This is a solid entry for Netflix. In picking Blakeson, a mildly accomplished director with a good, albeit short track record and allowing him to thrive, its very clear indication that they’ve turned a corner as a studio.
The 7th directorial effort by George Clooney is a beautiful, boring, and predictable story that skips the exciting parts, instead focusing on dread, misery and fading hope in the light of humanity. It is the type of film designed to be called brave, but is more an exercise of muscles that are best left unflexed.
If they had found a way to at least make the case for the opposition seem plausible, there might be less of a Smokey and the Bandit feel to it all.
Weekes does an excellent job creating a situation that we can empathize with, even if it is not an experience we share.
Give this one a try, if you’re desiring to feel an experience, free of routine and common gimmicks. This is my vote for more work for Frank and Taylor-Joy. And someone start digging up more stories by Walter Tevis.
Of the three James’ inspired works, The Haunting of Bly Manor is the one that is truly inspired, even if it’s not as scary as we’d hope.
The point to this film, and there is one, is that we get to see a young actress on the way to her prime enjoying herself.
If ever there were a modern story that touched on the beautiful losers vibe of William Faulkner in the post WWII era…
“There is one bad guy to put up a fight, and he is saved for the right person. You’ll know it when you see it. And you should see it. If for no other reason than to get ready for part two, which should be pretty good.”
Director David DobkinScreenplay Will Ferrell, Andrew Steele based on Eurovision Song Contest by EBUStarring Will Ferrell, Rachel McAdams, Pierce Brosnan, Dan Stevens, Melissanthi Mahut The first surprise when watching the […]
This movie should suck, but it doesn’t.
Extraction is a very good film. It will be a big hit on Netflix for a while when the streaming giant needs something to keep everyone happy in quarantine. I know I will be watching it again soon.
There is talent on both sides of the lens in Spenser Confidential. It’s kind of a shame there isn’t more evidence of the potential on screen.
We deal with many societal aspects: racism, sexism, orientation, ageism. Points are made in a rush, because they only have a minute to vote. Then boom. Gone. On to the next angle of persuasion.
The biggest challenge for this viewer is when it comes to true crime sagas, Scorese peaked with Goodfellas and he’s never really come close since.
Edgerton’s Sir John Falstaff is the biggest selling point of The King. It’s almost as though he made the film just so he could play so plum a role.