kinejin Reviews

Boiling Point (I) (2021)

Kinejin

[5/10 · 25 June 2022]

Sincere and skilful performances by the leads do not a good film make. This is, essentially, a one-joke film, done as it is in a single take -- for no apparent reason other than to illustrate theoretical film / content connection in that if the filmmakers are stressed over getting the take right, then that will be felt by the viewers through the fourth wall, increasing the intensity and their buy-in of the intensity of the events playing out onscreen. Or not, as was my interpretation. Some of the onscreen antics are laughable, such as Stephen Graham's character's drug addiction, the chef-on-chef rivalry, and campiest of all, the unbelievable over-foreshadowed nut allergy "crisis"! Mentioning something two or three times is usually overkill -- Hitchcock often showed something only once, -- but going on 10 times! Laughable! Interesting experiment that goes completely off the rails due to poor execution and an unpolished script, despite an excellent cast.

Side comment: Please, no more ridiculous films about the "high art" and trials and tribulations of being a "chef"! They're simply people doing a job, with foibles and quirks like everyone else. Can we please stop putting these glorified line cooks on a pedestal simply because the asinine elite are willing to exorbitant amounts of money just to eat "pretty" food? This might be the most annoying sub-genre currently in play, and such trite, ridiculous nonsense!

Come from Away (2021)

Kinejin

[6/10 · 11 June 2022]

On the positive side, this is an earnest and sincere production with many excellent performances which also makes an interesting addition to the 9/11 sub-genre. On the downside, the two-hour film feels like a full three-hour-plus Broadway production sans much-needed Intermission. The production feels crammed and hectic and cannot shake the feeling that is another well-meaning community theatre production that "accidentally" got professionally captured on video by someone's parent. Certainly not bad, but only for those who live for local theatre and are able to spurn cinematic production values -- this is not a traditional film, and therefore cannot be evaluated as such, hence the (seemingly) low score.

Azor (2021)

Kinejin

[7/10 · 31 May 2022]

Intriguing, slow-burner of a film with excellent performances and controlled direction. Very slowly and deliberately paced, the film captures the period ambiance effectively -- yet still feels long for its 100-minute runtime. Without giving anything of importance away, this film could be described as the "Apocalypse Now" of Swiss banking films -- including a tense boat ride up a jungle river to meet a military leader. Not a great film, but very good, and the similarities to Coppola's previously mentioned masterpiece -- whether intentional or not -- enhance its watchability.

Last Night in Soho (2021)

Kinejin

[6/10 · 15 November 2021]

As an Edgar Wright fan, I expected so much more than this jumbled and confused mess of a film. What started out as an intriguing premise devolved into a morass of mixed opportunities, surrounded by excellent opportunities. Mr. Wright's usual directorial skill and exceptional use of sound and music are on hand to evoke the look and feel -- and almost smell -- of 1960s Soho, but the plot becomes too convoluted and, ultimately, conventional, to amount to anything. As a case in point: Why is the venerable Terence Stamp in this film? His character is a complete red herring, serving no purpose whatsoever! To waste a talent of his caliber is a vernal sin! Suffice to say, with a good deal of editing -- not that the film is over long, mind you, but it drags terribly even at just under two hours -- there is a better film hiding within.

Spencer (2021)

Kinejin

[8/10 · 15 November 2021]

Much as "Jaws" is not a film about a shark (the shark -- nicknamed 'Bruce' by the crew -- is about the avarice and greed of the town of Amity) "Spencer" is not about Princess Diana. This film is concerned not with a biopic about a stifled princess, but with Kristen Stewart's nearly flawless portrayal of young mother's frustration within an unwavering, all-encompassing royal family as she attempts to unshackle herself from centuries of monarchal tradition. Ms. Stewart underplays the role -- ostensibly, of Princess Diana, but in actuality anyone in encumbered circumstances -- to near perfection, with only a few alterations (lapses?) toward the end of the film, as the character of Maggie (played by the almost always perfect Sally Hawkins) interacts with the lead to ease her near-constant pain. In a performance rivaling Maria Falconetti's brilliant lead performance in "La passion de Jeanne d'Arc", Ms. Stewart creates a role that directs the film, not the converse; while the direction is good, the cinematography gloomy and dark (in half measure reflecting the unpleasant British weather, the other half the internal depression of the lead character), and the supporting cast excellent (save the portrayal of Prince Charles, which broke the spell of the film whenever he appeared on screen -- as this isn't a biopic, this can be forgiven, but still . . . ), the film is less a plot-driven conventional film than a lamentation on angst the likes we rarely see. Not a great film technically, but a completely adequate film designed around the superlative performance of its lead.

