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Reviews
Ripley (2024)
It's the light. It's always the light.
Don't compare it to René Clément's Plein Soleil or Anthony Minghella's TheTalented Mr Ripley. That would be the best advise anyone could give before pointing you in the direction of Stephen Zaillian's Ripley.
As a fan of moving pictures, that is certainly the advice I gave myself as I filled my glass and sat up to give this adaptation a chance. I was determined to do it. I was going to burn chiseled features, sun kissed bodies, effervescent characters with ocean wide smiles right of my mind.
Funny thing is that for all of 5 minutes my mind wouldn't let me. And then, as if by magic, it did. Why?
First of, anyone brave enough to tackle Patricia Highsmith's novel "again" deserves at the very least a chance to present.
Secondly, after about 5 minutes it was clear that this was to be an entirely different experience to what had come before. The black and white cinematography was the first clue.
Thirdly, it soon becomes evident that this is an endeavour by an art lover, for art lovers who also happen to like moving pictures. And like true art its appreciation will vary from one person to the next. I was curious where I would sit in the spectrum of appreciation.
I binged through the whole lot in a couple of days. At episode three I thought there can't be much more they can do with this, it's going to stall. I was wrong. It just got better and better. Suffice it to say, It kept my attention.
The story was well told, acting was generally good although I felt Dakota Fanning's character came across too cold for me but I guess that's what was asked of her. Johnny Flynn as Dickie Greenleaf was convincing as the lost rich kid searching for himself. Andrew Scott was very good as the almost soulless Tom Ripley and Maurizio Lombardi as Inspector Ravini is inspired casting.
The cinematography is probably the best I've seen since Blade Runner:2049; truly beautiful. The score is outstanding and the multilingual script enhanced the authenticity of the experience.
It may be too slow for some, but for me everyone involved in this should be very proud of their achievement. I think they have delivered an absolute classic.
9/10.
American Gigolo (2022)
Absolutely The Best Written Television Right Now
Less of a review, more of a comment.
Every player in this drama is knocking it out of the park.
The vulnerability and truth Jon Bernthal infuses into his character puts every bombastic superhero picture of the past 20 years to shame; broken yet hopeful, poor yet wealthy within, flawed yet beloved. He gets it.
Every episode - so far (I'm writing this after episode 5) - is phenomenal. I especially love the way the side characters like former friends and prison buddies link in to the grand tapestry of the story.
Big shout out to Rosie O'Donnell as Det Sunday - this character deserves a spin off, maybe the new Columbo.
Everybody involved should be proud of their contribution.
Tenet (2020)
If Orson Wells made this people would be screaming MASTERPIECE
An organisation seeks to hinder the plans of an Oligarch who has found a way to intertwine the annihilation of all humanity - future, present and past - with his own existence. To succeed they must exploit the concept of time inversion to foil his attempts to attain the technology that enables his god-like endeavour. But first they have to get close to him and figure out how and why he wants to ignite the war to end all wars.
Caveat; Unlike other reviews I don't plan to take take issue with the artists technical choices; volume of soundtrack, clarity of dialogue etc. I respect the opinion of other reviewers, people's varying sensibilities, individuals ability to comprehend accents, and so on.
Let's get a few answers out of the way because time is precious.
Is Christopher Nolan's TENET any good? YES, it is.
It is, in my opinion, an astounding piece of cinema and I think all involved should be very proud of what they've been able to deliver. It really is a very original take on the possibilities, pitfalls and dangers inherent in the idea of time travel. It also fits well into the Directors continuing cannon of work.
Is it an easy movie to understand? NO, not from an initial viewing. You definitely will come out of the cinema thinking blimey, that's a plateful.
If this were a book you'd have to put it down more than a few times to think through chapter by chapter. But alas this is a movie in a cinema so it's a bit like gorging a seven course meal with no break from one course to the next. It could make your stomach hurt; hence many of the mixed reviews.
The difficulty in understanding the movie is, I would suggest, less about the construction of the film and more about how complex the ideas in the movie are to grasp, especially when you get to the details. There's plenty of exposition to try and help us along but still - big curly ideas are what they are!
