Change Your Image
Brother_Maynards_Brother
Ratings
Most Recently Rated
Reviews
Gwoemul (2006)
A host of fatuousness
Earlier in the day, I had watched Bong Joon Ho's "Parasite" and found it unique and clever in how it vivisected South Korean society (and inherent human foibles). The humor was delightfully dark. The film was certainly the product of a singular mind. Having found "Parasite" to be so satisfying, I decided to delve into Ho's earlier efforts.
I am a big fan of foreign films. I have consumed many in my life and, like with Hollywood-generated products, their quality runs the spectrum from irredeemable to sublime. I am also a Horror genre fan, but being forthright, I readily admit that the vast majority of Horror films that have been released since the early silent days, have been poor. /* Quick tangent; if you haven't seen the silent Horror films "Nosferatu" and "The Cabinet of Dr. Caligari, please do so, whether you are a Horror fan or not. They are Cinematic classics worthy of your time.*/
Given my predilection for Horror flicks (though the bulk are unsatisfying), I decided to give Ho's "The Host" a try. The reviews were strong, especially from professional reviewers, so it seemed as if this work of Ho's would also generate appreciation on my part.
Alas, appreciation was not generated. The metaphors were ham-fisted (unlike the far more subtle metaphors in "Parasite"). U. S. Armed Forces have been present in South Korea since 1950 and I'm certain that they have knowingly released toxic agents into the South Korean environment over the decades so making them a villain is more than fair. The South Korean government was satirized as being cartoonish buffoons - fairly or not, I do not know. The government's response to the metaphorical monster was incompetent. Their humanitarian response was Keystone Cop-like. Even incompetent leaders with the types of weapons possessed by South Korea would have been able to establish a vastly superior military response. A realistic military response would have been to actively hunt the creature with all the Nation's many military resources; sonar, radar and IR combined with artillery, airstrikes (planes & choppers) and boots on the ground. No bioweapon would have been necessary (this monster wasn't Gojira). I recognize that Ho was attempting to promote various metaphors but metaphors not built upon a foundation of sound reasoning are not going to be very effective.
From near the outset of the flick, it became obvious that the screenplay was not interested in displaying reason (many a time did the film evoke a Spock-like single eyebrow raise). Perhaps the most egregious example of this being the mass protest at the end of the flick. The monster was known to still be active all along that section of the river yet hundreds decided to protest the release of the bioweapon. Where? On the river's edge, of course (as the agent was scheduled to be released). And wow, guess who showed up! And guess what was released! Oy... The continuous lack of reasoning (which was not present in "Parasite") became aggravating and tiresome. Yes, I recognized the humor but it wasn't nearly as sharp and effective as the humor in "Parasite" (nor were the metaphors).
Unfortunately, this Horror flick (injected with passable comedic and metaphorical tones) is relegated to the aforementioned morass that contains the vast majority of Horror flicks. It is hackneyed. It is littered with characters that act in inane manners; manners endemic to the bulk of Horror flicks and rightfully satirized in a few clever Horror flicks.
I am pleased that Bong Joon Ho has grown significantly as a writer and director (the viewing public are the fortunate beneficiaries). "Parasite" deserves all the praise that has been heaped upon it. This earlier effort of his... not so much.
It would be most interesting to see what Ho would do with "The Host" now.
Civil War (2024)
Whiffed
What was the original vision of writer/director Alex Garland? Did his vision once have a real purpose - something meaty and profound? If it did, all of that significance eroded by the time the product was honed into its "in the can" state. I really enjoyed "Ex Machina" (which Garland wrote and directed), "Dredd" (he penned the screenplay) and "28 Days Later" (which he wrote), but this was a swing & miss. It was soulless.
The plot made no sense politically, geographically and tactically. One would think that a script regarding a modern civil war in the U. S. would touch upon the current political and cultural strife in the nation, but no. California and Texas politically aligned? Risible.
There's much to critique but I don't have the energy to perform a thorough scrutiny. This flick was frustrating. A wasted opportunity.
The two "Suicide" tunes were certainly an unexpected and welcome addition.
Qapla'
The Gentlemen (2024)
A Posh (with uppercase "P") "Snatch"
I just completed dining upon this rich repast of a series. I am left quite sated.
