Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint against the payment of part of the sum. But things don’t go as planned.
This story and film show that one lie inevitably leads to another. How he can stain or destroy all those clothes or who chooses to believe in you or it.
As we go through the film, the lead character is Denver entirely likable. He seems to blame others for his own failures and still feels he is owed. Even if at times, you can see his side to things, and that his punishment might be a little excessive, he does himself no favors.
We see how people treat him and turn on him. Something simple. Seems like it’s on a stack of dominoes, falling all in a Row one behind another.
Attention, as usual, is thrown out for something that seems so simple but cuts to the very heart of us all morally which is the strength of filmmaker Asghar Farhadi
Most of his films rely on moral dilemmas, that are easily identifiable for most of us where empathy can only go, so far before we are truly challenged to make choices
As with this film, it all boils down to honesty, survival, and ego, as well as responsibility and exploitation, and how no matter our intentions, how well-meaning they may be if not honest or honorable police can leave behind a certain stain, not to mention take on a life of their own
The film is more of a character study that involves many who are all affected by the actions of the main character.
This film shows the worst that could happen behind a good deed, and that the world is cynical that there might be Cash behind good honesty, but also if it helps you out or you take advantage of the outcome. It asks if is it still as honest.
What the film does honor and many can appreciate is that there can be many truths.
A group of friends leave Tehran for a long weekend on the Caspian Sea. A young kindergarten teacher named Elly is invited along to join the good friends and family. The reason is soon made apparent: she’s being set up with a recently divorced man. Over an easy-going holiday, tensions rise until a crisis point is triggered, and Elly goes missing.
This film is tricky as eventually, it becomes a mystery, though at first, it seems more like a reunion drama.
It quickly becomes melodramatic as friends come together and celebrate a vacation that brings a newcomer. Eventually not only is her feet under investigation but also who she was.
This all begins to tear, not only the friends apart, but also the couples and relationships. As she might have been there for some ulterior motives, that only Sam knew about.
We learn about her as most of the characters do as they keep getting pulled in Dever, as it goes along and more is revealed
This film is full-scale storytelling surrounding events in the friend’s fall out, As questions are slowly answered plenty of mysteries are introduced and still remain
The film is a morality play from different points of view, which is what the Director Asghar Farhadi, excels at painting, a full picture and making sure that you are paying attention to all the little details in focus
Not necessarily, a murder mystery, but a mystery nonetheless, as lies and secrets lead to more trouble it’s not as melodramatic as one, I think as it stays sharp and we become more invested trying to see where it will go
The film mostly takes place in a single location that while small becomes epic
This all leads to a haunting and haunted, ending, showing the damage of their lies, and what it has done to their lives, which would also allow for answers
Cast:: Sanda Huller, Christian Friedel, Freya Kreutzkam, Ralph Herforth, Max Beck, Ralf Zillman, Imogen Kooge, Lilli Falk, Stephanie Pertrowitz
The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp.
This is a film that is best to go into blind. Even after explaining it, I’m not sure it will still be understandable. As this is definitely a film more to be experienced on a big screen. As it is if anything cinematic. Though more of an art piece to admire.
When it comes to filmmaker Jonathan Glazer is one of these filmmakers who is like an heir to Kubrick whereas he takes his time when his films are made. Several years between projects. Not to mention he never makes a decision or makes judgements on the characters portrayed on screen.
What usually causes a stir are technical marvels that are a challenge for the audience to sit through but stunning visuals.
This is why this film is odd as it keeps the horrors off screen we hear it more than we see anything which is worse as it sets our imaginations loose of what we know. Bro only that bothers that the family at the center of it, sees this all as normal and is treated with no real judgment except when the wife who seems to stay out of politics threatens her Jewish maid late in the film. The fury comes so swift yet so natural
We watch this family’s day-to-day which is why it’s hard to tell where the middle and end of the film are exactly. The film is disorienting as there isn’t really too much of a narrative. So you never know what is coming next. There is a lack of close-ups, mostly middle and wide shots so that we are never tight on anybody or with any of the characters. So they are always distant and kept at a distance. Which is the same that can be said about the movie and its characters. So much is said in silence and nothing is truly ever explained.
Glazer’s films and especially this one are technical marvels that are more to be seen, studied, and theorized over than felt that much
So much is unspoken and spare. That is what it delivers. Like everyone, the movie is keeping a secret even at times from one another. It is a holocaust movie at heart. Where we see more of the side of the soldiers running the camp, their home lives, and hinting at the horrors they witness day to day and inflict. Even as they discuss their plans for the future they never acknowledge the human element or any empathy towards the inhabitants. In one scene his wife unleashes a verbal threat that is more chilling than we have ever even seen her husband do.
The film is experimental and Chilling never knows what is going to happen next. Honestly, this film is going to be an endurance test for most of the audience.