TENET does warrant more than one viewing but it's so well put together that you'll want to see it again. It visually stunning. My favourite close thematic precedents would include the Spierig Brothers Predestination with Ethan Hawke and Sarah Snook (I really like that film), and Primer (2004); but TENET really does amp up the whole time travel paradox theme into blockbuster territory.
Is it an easy movie to like? This is where things get interesting.
To answer that question it is necessary to ascertain who this film is for; or inversely who it is that might appreciate the level of complexity inherent in the narrative of this artistic endeavour.
Truth be told some ideas are just hard to fully piece together. That is why we have geniuses, great minds, average minds, small minds and minds that need help to just make it through a day.
A quote attributed to Elenor Roosevelt opines that 'Great minds discuss ideas; average minds discuss events; small minds discuss people.'
In the light of this quote what Christopher Nolan is doing with this film is presentIng something the average mind should appreciate but really it is a narrative from a great mind intended for those who appreciate delving into meaty ideas - and let's face it time travel and it's inherent paradoxes aren't easy ideas to play with, especially if you really get into it.
I suspect if Mr Nolan wanted to make a movie for the genius minds out there he could, but that's unlikely to deliver much of a financial return since there aren't that many geniuses available to fill cinema seats and guarantee overflowing coffers.
The filmmakers should be applauded for even attempting to bring this story to the masses, knowing full well that 80% of us sit squarely in the 'minds needing help to get through the day' category. This film represents a triumph for original film making and I'm glad they took the risk. Cinema is enriched by their contribution.
Do I recommend this film? Yes, because I want more films like this and for the film industry to wean itself off franchise fluff as the only means of it's future survival.
I realise it's not for everyone but this small to average minded reviewer thought it was amazing.
The King (2019)
Will Stand The Test Of Time
I don't really have the words to say just how surprised I was by this film. It is a story cinematically told, but the way the screenplay really honed in on the human drive - that minutia - behind great and ghastly events really sat well with me.
So often people resign themselves into tacitly accepting great convoluted conspiracy theories about machiavellian machinations operating in deep states and so on and so forth.
What people often fail to grasp or what we underestimate is the power of individual self interest and how the desire of one person can drive entire nations into darkness or light.
Worthy work by all involved. Mine is a wholehearted recommendation. Watch it for many good reasons but mostly watch it because it's worthy of your time and consideration. I think this one will stand the test of time.
Unbelievable (2019)
If You Only Watch One Thing This Year ....
This is definitely a contender.
This is one of the best acted, written and directed works I have seen this year, which is saying something because Mindhunter (Netflix Season 2), When They See Us (Netflix) and I am the Night (Amazon Prime) were all very very good.
As ever, the synopsis and trailer on IMDB outline the plot but what they can't say fully is just how maturely a fairly incendiary subject matter is handled to deliver not only characters we feel for but televised drama (inspired by true events) that evoke a real nightmarish sense of just how difficult and complicated it is to get justice.
Entertaining, yes; insightful, yes; essential viewing, absolutely.
Hats off to all involved.
Anthony Jeselnik: Fire in the Maternity Ward (2019)
A Masterclass in Stand Up Comedy
If this were a movie (and I think the piece about Jessica should definitely be turned into movie), it would be Pulp Fiction, a masterpiece.
Sure many of the jokes were misdirection; yes much of the delivery was the same throughout; and yes it not for everyone. I've watched it 4 times and it doesn't get any less funny. That in itself says something about quality.
This is a guy who really understands comedy and seems intimately acquainted with the absurdity of the human experience.
If you don't find this funny, you are taking life way too seriously.
This was my first foray into the mind of Anthony and where I on the fence about his work, he knocked me clean the hell off.
The Boys (2019)
Pitch Perfect
Firstly, I could not be happier for Karl Urban; he and the whole cast do a very good job here. I'm down to go at least 3 seasons with this lot - from the get go.