This production was certainly better than what I had anticipated. The production possesses all the foundational aspects common to superior film works: clever and engaging writing, superb cinematography, adroit direction, wise casting, magnificent acting, stirring sets and a dedication to the small details. This cornucopia of darkness is presented with that always delightful British Isles dryness.
I applaud Netflix for greenlighting this series - it is arguably their best self-produced effort.
As a general FYI, new Land Rover models are available in more hues than merely Henry Ford-approved black ;).
PS - for those not familiar with "Snatch" and other Guy Ritchie flicks, this series is absolutely NOT appropriate for sub-teens (and perhaps young teens, too).
Extraction 2 (2023)
While watching, the old AC/DC song "If You Want Blood, You've Got It" came to mind.
Do you like hot combat knife, RPG, grenade launcher and minigun action? Do you enjoy playing the "Just Cause" games? Do particularly kinetic and violent action flicks make you howl with joy? If so, then Netflix made this flick for you.
This work is a better than average Action film. It often feels like one is watching one of the better action videos games (e.g. The aforementioned "Just Cause" and "Uncharted" games). Much like in those games, the characters in the flick (especially those on the "good guy" side) absorb unrealistic levels of damage. Also, much like is found in the aforementioned video games, some action sequences are nigh ludicrous. But hey, rare are the action flicks that allow a discerning viewer to suspend disbelief for the entire runtime.
The "Onion Field" rule (i.e. Never surrender your gun) was violated a few times. One can certainly claim that this fact highlights the writer's reliance upon tired Action movie tropes.
Even given the obvious flaws, if you enjoy Action flicks, this is a good time passer. Give it a try.
Monsieur Spade (2024)
(Facepalm) - a series destroyed by its finale
Given my love for the film, I approached this series with skepticism. Trying to revive the role that Bogie just dominated (thus propelling the film to the Cinematic Mount Olympus (unlike the 1931 and 1936 versions)) and, in turn, propelled him to leading man stardom (damn good thing that George Raft turned down the role), seemed a highly dubious proposition.
The first episode was unnecessarily sluggish but I labored onwards, nonetheless. The tale and pacing improved in subsequent episodes but, even though he is a fine actor, I could not help but virtually overlay the image of Bogie upon Clive Owen - harmony was never achieved. This level of scrutiny was unfair to Monsieur Owen but my inner cinematic purist refused to slacken.
I kept watching, for the production itself was very good (actors, sets, clothing, cars, etc) and the story became more intricate.
And then came the finale, which I just finished viewing. The production suddenly became the equivalent of an old Citroen or Peugeot - the engine seized just before the finish line, leaving the viewers stranded. Such a cheap, ludicrous and buffoonish ending. A new character appeared just in the nick of time to shred any appreciation that the viewers had developed for the production up until that point. As my Dad used to say, "people don't speak like that in real life." A befuddling choice by the Writers/Director/Producers.
So obviously I would suggest avoiding this series. Go watch some "Poirot" episodes (David Suchet - magnifique!) instead. In case you haven't seen them, check out some of Bogie's second fiddle "heavy" roles he played in the 30's (e.g. "The Roaring Twenties" with Jimmy Cagney and "Bullets or Ballots" with Edward G. Robinson).
The Retirement Plan (2023)
How was this greenlit? Were the associated studio execs, producers and writers a group of besotted wallabies?
Nic was the lead in a number of my favorite flicks (e.g. "Adaptation" and "Raising Arizona") and given his recent renaissance after an extended B-movie exile, I was willing to give this a chance, thinking that it might be his "Taken" clone (a heavily mined subgenre over the past fifteen years).
I should have spent the time I allotted for viewing this flick performing unenjoyable but necessary household tasks.
Such a cheap production - absolutely embarrassing. This flick is a big regression for Nic's previously rehabilitating career.
The existence of movies like this always elicits questions about the cognitive competence of studio execs and producers. This movie is so obviously the entertainment equivalent of a heaping pile of pachyderm dung - why would an ostensibly psychologically sound human believe that funding such a work is a rational use for significant monies? Befuddling...
Looking for a damn fun Nic flick where he was allowed to indulge his Elvis-obsession? If so, head right to David Lynch's "Wild At Heart." /* Warning - said movie is definitely not one for kids as it is quite violent */
Qapla'!
The Holdovers (2023)
"I find the world a bitter and complicated place and it seems to feel the same way about me. I think you and I have this in common."