Cast: Brad Pitt, Margot Robbie, Diego Calva, Jovan Adepo, Lukas Haas, Jean Smart, Olivia Wilde, Samara Weaving, Flea, Max Minghella, Li Jun Li, Jeff Garlin, Katherine Waterston, Tobey Maguire, Ethan Suplee, Kaia Gerber, Joe Dellesandro, Patrick Fugit, Eric Roberts, Rory Scovel, P.J. Byrne, Bob Clendenin
Hollywood, 1926. Nellie LaRoy is trying to catch her first break as an actress. Manny Torres wants to do something in movies, anything as he believes filmmaking is the ultimate profession. Sidney Palmer is an unambitious young trumpeter who is happy to go wherever the music takes him. Jack Conrad is Hollywood’s #1 leading man. Their lives and careers are about to be intertwined in the maelstrom of ambition, breakthroughs, disappointments, changing technology and audiences, and decadence.
Next to WHIPLASH, this might be Director Damien Chazelle‘s best film. It’s another film like his previous film LA LA LAND, exploring the history, tragedy, and beauty of Hollywood and the unending industry of dreams. He tackled this after a journey literally to outer space with the film FIRST MAN.
This reeks of a passion project, and while it has a lengthy running time it truly is an epic. Where are you? Don’t notice the running time though you can feel the 3 act structure. A sprawling epic of mythic proportions. As after all, it is Hollywood.
The film offers, a dazzling, beginning, where we are quickly brought into the debauchery of the era, which sets us Avenue for how low, and how dirty the characters will go throughout, The characters and the Director guide you through with interest as to what’s going on around you and offer you little intros, hints, and suggestions
The lead in our story, played by Diego Calva, is of Mexican heritage. He seems as if he is a stand-in for half the film, not strongly involved, necessarily, letting the film focus on other things and other than the main one. After all most of the other supporting characters are played by movie stars, whose characters stars or become movie stars. The main character gets more involved in it all in the second half as he rises up the Hollywood ladder, and the other two main characters played by Brad Pitt and Margot Robbie are falling for various reasons
An interest in film history and classic movie Stars will help when it comes to any audience member’s interest in the film. It plays like a dash of DAY OF THE LOCUST and Hollywood Babylon, with a refreshing SINGIN’ IN THE RAIN way of working next to each other, though, don’t necessarily share many scenes together, and as the film shows how Hollywood is moving to talkies and sound from silent films.
Margot Robbie gives a truly iconic performance, where she truly gives her all and shows the appeal of her character, especially in her low moments. She is the battery of sorts. While The scandals that pepper, the background well her character will do anything to be a star while living up to her nickname in the film
Brad Pitt plays in the movie star who has tons of ideas for future productions, but as his time is coming to a close, he ends up losing confidence even as he is the one who has helped build or added to the industry at the time and has made many crews comfortable, but as times change his own is limited And he can’t stand being a laughingstock or even being thought, less than
Tobey Maguire‘s appearance seems to be meant to be like Alfred Molina‘s in Boogie Nights cause a ruckus and adding a bit of danger to an already volatile situation, and while he does incomes closest to a villain other than his degrading look, he doesn’t make as much of an impression though he is definitely scary
The film is like Once Upon a Time in Hollywood, only it doesn’t rewrite history but takes its time telling stories
Add heart the film is a love story in there for people, as well as others art Hollywood life but also with the Darkside th thrown in as kind of what you have to go through to get there, what you have to deal with to stay there
The film and its title can be seen, Like Hollywood Babylon, where its title seems to come from, so it’s a kingdom that slowly comes down and wild rice, and again had the purge itself
Like the Ryan Murphy Limited series, HOLLYWOOD, this film tries to add color in minorities to the history of Hollywood yet unlike that project, this doesn’t try to rewrite history and please all who are involved instead it offers details like it is to a degree showing the ugly truth.
Now Jovan Adepo, as a jazz musician in this, feels a bit forced as his storylines come to nothing really other than representation but nothing is done with it and it could’ve been so much more. The same with Lady Fay Zhu character. Who is of Asian nationality. Though it does fit the episodic nature of the film. Though quickly drops these characters of color
Who even has a relationship with a major character and leaves to be A mere background character. It feels like it wasn’t phased out or cut out. He just feels a little like pandering for inclusion. At least the film and the Director, Damien Chazelle tries just not enough entirely.
The founders have rapid editing in the beginning that is a little distracting like the film Moulin Rouge, though as it settles and sets up who we are mostly going to follow and becomes confident and takes, it’s time
It’s a strong film for an audience. I only wish I had seen it on the big screen because that is what it deserves as it is pure Cinema.
The film was unfairly picked on, and the result of bad press as watching it now it comes across more as an underrated gem, and a kind of lost opportunity for film fans. As it does come across as an informative film, lovers dream of Hollywood history.
The characters cross, each other’s pass, but offer each other no real goodbyes, which might be why the ending hit so hard.
