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Reviews
Anatomie d'une chute (2023)
So good, even the dog should get an Oscar
Supremely well-written and intricately plotted, "Fall" is the ultimate "he said, she said" movie. A marvelous mash-up of "Rashomon" meets "Anatomy of a Murder", this is a film for anyone who's relationship has gone off the rails, or even just misunderstood the intentions of another. There is a single scene during the courtroom (an audio transcript that we get to see acted out, except for the final, climactic moments) that is an absolute tour de force of writing, acting, and emotional expression, and that arguably encompasses the universality of relationships.
It's interesting and amusing to read some of the critics of this film, who wished either for a pat resolution or a shorter trial. Perhaps that's the way they approach their relationships? In any event, a great film with superb performances all around, and a great one for couples to watch and discuss after;-)
Sharper (2023)
Terrific start and mid-section, ending a bit naff...
Ignore the critics, this is a wonderfully entertaining thriller with more twists than a Coney-Island roller-coaster! All of the cast are *excellent* in their roles, and, while you can sorta see the end coming, it doesn't make it any less fun. Yes, the final
twist is a bit over-the-top (and no, it wouldn't even remotely work in real-life), but don't let that stop you from watching this movie. A Mametesque (there, I had to say it) mash-up of Spanish prisoner meets House of Games by way of Perfect Murder, (and yes, there are a number of Hitchcockian psychological turns that make everything worthwhile.) See it with friends, while sipping a young, impetuous, spicy cab or merlot...
The Creator (2023)
I, Blade Apocalypse...
What do you get when you throw into a blender the worst parts of Blade Runner, Apocalypse Now, I Robot, Akira, and Spielberg's "A. I."? Something that's still infinitely better than this tired old retread of every sci-fi cinematic trope from the past thirty years!
Inter-cultural love story, check. Cute, omnipotent 8-year old, check. Massive space-ship detonating in slow motion, check. Forget about some of the more obvious anachronisms (why do they need hand-held radios in the future? Why do guns still fire bullets?), even the story here meanders all over the place. (When you have to label the different sections of your movie "the Friend", "the Creator" etc. You know you can't trust the audience to follow the plot...)
There is a germ of an interesting movie here (what does it mean for someone to die if you can download their brain and capture their face, and then put it on a robot); but Edwards lacks either the intellect or the ability to trust the audience to explore these issues. Instead we are treated to a series of increasingly lame action sequences, none of which make any sense (he's gasping for breath! She can close down the entire spaceship just by meditating!) until we've been beaten senseless by the sound- and visual-effects.
Three stars to the effects team who worked tirelessly to fuse together some of the great sci-fi movies of the past thirty years, but otherwise, this ain't no "Ex Machina."
Good Behavior (2016)
Outstanding Dockery cannot save gaping plot holes and inane character development
Ignore the first dozen or so reviews of this (now cancelled) series - they were clearly written by Hollywood hacks paid to plug the show!
I've been following Blake Crouch's writing for some time now and, as a scientist, (bioinformatics! And yes, cancer research, as Javier pretends), I've been hoping to see more intelligent science fiction-thrillers-mysteries. Unfortunately the only mystery here is why Crouch's writing team allowed him to wander off the reservation so many times. (It's a thriller! It's a noir comedy! It's a drama about deeply flawed characters!), until it becomes the worst mishmash of all of the above.
As others have pointed out, Michelle Dockery gives a truly outstanding performance in an otherwise rapidly spiraling, out-of-control story, with gaping plot-holes large enough that you can drive a truck through them. Watch the first three episodes to see Dockery in action, then switch to reruns of "The Riches" to watch Izzard and Driver do grifters in the South the *right* way.
The Banshees of Inisherin (2022)
What is it with McDonagh & decapitated digits?!
If you've seen McDonagh's masterpiece, "Pillowman", you'll know he has a thing for chopped-off digits. In this hilarious, whimsical, slow-burn (and ultimately disappointing) film, severed digits again play an instrumental role, albeit to far less dramatic effect. Terrific performances (particularly by Farrell and Keoghan) can't rescue an ultimately pointless exercise. Other than as a travelogue for rural Ireland (absolutely beautiful), or as a commentary on the 1930's civil war, it's not clear what McDonagh was hoping to achieve.
Worth viewing for true McDonagh fans only. If you're looking for a charming, intimate family drama, try
"Everything Everywhere All At Once" instead.