Another superior film by Alexander Payne. "Citizen Ruth," "Election," "About Schmidt," "Sideways," "The Descendants," "Nebraska" and now "The Holdovers." What a legacy Monsieur Payne continues to generate.
If you like any of Director Payne's past work, stop reading and take the deep dive.
The quote in the title, made by Paul Giammati's Ancient Civilizations Professor character, captures well the aspects of existence explored in the flick. This is not a light Holiday piece, like so many examples rightfully beloved by society. Oh, there's plenty of humor, it's just dark and saturated with sarcasm. These are convincingly real characters laden with deep psychological pain, anxieties a-plenty slightly hidden beneath cognitive veneers, egregious flaws and oft embarrassing truths that have been kept very well hidden. The acting was great, as is to be expected in a Payne piece. I must provide special praise for Da'Vine Joy Randolph. She was wonderful as School Kitchen Manager Mary Lamb; one of the few genuinely good characters from the outset, who has recently suffered a devastating personal loss. She was just so real. What an acting gift. I hope that she receives much recognition for her superb work.
So many human foibles, frailties, and self-deceptions inhabit Dir. Payne's films. He creates celluloid mirrors that we should all use to routinely self-reflect.
Qapla'!
Queen of the Damned (2002)
Decided to revisit this after 22 years, thinking it could not be as bad as I remembered.
Oh, I was so very wrong. The movie is wretched.
I had read all the Vamp Chronicles books in the late 80s/early 90s and enjoyed them (had been on a horror fiction kick for a few years - conclusion reached; there was not much quality horror fiction in the wild). After Neil Jordan's "Interview" was released and experienced financial success, it seemed logical that "The Vampire Lestat" would be adapted for the big screen. Alas, said book was never adapted, even though it was a cornucopia of rich imagery and interesting mythology. Around 2000, I recall reading on a forum some hubbub about an adaptation of "Queen of The Damned" being greenlit. This news instantly cranked my cynicism to 11. How could a viable "Queen" adaptation be generated without providing the vital mythical foundation provided in the "Lestat" book?
The question was answered upon heading out to yonder theater in late February 2002; the studio was not concerned with creating a viable adaptation. The flick was foul. Absolute refuse. Embarrassing dreck. Devoid of any substance. An ideal example of Hollywood incompetence.
Looking back, I'm surprised that I didn't walk out of the theater all those years ago.
Advice --> Run away from this failed effort. Watch "Nosferatu," Bela (Lugosi, for you young ones) or one of the Hammer Drac flicks instead.
The Exorcist: Believer (2023)
Plodding. Hackneyed. As a buddy would say, "weak tea."
So after viewing this work, those well-versed in the celluloid spawn of William Peter Blatty might first consider if this flick is better or worse than "The Exorcist II" (I certainly did). After a few moments of rumination, worse than the notoriously dreadful X II, 'tis, did I conclude. "Why?," you may reasonably ask? At least X II is quite bizarre, thus making it unique and memorable; unlike this latest sequel. The pacing of this sequel is three-toed sloth-like. The story lacks gravitas. I kept noting to myself as the runtime accumulated that there had to be something unique that would arise as possession/exorcism flicks have become rote. Surely the film's producers would want to try to uphold the strong series legacy (save X II, which seemed to be written, directed and produced by folks that dropped way too much acid); surely, right? Alas, we viewers are denied anything different, save the ~180° TWIST towards the end.
Suggestion for those that have not yet partaken; watch "Hereditary" instead.
Suggestion two; try to find a copy of William Peter Blatty's "Legion" and read it right after consuming the prose-version of "The Exorcist."
Qapla'!
Eternal Beauty (2019)
"What if there is no such thing as happiness, only moments of not being depressed?"
Based upon the trailer and the streaming service's short description, I dove into this flick expecting another charming and playfully dry independent production that contained much British Isles eccentricity, as I am very fond of such works. What this film soon emerged as is a knuckleball; the baseball pitch that (if thrown right) initially looks like it will be easy to catch but then starts darting, drifting and diving all around, making the pitch very challenging to track and catch. This is a heavy film, but that's a very good thing. Psychosis appears to be effectively captured - uncertainty about what is a delusion and what is reality as well as a strong non-linearity. This makes the film, like a knuckleball, challenging to track. This flick is a challenge that only a certain portion of the populace will want to undertake, but for those who do, it will provide much to ponder regarding psychoses and will linger in your stream of consciousness.
