There’s a moment early on in Martin Scorsese‘s 3hr + epic when Robert DeNiro meets with Joe Pesci‘s mobster. Could I hear The Godfather theme playing gently in the background? If so, nice nod to a genre you helped immortalise Scorsese.
I was hyped for this. A crime drama with some of the biggest names in crime dramas reuniting for the first time in years? Where do I sign? Based on true events, DeNiro plays Frank Sheeran, a mob hitman who gradually rises up the ladder, going from blue collar worker to petty thief to mob enforcer to right hand man of infamous politician Jimmy Hoffa (Al Pacino). At the same time his story is told by an elderly Frank in a nursing home. One of the much talked about things with this movie was the ageing and especially de-ageing technology used to showcase various characters during different timelines. It’s clever stuff if not entirely successful and did take a bit of getting used to – especially when a (I’m guessing) 40-something Frank still carries himself like an awkward older guy at times, lacking the stature of the same actor in say Heat or Goodfellas. It’s a technology that I’m afraid struggles to hide the fact this movie should probably have been made years ago.
DeNiro is still great though and goes through a plethora of emotions to portray Frank, someone who’s not your everyday mob villain but a family man and a human being. In the closing scenes especially, portraying an elderly man with lots of memories and regrets, I’ll admit I came close to shedding a tear. It’s the ending that elevates this into the realms of potential ‘classic’ even if some sections in the middle revolving around Hoffa’s political dealings dragged and well, got a bit boring. Al Pacino is far from disappointing though, but I can’t say I was all that taken by the man he was portraying. On the other hand, Joe Pesci’s mobster is great and made me wish this guy still made movies and proved much more layered than the usual psycho routine he’s famous for.
It’s also a bit too long. The Jimmy Hoffa stuff, admittedly important to the story could have been trimmed down, and some scenes are drawn out. However this isn’t a zippy, snappy gangster movie but a thoughtful story of one man’s life, and for that it mostly succeeds. Martin Scorsese gives the movie a classy feel, with eye catching camera work, his trusted great choices in music and a great attention to detail. Overall, a must for fans of crime movies and for anyone wanting to see these screen legends deliver the goods one more time.
In the wake of the events of Avengers: Endgame, Peter Parker / Spider-Man (Tom Holland) is on a school trip in Europe when a series of elemental beasts begin to attack various cities. When a hero from another dimension appears to battle them, Parker feels obliged to offer his help, aided by new tech left to him by the (spoiler) late Tony Stark.
I wasn’t the biggest fan of the last few Spider-Man movies but do think Holland is perfectly cast. This time around he teams up with Jake Gylkenhaal‘s Mysterio, who proves a very interesting character even if an actor of his calibre is hardly ‘stretched’. Samuel L Jackson‘s Nick Fury is also a welcome return after his absence from other movies. The story is generally teen angst complicated by an inconvenient new threat, and the shadow of Tony Stark / Iron-Man looms once again which for me spoilt the last movie. However here at least Spidy gets to do his own thing and we are treated to some great set-pieces with some very imaginative moments revolving around Mysterio’s illusion powers.
At the end of the day this hardly breaks the mould for a Spider-Man or Marvel movie and lacks the depth of a Captain America or Avengers – but when it’s all this entertaining … does that really matter? Not ‘amazing’ then, but still the best Spidy outing in quite a while.
I consider The Shining one of the best movies ever made, so this follow-up, based on Stephen King’s own best seller was something I never knew I wanted. King famously hated director Stanley Kubrick’s 1980 adaptation and so this movie interestingly brings King’s sequel to life as well as heavily referencing Kubrick’s movie.
Ewan McGregor plays Dan Torrance, the grown up version of that kid in the original, who has battled his ‘shining’ affliction to see the dead, with alcohol. However when a young girl named Abra begins communicating with him through her own psychic gift, Dan is drawn into a battle against a mysterious group of travellers (lead by Rebecca Ferguson) who pray on those that shine.
The way characters, separated for miles connect and come together during the story was what drew me into this. The movie uses imaginative ways of making the various locations and characters feel connected and only builds and gets more creative the closer they get to one another. The story also fleshes our the ‘shining’ ability as well as further exploring characters and moments from the first movie with spot-on re-creations and occasionally uncanny look-a-likes. Rebecca Ferguson is dangerously sexy as Rose The Hat and McGregor is also very good, even if he’s often outshined by Kyliegh Curran as Abra.
Although I’d have liked the movie to be less the supernatural drama it is and more a full-on horror, the story was (mostly) involving enough to make up for a lack of genuine frights. Director Mike Flanagan (Gerald’s Game) uses many creative visual flourishes to make what on paper could get a bit silly – highly entertaining and I found myself invested in Dan and Abra’s plight. This is how you do a sequel to such a legendary movie … build on a great concept yet take nothing away from the original.
I genuinely don’t think there’s ever been a truly bad Terminator movie. I’m also happy to say that whilst this doesn’t break the mould, it doesn’t ruin that tradition either. A bad-ass female resistance soldier travels back in time from a ‘war against the machines’ future to protect a young Mexican woman who is the target of a new Terminator that may just be the deadliest yet. Lucky for them there is help from Sarah Conner (Linda Hamilton).
James Cameron, producer and series creator has said this is the true follow up to T2 and ignores the other sequels. It certainly feels closer to his vision than any other and the inclusion of Hamilton’s Sarah Conner cannot be underestimated. However as it turns out she’s mostly here to link movies, and a jarring plot twist early on basically makes her involvement pointless. Natalia Reyes as Dani, the Terminator’s target is a little bland also. The saving grace then, ironically is Mackenzie Davis as Grace, the cybernetically-enhanced resistance soldier who proves this movie’s most compelling aspect.
Action is decent, the CGI impressive (if at times over done) and the pace relentless (occasionally to the movie’s detriment) but this concept has always been exciting and it’s no different here. Arnie turns up after a while and proves a real scene-stealer. Yet unlike the masterpiece that was T2 there’s little wow-factor here, and the sense of a franchise finally being milked dry. But for seasoned fans like myself, this still entertained.
I wasn’t expecting much from this but as a casual fan of the other movies (although I never got around to seeing the second movie), I suppose a desire for easy watching fun and the usual reliability of Chris Hemswoeth grabbed my attention.
This follows the story of a woman (Thor Ragarok’s Tessa Thompson) who following an alien encounter as a child has always dreamed of joining the top secret organisation that turned up that fateful night but didn’t do the mind-zap thing on her like they did to her parents. As an adult she gets her chance and is quickly recruited and given a job to join the London division headed by Liam Neeson. There she is quickly partnered with Chris Hemsworth’s cocky, reckless agent ‘H’ and stumbles on a new threat to the planet.
The story is weak here, something involving a powerful weapon, and is mostly an excuse for a fun if very predictable caper with some entertaining banter between Hensworth & Thompson. Although the twist this time around to reverse the roles and offer up plenty of female empowerment, sadly leaves Hemsworth (and generally any male) as merely joke-fodder or targets of female chauvinism. Oh, hasn’t equality come a long way?
That being said, action set-pieces are decent, production values high and it’s still fun. It just lacks anything beyond the points made above to warrant its existence following a fairly complete and finished trilogy. The failure to even mention Will Smith or Tommy Lee Jones’ characters also seems a strange oversight. For die-hard fans only.
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