Schlock (1973)

Kinejin

[5/10 · 14 November 2021]

This is a truly bad film in almost every conceivable way: Poorly scripted, amateurishly acted, badly directed, and incompetently edited, but is saved by director Landis himself: His largely improvised performance in Rick Baker's excellent "monkey suit" for most of the second half of the film is laugh-out-loud funny in places, truly saving an otherwise forgettable film.

Sadly, despite Mr. Landis's encyclopedic knowledge of early cinema, many opportunities to parody or pay homage to other monster movies are missed. For example, the sequence where Schlock is feeding the ducks at the pond is just asking for a reference to the "flower" scene from James Whale's "Frankenstein". (Or is this reference enough? Hmm.) Other similar opportunities are missed throughout.

Jungle Cruise (2021)

Kinejin

[4/10 · 29 September 2021]

Sad to say, this is a really bad film, despite the excellent casting of Dwayne Johnson and Emily Blunt in the leads, and the ever-reliable Jesse Plemons in an interesting turn as a proto-Nazi villain -- straight out of the "Raiders of the Lost Ark" playbook. I wasn't expecting much from this film, given the source material -- an amusement park ride! -- but thought the sturdy cast could help elevate the material. Even excellent actors such as are on hand here can't help lazy and derivative material. The numerous sexual innuendos are a bit puzzling, especially in a scene between Johnson and Blunt's characters early in the film, apparently to appeal to adults woefully assigned with accompanying their children, but are really out of place and inappropriate. The CGI was expected, and despite such excellent studios as WETA and ILM behind it, was lackluster and unconvincing. Not even worth a view on TV; use the time for anything else.

Copshop (2021)

Kinejin

[6/10 · 22 September 2021]

Not a bad cops and robbers film with plenty of action scenes, creative and fun dialog, and excellent acting -- especially by the three leads. However, the film is nearly stolen by Toby Huss as the psychotic Lamb character, whose brief scenes in the film are hilarious and bizarre -- could well be star turn for him! Overall, the film tries hard to be a smart shoot 'em up but ultimately is not very successful because of a lack of focus and narrative thrust. Still worth a watch for some enjoyable set pieces.

Black Bear (I) (2020)

Kinejin

[6/10 · 20 September 2021]

Interesting little film, with several good performances which has a dream-like, almost experimental narrative structure reminiscent of some of Charlie Kaufman's better work. However, sadly this film doesn't quite come together at the end, as some small subplots are started and then forgotten, and details added that serve no purpose other than at the expense of the general narrative . . . All of which harken to the determination that the filmmakers are really having difficulty deciding the main crux of the film.

The film has some nice touches, like dividing the narrative using visual and symbolic clues to help guide the viewer, and is nicely shot and directed. The narrative -- as it is -- is roughly old in three sections: The first third sets up the remaining two-thirds, with a tiny section that actually serves essentially to set up the entire film. Interesting commentary on gender roles, relationships, and filmmaking, certainly worth a watch -- flawed though it is. And Aubrey Plaza is always a wonder to behold: Very brave actor with a rather unique acting style, offbeat sense of comedy -- and acting in general -- willing to take chances, this is probably her best dramatic role to date. Enjoy and expect to be challenged! (Thinking while viewing such a film is encouraged!)

In Fabric (2018)

Kinejin

[8/10 · 19 September 2021]

Fantastic film! Brilliantly bizarre, but never misses a beat. Excellent evocation and criticism of 1970s British consumerism with resonance in current popular culture. Shares sensibilities with films by Messrs. David Lynch, David Cronenberg, Terry Gilliam, and even draws from some of Rod Serling's better "Twilight Zone" episodes. Extremely well-made and acted, showing Ben Wheatley's sure guiding hand with the production design, but stays on point better than some of Mr. Wheatley's more recent efforts. The film is roughly divided into two parts, with several threads -- pardon the pun -- connecting both halves. Excellent script with unique dialog and purposefully stilted delivery that accentuates the more surreal aspects of the film. To give you a clue as to what to expect, the credits include "Mannequin Public Hair" and "Vibrator" -- do read the rest of the credits for more details. Highly recommended, but definitely not for all tastes; if you like Peter Greenaway -- especially "The Thief, the Cook, His Wife, and Her Lover" -- then this is for you!