I am pleased that I encountered this work. Hopefully you will be, too.
Ahsoka (2023)
Another Disney "Star Wars" disappointment.
/* 9/27/23 update:
The Ahsoka series is rubbish. Darth Kennedy and her assimilated drone, Toady Filoni, should be embarrassed but since the former is a megalomaniac (with the expected limited talent), an admission of even the most minute misstep will never be issued. This series is a morass of woeful writing. Logic, reason, consistency and fun have been jettisoned with prejudice.
Whenever you encounter the name "Kathleen Kennedy" in the future, think of the Ladytron song "Destroy everything you touch." */
Three episodes is probably a large enough sample size to render a critique. In the months leading up to this series, I countlessly heard the claim that this series would "save" Star Wars. Given all of Disney Lucasfilm's failures over the last five or so years (e.g. The recent unnecessary Indy V was a prime Tyson uppercut-level failure), Disney Lucasfilm did indeed need a big win. The Mandalorian S3 was a significant regression (thanks to Kathleen Kennedy's meddling and demands), Obi-Wan was a huge missed opportunity, Book of Boba Fett was a gale-level whiff (the Brit "Mod" scooters were embarrassing (look up "mods and rockers")) and the sequel movies were really weak due to Kathleen Kennedy's one note creativity and abilities. Andor was good, but few watched it. Ditto Rogue One.
Alas, what has been issued in the first three episodes is the antithesis of success. Prior to this series' release, I started watching Clone Wars. I consumed three seasons and was left pleased. It's very often exciting and fun. Given Dave Filoni's significant involvement in that animated series, my confidence that his upcoming Ahsoka series would be successful was boosted. Just prior to the Ahsoka series' release, I rewatched Star Wars, the name of the original film that was released in 1977. I was obsessed with the flick as a young one after its release. My Bro and I convinced a good number of adults to take us to the theater to rewatch the groundbreaking flick. We ended up seeing it thirteen times in 1977. Said movie is still the apex of what became the Star Wars universe, in my mind. The virtues of the film have been discussed ad nauseum over the decades so there's no need for me to rehash them. The formula was so groundbreaking in 1977. No Sci-Fi movie had ever achieved its heights (Star Trek, the TV Series, was in syndication at that point, and absolutely brilliant, too (I'm more a Trekkie than Star Wars fan) but that series was very financially constrained, thus the practical effects and sets were merely acceptable). I was hoping that the Ahsoka series would follow along with the original film's general formula, like the Clone Wars animated series had; well-paced, compelling characters and locations and cool action sequences, all which added up to F U N. Very sadly, it has failed to extend its arms towards the lofty pinnacle of the original movie. The characters are flat - just dull, lifeless and well, tedious (save Ray Stevenson's (RIP) Skoll). Ahsoka, herself, is nothing like the spitfire she was in the animated series. She's just present, as are the other main characters. The story is sluggish and all too often illogical and contradictory, even for a Sci-Fi work. Basic reasoning is often overlooked in the writing. I won't go into specifics and thus present spoilers, but there are a lot of inconsistencies and a lack of writing depth. So much of the episodes' runtimes are blatant filler. It sure looks pretty but behind that visual facade is vacuousness. I've heard rumors that Kathleen Kennedy provided Dave Filoni with the direction that she thought the show show should go in, as is her wont (see Indy V). That would surely explain the glaring lack of depth the Ahsoka series possesses when compared to the Clone Wars series. Anything Star Wars-related should yearn to achieve the heights of the original film. This series looks toward that pinnacle and then lazily turns away. Sadly, this series is thus far a disappointment. It is not compelling. It is not fun.
Qapla'!
The Naked City (1948)
/* A 7.5 rating */ - A fun flick that also acts as a great historical snapshot of 40's NYC.
This flick is swell; swell, I says.