This tale of the pursuit of personal vengeance gone awry has just enough complexity, humour, and human nature for me to let the dodgy superhero costumes fade into the background.
The script is good, the sound track is good, performances are believable; the cinematography is really good.
As a competitor to The Umbrella Academy, I think this is a very good contender and could actually make for a very interesting take on many of the things we love to hate; the Military Industrial Complex, Corporate Greed, Political Corruption, Irrational Enmity between People, Star Crossed Love - you know all the things that make life interesting.
The superhero aspect is probably the least interesting part of the equation and It felt as if they chose as the vehicle just because it sells, which is in itself not a bad thing.
Very binge worthy and I am glad they put it all out at once so I could do exactly that - binge away.
Another Life (2019)
Derivative But Not Without Merit
Sci-Fi for the millennials - not exactly.
2001, Stargate Universe, Contact, Arrival, Alien, Prometheus, Star Trek (Original Series) etc; take any first contact premised sci-fi of the last 50 years and an element of that will be in the DNA of this attempt from our preeminent streamer of the moment. Is that a bad thing? Well, let's see.
An alien artefact wedges itself onto a single site on planet Earth and sits there seemingly benignly; making very clever people and the the rest of us ask that ultimate question of the Universe - WTF???
Before we know it a motley crew of very attractive people are hurtling through space at faster than light speeds to get some answers. So far not enough to put down my bowl of chips, but then the producers add Katee Sackhoff and I hit the play button.
What unfolds is a mixed bag.
The writing is lacking depth and at times integrity (some inexcusable plot holes), the soundtrack is lacking subtlety, the effects are adequate, the cinematography is acceptable but uninspiring, overall the effort is a little less than middling.
Compare the production quality of this show to other Netflix titles such as Star Trek Discovery or Altered Carbon, and the naysayers have a good point - it comes up short.
Having said that I didn't mind it. The cast, other than the excellent lead, is a mixed bag, but I enjoyed some of the performances. I want to see new talent, I want new writers and directors get a chance to at least attempt something interesting. What else is the streaming age for if not to give us variety, diversity and the opportunity to take more risks.
What differentiates this space thriller from the many ideas and titles it borrows from is lack of mastery in the execution.
This one could be better, but I would give it another chance if it gets a second season.
Secret Obsession (2019)
Painful, But Not In A Good Way
Ryan Garrety (Mike Vogel) has an office obsession. He's got the psycho hots for his colleague Jennifer Allen (Brenda Song). Along comes Russell Williams, another colleague, who sweeps Jennifer off her feet with the promise of loving her 'forever and a day' and puts a ring on it. Worst still they invite Ryan to the wedding and sit him at the back while Russell and Jennifer become Mr and Mrs Williams.
With no further explanation Ryan decides to end this love-in by killing them all; Russell, Jennifer, Jennifer's parents and I can only assume Russell's parents (although the film somehow ignores their existence ), and probably himself too, because we all know that's how these things usually go.
Whilst carrying out his nefarious and clearly psychotic plan, Jennifer makes a run for it, and through a series of rather fortunate events, Jennifer ends up in hospital with amnesia. At this point Ryan decides this may be a chance to take advantage of the situation and improve on his Kamikaze plan by taking on the identity of the deceased Russell in order to play husband with the not quite with it Jennifer.
Why am I telling you all this? I am telling you this because I get it.
I get why someone at Netflix thought this might be an entertaining way for someone in the universe to spend 1 hour 37 minutes of their lives whilst this story unfurls to it's highly predictable conclusion.
I get why, maybe, Netflix bought this at the concept level; perhaps even from an inspired pitch by the writer, director, producer - Peter Sullivan.
I get why they wanted to believe that an artist with over 80 writing credits and 30 director credits could make something out of this psychological thriller premise.
What I don't get is why they let him deliver something unworthy of the platform. Or why they bought then put out this incarnation.
Save for Dennis Haysbert, every performance in this picture rang false. And the fault sits squarely in the lap of the script writer and director. The score is awful, genre cliches and tricks are everywhere. It's like a student picture. The only saving grace is that it looks quite pretty and everything that's meant to be in focus, is in focus (duh, not a compliment).