In the Earth (2021)

Kinejin

[6/10 · 19 September 2021]

Another Ben Wheatley disaster of a film, following his tried and true formula of having an interesting premise, excellent set-up, top-notch cast and production values, then bungling the ending so that you're left with an incomprehensible hot mess. Disappointing that it could have been so much more. With all due respect, I consider Ben Wheatley to be the UK's to that master destroyer of American TV series, J. J. Abrams: Great original ideas or superb recreations of existing properties ruined in their execution.

I'm Thinking of Ending Things (2020)

Kinejin

[5/10 · 19 September 2021]

What a dreary, pretentious film with two excellent actors hampered by a script that gets continually worse, and very average to poor direction. What makes things worse is the film starts off very strong, with insightful dialog and set pieces, but gets continually worse until the unfortunate conclusion. Both of the Jesse/ies deserve a much better vehicle. Mr. Kaufman is one of the most talented screenwriters in film history, but hopefully he can write a creative screenplay that isn't so narratively challenged.

Malignant (I) (2021)

Kinejin

[7/10 · 19 September 2021]

Surprisingly fun and creative horror film, reminiscent of "Venom" but much more entertaining. Excellent digital effects, some shockingly disturbing creature effects, this is James Wan in top form. The story is nonsensical, but the action is a roller coaster of a film. The ending is a bit weak, as it sets itself up for a franchise, but even that shows potential. Welcome back, Mr. Wan!

Shang-Chi and the Legend of the Ten Rings (2021)

Kinejin

[5/10 · 19 September 2021]

Incredibly boring and indifferent film, with stereotypical characters and a predictable story, following the superheroes formula. I watched the 3-D version, which looked like bad animation and completely distanced me from the film. The only redeeming qualities were a few inspired shots and the inclusion of some decent actors -- especially the wonderful Michelle Yeoh.

Song of the Sea (2014)

Kinejin

[6/10 · 19 September 2021]

Overall, a fairly good retelling of a Gaelic legend, somewhat predictable at times, told with basic characterizions and mostly simplistic animation that is surprisingly beautiful at times.

Kaleidoscope (II) (2016)

Kinejin: Intriguing film which could have been much better

[6/10 · 30 August 2021]

Anything with Toby Jones is worth a viewing, and his trademarked confused-man-lost-in-his-own-life acting style is on excellent display here. The film is essentially an unreliable narrator piece with a few extra twists thrown in to confuse the viewer. However, the director cheats by having shots that are from the omniscient narrator perspective and not only that of the protagonist, making the film a flawed addition to the unreliable narrator subgenre. Still, although not in the same league as a true unreliable narrator film such as "Swimming Pool", the twists keep the film interesting and the Jones' performance keeps the confusing -- and confused -- plot humming right along.

Tigers Are Not Afraid (2017)

Kinejin: Good performances lost in a poorly directed film

[5/10 · 30 August 2021]

The child actors in this film are very good to excellent, however the plot and direction are an utter mess. Almost every shot using the pointless "floating camera" technique which is distracting and serves no purpose. Apparently, tripods are too much to ask for? The final battle boom shot shows that the director knows how to properly direct, but why wait until the end to do so? The film is a mix of "Children of Men" or a Satyajit Ray street urchin film with the fantastical elements of something from Guillermo del Toro, but to little effect. Less than 90 minutes in length, it felt much longer.

Friendship's Death (1987)

Kinejin: Required viewing for early Tilda Swinton

[5/10 · 30 August 2021]

Odd mix of quasi-science fiction with "My Dinner with Andre", plenty of inane babble which is rarely inspired or inspiring, utilizing a "Year of Living Dangerously" theme. Very stagy, with some intriguing shots, but very static and dry. Seeing a young Tilda Swinton -- fresh from theatre -- is the film's main attribute.