Barry Fitzgerald, as was his wont, steals the show once again. The fine Irish gent was just so dang endearing. In this police procedural, he was the metaphorical cosmic star that all the characters and action revolved around. As others have mentioned, The Star of the film is 1940's NYC (primarily Manhattan). It's fascinating seeing neighborhoods, like the Lower East Side, that were still chockablock with first or second generation immigrants, the deteriorating tenement buildings that those immigrants lived in, open air markets, street peddlers, the subway system, etc. We current Americans really have it made, for things we take for granted now, like air conditioning, were not available to the vast majority of the citizenry in '48. This lack of A/C is quickly noticable in the flick, as everyone was hot and sweaty (save the wealthy characters, of course). All my family members; great-grandparents down to parents, aunts and uncles from both sides, were living in The City (see the 3/29/76 cover of The New Yorker to understand why only NYC is referred to as The City) when this flick was made so I enjoyed pondering if they used the displayed subway and bus lines (public transportation was the only means of conveyance for all of the Fam at the time) and frequented the displayed neighborhoods. My maternal Grandpa was just a few years into his career with the NYPD in 1948; he walked a beat in The Bronx, which included the Zoo, at the time. The flick evoked questions about if film production companies back in the day made use of actual cops as uniformed extras in their films (after undoubtedly making a healthy donation to the NYPD).
The flick has murder, shootouts, jewel thieves, foot chases, fisticuffs, wrestling, an attempted self-defenestration, classic feet on the ground police investigations and cold as ice root beer. The cast is skilled. The direction and cinematography are solid. What else could a crime film fan desire when looking to be entertained?
The Thief Who Came to Dinner (1973)
/* A 6.5 rating */ - a pleasant and light time passer.
Just ran across this flick on TCM. Checked out the cast and some reviews via the IMDB app and then decided to give 'er a try.
The flick is a pleasant, light and somewhat charming cat and mouse burglar endeavor. It feels quite akin to a 70's "Mystery of the Week" made for TV movie by ABC/CBS/NBC. This feeling is cemented by the best aspect of the movie; the outstanding Henry Mancini soundtrack. Henry's work on this movie is quintessential 70's - a totally groovy melange of horns, quasi-mysterious keyboards and high in the mix bass guitar. It's spot-on.
The cast is surprisingly strong. Ryan O'Neal was in the middle of his 1970 to 1975 hot, hot, hot streak. Warren Oates was in the apex period of his strong but sadly truncated career. A good number of other classic character actors appear (including the dude that played "Julio" on "Sanford & Son" and the always reliable Ned Beatty). Jacqueline Bisset's comely presence is always welcome.
The movie is not in the slightest a gritty and dark crime offering. Instead, it is akin to a light and pleasant dessert. Could it have been better? Most certainly. Is it worth your attention if you're looking for time to kill? Definitely --> groove to the Mancini tunes.
Fanboys (2009)
HYPER-dorky
But given that I fit said description, enjoyed this work, I did (thank you Yoda, for making sentences that would cause your Junior High English teacher to explode, societally acceptable). Mark Mothersbaugh of Devo produced the soundtrack, thus elevating the geek factor even higher (I saw Devo live in NYC two summers ago, thus enhancing my dweeb cred (awesome show, btw - shouting along to "Jocko Homo" was the high point)). Loved how Trekkies were portrayed (I'm much more a Trek fan though I did see Star Wars thirteen times in theaters in 1977). The fans of Roddenberry's offspring (save the wretched Kurtzman Drek Trek that has befouled televisions and theater screens for the last decade+ - those embarrassing works are NOT canon, as far as I'm concerned) were displayed as the most stiffly geeky of all the assorted sci-fi fanboy sects. Hilarious stuff. All the internecine fighting amongst the nerd tribes was quite amusing.
Of course, this is not a great movie, but it's (Lt. Commander Data would tut tut me for using a contraction) fun for the deeply dorky in society (the reference to George's first flick in this work will be obvious to the aforementioned folk). I am a proud "Revenge of The Nerds" nerd (pre-to when being nerdy was seen as "cool") and I say to geeks everywhere looking for lighthearted laughs, Make It So!
Qapla'!
Guardians of the Galaxy Vol. 3 (2023)
"Come and get your love"
Just finished watching this work. I was left quite satisfied. I was moved as there is genuine heart in the flick. About halfway through, I suddenly realized that I was smiling. Said physical arc remained on my visage for the remainder of the runtime. There were a number of great action sequences - lots of clever human/CGI fusions. Y'know the types of visual media that grow more appreciated by one over time? This flick will surely be one for me.