Station Eleven (2021)
Magnificent start, maudlin end...(with a nod to 'Maniac')
After reading the book and binge-watching the series (and reading a number of the reviews on IMDB, both positive and negative), I'll summarize my thoughts as follows:
1. You just have to go with the premise that a traveling troupe will perform Shakespeare in our post-apocalyptic future. (The power of art, the universality of story-telling etc.) This also ties, sometimes heavy-handedly, into both book and series (Arthur's three wives and Lear's three daughters; also the tension between Tyler and Elizabeth, and Hamlet and Gertrude, which is *not* in the book.)
2. The concept that what we read can influence who we become (and what we remember) is intriguing. Granted, it's hard to imagine a graphic novel about a space colony affecting Kristin and Tyler in such dramatically different ways, but the idea is certainly worth entertaining.
3. The TV series attempts to 'close the circle' in many ways that the book didn't - with sometimes maudlin results. (Jeevan reuniting with Kristin; Kristin 'reforming' Tyler; Tyler and Elizabeth reconciling by performing Hamlet (really?!).) The book doesn't have any of these neatly tied-up endings.
4. In an interview with Ezra Klein, the author discusses her thoughts about simulations and the multiverse, and the book and series do a good job of showing choices made and paths either taken or not-taken. (Of course, the literal ending where Jeevan and Kristin take opposite paths in the forest is just a bit heavy-handed!)
Overall, the book owes a lot to David Mitchell's 'Cloud Atlas', and the TV series to 'Lost' and 'Maniac.' If you enjoyed these shows you'll probably enjoy this series. I was hooked until the last three episodes, where the series deviates significantly from the book, producing many bizarre and overly-manufactured resolutions, and a happy Hollywood ending.
The Outfit (2022)
Rylance a poor fit for this misbegotten suit...
Over-rated and talky, with far too much exposition and far too little tension, the only thing that saves this over-stuffed Zoot suit is Mark Rylance's restrained performance (reminiscent of "Bridge of Spies.") Unfortunately, even the great MR can't rescue the "who's on first?"-style dialog, as well as the huffy over-acting of both Flynn and Deutsch.
Save for a fine turn by Simon Russell-Beale, this ill-fitted fabric doesn't do even the slightest justice to the city of broad shoulders, and the late presence of Bird as a (Haitian?) Black Frenchperson only adds to the confusion. Perhaps the cutter should have left more of this coat of many stripes on the cutting-room floor...
Allied (2016)
Melodramatic piffle saved by la Cotillon
Constipated homage to "Casablanca" (the opening scene is even set in Casablanca!) comes across as bad Tarantino meets even worse Bay. Pitt, who appears to have had plastic surgery by the same doctor who treated Marlon Brando in "The Godfather" (cotton balls, anyone?) is hopelessly out of his league as the conflicted-but-ruthless male. (Memo to Zemeckis: When you have an actor as talented as Matthew Goode in your stable, make him the lead, and stuff Pitt in the cameo as the cripple in a wheelchair!)
Only the huffing and puffing of Harris and McBurney, both criminally underused, and the always excellent Marion Cotillon rescue this film from oblivion. Next time, Mr. Zemeckis, a little more subtlety (yes, that means fewer f-bombs) and a little less cliche. (Mushroom-picking on Hampstead Heath, anyone?!)
The God Committee (2021)
Thoughtful, highly topical medical drama
This movie is clearly not for everyone (viz. Some of the poor reviews!) but it is an intelligent, scientifically and medically credible take (albeit with some dramatic license) on some of the major ethical dilemmas occurring in medicine today.
Kelsey Grammar is excellent as usual, and Julia Stiles walks a fine line balancing a tricky role. The standout for me was Jeanine Garofolo, who gives a standout performance (I thought she was a comedienne?!) as a morally compromised (and knows it) administrator.
It is based on a play, which may explain some of the claustrophobia evident in several key scenes, yet still offers a provocative take on the question of when and whether it's OK to "play God", and under what circumstances.
No Time to Die (2021)
A better title: "Somebody shoot me."
Drab, lackluster, tedious and ultimately forgettable...and that's just Daniel Craig's performance. Seydoux and Malek try gamely to bring the most cliche'd dialog to life (sample: Malek "we both eradicate people, I'm just a bit...tidier."( I thought I was watching a detergent commercial!)
The only good thing in it is Ana de Arnas. If she can perform martial-arts in *that* outfit (and catch, and fire, a machine-gun single-handed) she deserves to be the next...Jane Bond?
Wait till the scene in Cuba with de Arnas, then fall asleep on the couch for the rest. (You've seen it all before.)
One extra star for a spectacular motor-cycle jump during the (l-o-n-g) opening credits.