This picture reminds me very much of Exposed (aka Daughter of God) where the end product was not what the director intended. In that instance the director sued the studio in order to have his name removed from the picture.
I watched it till the end to see just how much worse it could get; and it just got worse and worse.
Please Netflix, don't let the accountants ruin a good thing, if budget was the issue. Don't let poor accountability ruin a good thing, if oversight was the issue. And please don't charge me more and then reduce the quality of the end product.
Many a great giant have fallen following that strategy. It would be disappointing to see it happen to you, especially with the competition champing at the bit.
Watch it only if you want to use it like the coffee beans one uses to clear the olfactory senses in preparation for something more worthy of a sniff. Otherwise watch almost anything else.
Anima (2019)
Don't Mistake This For Music Video
This is the work of artists who wish to express something elemental in human nature.
I can't say for sure I know what they had in mind exactly, or what another person might experience from their viewing; what I can say is that it is masterly work and for me it's about connection.
The last time I saw something this affecting was Michael Dudok De Wit's The Red Turtle; Anima is every bit as life affirming (even though it may evoke tears).
There's little point in elaborating on plot points and such because that's not what work like this is about; it's something to be experienced at a near subconscious level.
I will very likely watch this for a long time to come: many times over.
Mr Yorke, Mr Anderson; Thank You.
Dead to Me (2019)
The Allure Of Guilt and Grief
Maybe it's the Fleabag effect - Ricky Gervais's After Life and now Dead To Me. I saw Avengers: Endgame a couple of days ago (more grief responses than Groot could shake a stick at) and I enjoyed this dramedy possibly a little more. Let me put it this way, I was tempted to take a comfort break during Endgame; I couldn't even bring myself to pause DTM. Before I knew it, episode 10, 4am.
Sensational screenplay, only slightly rushed in episodes 9 and 10 but I'm putting that down to the Netflix series order than the writer's thought process.
More please, but don't rush it; be deliberate, take your time, be thorough, ensuring you satisfy all those who have gladly received the serving of this first season and look forward to a deeper and even more scintillating follow up.
The OA (2016)
Not Sure They Can Top Part 2
With such a long break between season 1 and 2, it took me a couple of weeks to even want to get back into it, but thanks to the power of banner marketing, I clicked play. It took all of 5 minutes of S2:E1 to hook me back in.
Kudos to the writing team for amping up the intrigue and for respecting the story; totally knocked it out the park.
New actors and supporting cast were flawless, really good diverse casting, I mean really good. Mr Ben-Adir; solid, and I really liked the Karim character.
A few loose ends but here's hoping the creative team have more left in the tank. I will be there day 1 for season 3.
The Umbrella Academy (2019)
Watch It For The Excellent Performances (and the excellent music)
**** Minor Spoiler (Season 1 review)
Where have all these actors been hiding. Genuinely impressive ensemble cast made this easy to watch and rewatch.
From way back in the day I thought to myself, no way can N'flix keep up the quality of their original productions. Here we are years on, and month after month I am literally surprised that they're upping the ante.
Singling out a few standout performances should not diminish the work of the whole cast; great work by Colm Feore (Sir Hargreaves), Robert Sheenan (Klaus), Aiden Gallagher (Number Five), Cameron Britton (Hazel), and yes Ellen Page (Vanya).
For those reviewers who derogate Ellen Page's work in these first 10 episodes, let me chime in. She's playing a person who since the age of four has been psychologically repressed by her family; she's daily dosed up on pills which further dampen her enthusiasm, and is generally not allowed to mix or play with siblings, or much else. I'm surprised her character can get out of bed in the morning. So for those saying she played it too glum or there wasn't enough emotion from her face - try smiling when you've been depressed forever. I thought it was a job well done.
Anyhow, bring on season 2 please. If we've only seen 6 out of 49 gifts born on that fateful day, with care to the writing, we could be in for a real treat.