I started absorbing Marvel comics (never dug D. C.) in the early 70s when I was quite young. This period of consistent Marvel repasts lasted only about eight years but my youthful love for those great comics never left me. The MCU movies through phase three were all good (well, save Iron Man 2, The Hulk and Captain Marvel) but the first Guardians movie was an outlier. Though the group was a minor entity in the comics of yore, they were re-invented as an outstanding bundle of flawed, clever, bickering, irreverent and dancing characters. The flick was just SO MUCH FUN. The team was incredibly endearing, the humor always hit, the action was top-notch and the musical selections were inspired - it was truly superb. It stood above all the other Marvel flicks in terms of quality. Now that Marvel's offerings have gone astray in terms of quality, starting with phase four, I had feared that Guardians 3 would be infected with the general suckitude virus that sadly has afflicted all other recent works (save the Spidey flick, which was fun and engaging). How relieved I am that Guardians 3 turned out to be a far outlier, in terms of quality, compared with the non-Spidey phase four and five efforts.
To whoever selected the Spacehog, The The, X and The Replacements tracks, I salute you. To all involved with the creation of Guardians 3, I bow deeply before you. Very well done!
Qapla'!
Road to Perdition (2002)
A Cinematography Master Class
What an absolutely beautiful film in terms of its cinematography. The imagery is mesmerizing. This film is akin to the Coen Bros' 1990 Gangster-era crime flick "Miller's Crossing" in terms of its superlative visuals. But whereas "Miller's Crossing," the first of the Coen Bros' "handsome films," is rich in color and possesses an almost glossy vibrance, this film's image tonal range is darker, flatter and possesses a slight graininess; all which are appropriate for the story's temporal setting (the 2nd year of the Great Depression), the season (a shades of gray north-central U. S. winter), and the cold, dark and morally depraved actions of the characters.
The dolly and crane work is superb. The focus pulling is exquisite. So many of the scenes are made especially stirring due to the way the DP and his staff chose to film the scene; the best example being the street showdown near the end of the film. Said scene must be one that is greatly appreciated by most, if not all, DPs and other photography-related staff for it is sublime.
Oh yea, Paul Newman and Tom Hanks are in it. They are, of course, very good. Though both characters are hard men in a very dirty business, there are times when their love for each other is subtlety made physically apparent (e.g. Both actors became glassy-eyed in the one on one scene in the church basement). The tale is dark, grim and cold; as is the reality of living a life of unfettered violence.
If you are a fan of crime flicks, a fan of superior cinematography or a fan of both, definitely partake.
Old Henry (2021)
Western fans - hitch up your appaloosa and enjoy.
/* A 7.5 rating */ Just finished viewing this work. I was left satisfied. A modern film character equivalent came to mind during the denouement but I best not reveal the analogy for it may give too much away.
The time period the story is set in has always interested me; the transitional period from Wild West to "tamed" West. Tim Blake Nelson's performance is a tour de force. His appearance is dirty, unkempt and worn; as we all imagine hard-workin' farm folk would have looked back in the day. His speech pattern corresponds with his physical appearance. To borrow from a Western classic and its remake, his character possesses true grit.
The story is a simple tale, as so many Westerns are (including classics of the genre). We know where this type of trail will lead us, but the journey is well worth experiencing nonetheless.
PS - nice job by the DP and his crew lighting the homestead's interior during both day and night scenes.
The Big Bang Theory (2007)
An industrial-grade sandpaper laugh track renders this unwatchable.
Being a steadfast Trek fan (pre-Kurtzman Dreck "Trek" (which is not canon, in my mind)), I had been told many times by various folks that I would love this show. Nevertheless, I never sought the show out. I did eventually encounter the show while visiting at a buddy's house (one who did not ever relay that I would enjoy the show) - he and his wife regularly watched the show's reruns so when the idea of watching an episode arose, I fully concurred with what was obviously their desire. The premise appeared to be most compelling as I dig cosmology/astrophysics/astronomy and quantum mechanics (which I certainly do not understand - Richard Feynman said it best "If you think you understand quantum mechanics, you don't understand quantum mechanics") but soon arose a most grating inhibitor to enjoyment; the utterly overbearing laugh track. The laugh track seemed to be amplified more than normal soundtrack levels (e.g. "Seinfeld") and thus acted as a cognitive abrasive. It was so egregious that I could not focus on the dialogue thus I quickly categorized the show as being unwatchable. Unfortunate that the studio/producers/directors/writers did not possess enough faith in the quality of the material to proceed sans laugh track, ala "The Office."
