends (opening narration and finale of smile). Utter Briilance.

Homecoming: People (2020) Season 2, Episode 1

Amateur

[2/10 · 25 May 2020]

The direction is insulting to the original and the audience. The music is overwhelming and manipulative...I swear I heard Jaws. An awful, dumb-downed script too. You sure this shouldn't be on the CW?!? Poor Monae. Poor me.

Shirkers (2018)

The definition of pretentious.

[1/10 · 12 January 2019]

I haven't written a review in a long time, but this movie sucked so bad I was absolutely shocked at how many good ratings it recieved.

In the spirit of this "film," I present my review (a collage-like series of takes" and whining about my own issues that I texted a friend after watching it):

-direct quote from filmmaker of "shi-ers" "there is nothing there" ironic!!!! hilarious! -this doc suuuuuuuuuucks so bad -fell asleep twice last night -trying to finish now, hoping i was tired...noooope blows -the wife says: complete garbage. she'd rather watch football!!!!! -evidence of why this sucks so bad: "Jasmine" was introduced to the audience in the first few minutes...yet 85 min in, this???? -This crap is the definition of "Pretentious" -I've decided, man...You HAVE to see this! Have to! It'll compete with Predator, Mortal Engines and London Fields for WORST of the year." -Fiiiiiiiiinally, it's over. Fillmakers friend just told her, in so many words: GET over yourself!!! -I've decided: Shirkers is a must see!

Palindromes (2004)

"A delicate film with some trickery"

[7/10 · 13 March 2005]

Solondz introduced Palindromes as "a delicate film with some trickery" before I screened it at SXSW. Negating the shock and awe of the underage octo-lead character (you'll understand about 25-30 minutes in) bedding down and falling in love with a pedophile, the storytelling is beset with enough lambasting humor that it garners afterthoughts of "oh-kay" as opposed to "whoah." "Happiness"— Solondz's measuring stick— ultimately achieves the opposite, which is why Palindromes is only as memorable as its title applies and insinuates.

Its delicacy is in its unflinching bravery to expose what most independent filmmakers can and will only attempt to suggest. How can one artist be so elegant with such subject manner and not be jailed is tribute enough. (SPOILER ALERT) Solondz's trickery comes this time (the whole "Storytelling" box out scene in retrospect seems childish and silly) in the form of multiple actresses playing the same part (it's a statement in of itself about our melting pot). But this is only a facade of his manipulations. All at once we become consumed by his humorous, not withstanding pretentious ploys and fall stomach-twisting first into a disheartening and captivating snapshot of today's American Average (rather that's New Jersey Average). When it's all tied up with a preachy bookend, one reflects back to the beginning of Aviva's escapades (the title character's name) and wonders what the hell was so funny anyway.

Note that preachy bookend too, which obviously is an in the face attempt to disprove once and for all his dirty-minded skeptics that he is indeed NOT as his artistic endeavors would suggest anything like his characters— in the form of Mike Wiener (brother of Dawn from "Welcome to the Dollhouse") much ados Solondz's efforts as his title suggests: he is not going to change, so deal with it. I just hope Todd grows a little fatter, or darker, or less self-evasive with his lavish lamentations of all that ales Americana.

Bully (2001)

Larry Clark's Hollywood Heavyweights- More Kids.

[2 May 2002]

Larry Clark's gift to Hollywood is his ability to get kid actors to simply act their tails off. In the case of Bully, Clark's second feature to host an ensemble cast made up of mostly young adults, the performances mirror that of some of Hollywood's heavyweights. For starters, Brad Renfro and Rachel Miner play a young angsty couple continually abused, in Miner's case raped, so much by their friend (Nick Stahl, In the Bedroom) that they decide murder's the only way to stop him. All three roles demand the actors to be in aggressively violent and sexual situations and their execution is equally fearless and impressive. Renfro and Miner's chemistry is so uncomfortably raw, in fact, I couldn't help myself reflecting upon Basinger and Rourke in 9 1/2 Weeks. And Stahl! His role as the gut-wrenchingly evil bully is a knockout performance that's furiously on target. He's an incredulously brave actor, folks- Watch out for this kid. Of course, whether ALL this is a credit to Clark remains to be seen. Here's my one bullying point: I think Clark's trademark shock FX, at times, is misdirected. Blatanly over dramatizing a film with unnecessary see and violence for no reason, diminishes telling a good story. Yes, his films are character-driven, but wouldn't it be great if he could tighten his plot up and hire a decent editor! Hey Larry, you might land up with an Oscar someday. Worst case though, Clark's giving some talented kids an amazing jumpstart to their careers, ones they can bully around the bigger kids in Hollywood with. Note: The DVD is packed with insightful cast interviews (Clark says that Stahl reminds him of James Woods). And don't miss "How the Actors Landed Their Roles." It won't disappoint.

A Beautiful Mind (2001)

If you can believe it, this is a love story. a maddening and seductive one.

[9/10 · 24 January 2002]

The credits rolled and immediately my inner me said, "Best Picture." I say this a lot, of course, technically I'm allowed to say it five times a year. But I added, "Winner. No doubt" this time around- Never said that before. But, A Beautiful Mind is an Oscar darling. And it's appeal has never been so obvious- Character frailty, heroism, a powerful love story, resonant acting and writing and despite all the backlash from critics and purists regarding it's sexual ambiguity, something Blockbuster can carry. Remember American Beauty, in comparison, had subtle references too (actually to me they were blatant, but hey this is a general forum) and it still snagged the big statue.

Which leaves me to Russell Crowe, whose performance in The Insider was as close to perfect as an actor can get (He 'vus robbed!). Of course, the voters knew their mistake (although it took him a year- see Gladiator- to get it right). To the film: Crowe's versatility simply baffles me here, once again, reaching deep within who knows where to become the math genius and Nobel Prize- winning John Nash. His preparation has to be extremely unique to continually put forth this much passion into each role. I'd love to know what he does- anyone?

The film doesn't work, though, without Jennifer Connelly. As Nash's wife, she provides a potent chemistry with Crowe and an energetic calm that slowly creeps up on you. Not sure how, but I swear she steals some scenes away from Russy- but that's real, real chemistry folks, not the Meg Ryan-Tom Hanks kind. Anyway, all the sudden, after all the math wizardry, the psycho-babble and surprises (everyone knows this about a schizophrenic I'm sure, but there is an awesome shocker in here too) you come to realize. damn this is a love story!

Thus, we steer are way to the captain of the ship. Ron Howard's direction here is, again, impressive- almost seducing you into understanding and thinking along with Nash's motives and emotional battles with himself and his relationships- the will-he or won't-he's are jarring and paradoxal, fun and draining all at once. A Beautiful Mind is by far Howard's most complete and compelling work as well as his most important. Of course, he's working with talented actors who helped drive the films dramatic and emotional ranges. and a solid script. or should I say book. I'm not completely sold on Howard as a great director. I believe most of his films are largely in the IMDB 6-7 range, but this is definitely one that he deserves a 9 for. How much all this praise and these awards to come are a credit to him remains to be seen. Either way, A Beautiful Mind is a beautiful and unique love story. It shouldn't be missed by anyone.