Qapla'! And appreciate your CMB map today.
My Dinner with Andre (1981)
A very rich meal.
I just finished re-watching this for the first time in over a decade. It has stirred me more than past viewings; this is undoubtedly due to chronological aging and the associated amplification of existential rumination.
I am not a man of The Arts, thus lapses in the perception of important theater references were surely made.
It seems to me that the quote from "Autumn Sonata," relayed prior to the start of the dinner itself, would be quite poignant for Artists and was certainly highly relevant for the film's upcoming dinner. Andre, being quite gregarious, was allowed to dominate the conversation by an ostensibly disinterested Wally. Andre's utterances were whimsical, fantastical, oft contradictory and perhaps even the product of a psychiatric disorder. That is until he reveals that all his great physical and psychological indulgences were unfulfilling and useless activities, and that the acceptance of that fact has left him bereft of any desire to continue on. At this time, Wally sheds his reticence and engages. Subsequently, many wise insights were issued by both men. I'll simply leave it at that.
Satie's Gymnopedie No. 1, which is always an ideal sonic foundation for melancholic contemplation, was used brilliantly at the end of the film. I especially love the closing line; it is simply great writing.
Wally's friend, who insisted that he have dinner with Andre, knew that the conversation would leave Wally stirred. I am left the same.
Savor this repast.
PS- very amusing references to this movie were made in two comedic ventures: at the end of "Waiting for Guffman," and in the Simpsons episode "Boy-Scoutz 'n the Hood" (S5:E8).
The Velvet Underground (2021)
The documentary mainline we've been searching for.
A most satisfying documentary about a complicated and ever so important band. Talent, ego, rebelliousness and drugs. Talent, ego, rebelliousness and drugs. Those combined variables always seem to generate the best pop music. Old fans will, of course, enjoy all the original footage and the tale of how the original four came to be one. Youngsters out there with an interest in exploring the truly important bands that significantly influenced the growth of pop & rock music, do dive in (the classic adage goes that VU didn't sell many records but every person that did procure one of their works started a band). We much more seasoned fans want you kiddos to be the VU standard-bearers of the future. Make it so!
Qapla'!
The Tragedy of Macbeth (2021)
Sublime cinematography.
I found this big screen adaptation of The Scottish Play to be quite mesmerizing. I am a sucker for superior cinematography (LOVE the Coen's "Handsome" flicks) and my, oh, my; does said attribute ever exist in this effort. It's just a gorgeous work to behold. Early on in the film, I recognized that Director Joel and DP Bruno must have decided on "The Passion of Joan of Arc" as being an example of the visual style they wished to portray. Truly a wise and learned choice.
Most of the scenes feel as if they were captured on a theater stage due to the smaller set sizes, the minimalism/starkness of the sets and the economy of cast motions.
The cast is quite accomplished and performed their roles with the expected skill and grace. I really liked Denzel as MB. He looked genuinely haggard (his facial stubble was perfect for helping to generate this perception). He unleashed the challenging prose with true aplomb - the mark of an absolute pro. Stellar character actor Stephen Root had an amusing short appearance. Harry Melling (Dudley from the Harry Potter flicks) has grown exceptionally well as an actor - he was absolutely natural and convincing as Malcolm. Even the chap that played the Terminator-like Alien Bounty Hunter in the X-Files TV series, Brian Thompson, made a brief appearance. Once again, I found every player to be quite good. The most distinguished work out of all the superb players belonged to Kathryn Hunter, who portrayed the Witches (and an elderly gent). She was superb. I was transfixed during each of her appearances. Truly brilliant work.
Undoubtedly, experts in this play of the Bard's will have issues with aspects of this adaptation, and I'm sure said qualms are valid. I am bereft of even a modicum of Shakespearean knowledge. Fortunately, my ignorance allowed me to thoroughly enjoy this effort sans adaptation scrutiny.
I offer a hearty HUZZAH! To the entire cast and crew. Very well done.
Kurosawa's "Throne of Blood" has been my go-to MB film adaptation for decades. It will now have to share that role with this work.
Qapla'!
The Last of Us (2023)
I played the game twice and was completely engaged both times.
The game deserved all the rave reviews it received. It was truly compelling. Great story. Great characters. Beautiful graphics. Damn intense gameplay. The Dev Studio knocked it WAY out of the park.
Given all the excellent memories that had accrued while playing the game twice, I was looking forward to viewing this small screen adaptation. There's obviously far too much content in the game to translate to a limited-length series, but that could be a boon for the show runners as a killer subset of compelling and intense scenes/locations could be chosen to portray. Following that simple adaptation methodology, it seemed obvious to me that the series, like the game, should be an easy home run.
The first two episodes were quite promising. The casting was strong, (Bella Ramsey was a good choice for she was very solid in Game of Thrones). The sets were impressive. The cinematography and CGI were high quality. The appearance of the afflicted, especially the clickers, was well done. The overall dark and grim physical and psychological tone of the game was captured quite well. A few items were outright changed, e.g. The addition of the Borg-like (see Star Trek: Next Gen) fungi, but the producers' rationales for making said changes were understandable. I, and apparently countless other gamers, was left quite satisfied.
Then came episode three.
Sigh...
So much for hitting the easy home run by selecting a killer subset of game scenes/locations to portray. It seemed so very simple and obvious. Alas, instead of simply portraying awesome scene after awesome scene from the game, all of the sudden, the series, which had been moving forward nicely, was thrown into reverse. Why was there so much time wasted on a slow and superfluous plot thread that did not take place in the kinetic and compelling plot of the game? I fear that this will not be the last tangential jaunt.
Why the screenplay writer for the series, who also happened to write the game's story, would not merely follow his own tried, tested and beloved story is befuddling.
Nope (2022)
Dusting the house would have provided more stimulation.
I am very fond of the "Key & Peele" show. True comedic brilliance is often displayed. The two gentlemen are undeniably significant talents.
I enjoy films that many classify as "slow" (the accused tend to be foreign flicks) for said endeavors tend to always contain quite compelling aspects. Unfortunately I must proclaim that this purported "blockbuster" cinematic event is as dull as the car primer gray that has inexplicably become a popular auto exterior hue. It is slow and not very compelling. Most of the characters are as flat as Gumby. The sister and Fry's clerk/electronics wiz are tiresome. The tale creeps along like a narcoleptic sloth. I was about to pull the plug but then the first scene where the UFO and humans interact arose. Now that was interesting. Interesting enough to decide to tough the rest of the runtime out. Alas, even though the ostensibly exciting period of the film had arrived, said final section turned out to be tedious and featured befuddling choices by characters.
Spend the two-plus hours that you would have to allot for this film watching Key & Peele episodes instead. You will laugh heartily. If you're jonesing for good recent horror, try "Barbarian", "Hereditary" or "The Witch."
Qapla'!
Thor: Love and Thunder (2022)
Oy...
Sadly, this production is quite frivolous. Irritating rather than captivating. Could not wait for it to reach its conclusion. I very much enjoy "Ragnarök" (and LOVE Taika's "What We Do In The Shadows") and the bulk of the earlier Marvel flicks but this comes off as a weak children's movie. Thunder a-plenty in terms of decibels cannot smother the fact that this is celluloid gossamer.
The all Guns & Roses soundtrack (save a Dio tune during the credits) is a sign of desperation. Let's try to artificially generate viewer passion by injecting the so egregiously overplayed songs of one of the biggest rock bands ever. Sigh... Solid writing would have organically engendered viewer passion; like the scene in "Infinity War" where The Guardians rescue Thor. Very clever, captivating and amusing.
I fear that the Disney overlords meddled throughout the production and that said film production zeitgeist will be the template for all forthcoming Marvel flicks. Obviously this would be tragic for each future Marvel production would end up Ewokified (MF loathsome Ewoks!!!). Reduced to cheap, generalized, lowest common denominator storytelling in an effort to maximize profits by being palatable to all 7.5+ billion inhabitants of the planet. I wish that this cynicism was not warranted but all the signs seem to signal this grim future. This would unfortunately mean yet another botched Fantastic Four implementation (Galactus as a !#×^$/& "harrowing" cloud?!?! Unfortunately I cannot place a Captain Picard facepalm gif here).
I hope that I am incorrect.
Qapla'/Skol.