Directed By: Irwin Winkler Written By: Jay Cocks Cinematography: Tony Pierce-Roberts Editor: Julie Monroe
Cast: Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McKidd, Kevin McNally, Allen Corduner, James Wilby, Keith Allen, Taylor Hamilton, Angie Hill, Natalie Cole, Sheryl Crow, Elvis Costello, Robbie Williams, Alanis Morrisette
Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.
This was a film it has taken me a while to watch. As I knew more about the soundtrack than the movie. It’s one of those I always meant to watch it eventually type of movies where you feel you have to be in a certain mood to watch or can never think of when specifically needing something new to watch. Not has it ever truly been recommended to me by anyone. So I finally decided to take the plunge.
The film feels like how I described it. It’s on and certainly entertaining and thinks of itself as smart. Though it never truly elicits any true emotions from the audience. So it never truly connects and comes across more as if you were watching a visual biography that tries to be flashy and inventive.
As the film and story are preset like Cole Porter is creating a musical of life and constantly having to deal with a director who has his own vision or wants even the harder more private stuff to be part of it. As they both look back upon his life from the director’s Chairs in the audience.
The film is presented as a love story between Cole and his wife. Even as he is bi-sexual or more homosexual.
Kevin Kline shines in the main role. He is truly what makes the film Memorable. As he seems to go above and beyond to make it work. He already is usually one of the crowning achievements in any film. Only wished he would have had more starring roles when he was younger. Though it always seemed hard to find a place to put him in films. Which might be why he stuck more to theater over the years. He has a theatrical way of speaking at times, but so does John Lithgow, and look at how many legendary roles he held down. Though maybe only a few as the leading man.
As they go through the numbers some are more stage-bound and others more in life outdoors. Though always feeling staged. As it stages at least half of its scenes in theaters of some kind.
The film reminds the audience of ALL THAT JAZZ. Only that movie was based on and directed by its subject Bob Fosse. This film never quite ends up as warts and all, dramatic or hard-hitting. That film unfortunately never as inventive either.
This film could work as a Broadway show all Its own. Though it never quite comes across as grand as it should.
As it is based on a true story and biography. We all know what is going to happen. It telegraphs its moves at times in true dramatic cliches. Though comes across as quite elegant as a prestige film.
Irwin Winkler is the director and he isn’t bad here he just unfortunately makes the material feel basic. It never quite has the flair of the person it is based on.
It’s a prestige project that tries to be playful. That is more meant for awards season. Yet not of that caliber. Though it is fun to see music superstars of the time period, singing classic songs.
It’s a good presentation but never quite feels deep enough. For us to care or to be moved. Once it finally hits home and hard is at the end. You will come out of the film humming and singing and wanting to hear more of his songs.
Written & Directed By: Irwin Winkler Cinematography: Michael Ballhaus Editor: Priscilla Nedd
Cast: Robert DeNiro, Annette Benning, Patricia Wettig, Chris Cooper, George Wendt, Adam Baldwin, Tom Sizemore, Martin Scorsese, Barry Primus, Sam Wanamaker, Luke Edwards, Ben Piazza, Stuart Margolin, Roxann Biggs, Allan Rich, Illenana Douglas, Stephen Root, Jon Tenney, Jonathan Ames
David Merrill, a successful director, has spent the last couple of years working on movies overseas. He returns right in the middle of the McCarthy-era Communist witch-hunt that was sweeping through Hollywood. When first approached by the ‘inquisitors’ he rebuffs them, not realizing how much influence they have. He soon finds that he can’t get work, having been blacklisted for failing to cooperate. However, if he will just tell them what they want to know, he can go back to work.
This might be a career-best for director Irwin Winkler. This Is obviously an in-house passion project for Robert DeNiro and his production company bringing in friends to help make and be in the movie (Martin Scorsese and Barry Primus) it offers Scorsese one of his very few acting roles.
The film dramatizes the Hollywood blacklist from a deeply personal level of the characters who were not only involved but destroyed by it and the different ways and levels the government was going after them.
The destruction of the blacklist even though it was truly ultimately a witch hunt that didn’t truly amount to much except for the lives it destroyed and upped the standing of certain politicians. Maybe even allowed the government to punish the stars and studios for having more of a moral code.
The film comes across as an artifact, seeing so many well-known actors of today who play smaller supporting roles.
This ends up being like a ROCKY movie in the way the House of unAmerican Activities keeps stalking Deniro’s character and questioning any of his employers or anyone he associates with. So you anticipate once he finally is in front of the committee.
We see how it destroys his career and his friends around him. As they either are willing to betray, sell out, or drop out ultimately. For something many didn’t even take seriously in their past. Some even used it as leverage for revenge against others who they feel wronged them.
The film is a drama that at times works more like a thriller. As it is just as chilling as it happened in real life. It’s scary and no physical weapons are used just hints and accusations.
It hit home with me as with so many characters who thought Deniro’s character would be a team player. He cares more about movies particularly his than anything or anyone around him. Even though most people in his life seem to like him and be in the business.
The FBI agents following him seem like the agents in THE MATRIX emotionless and remind the audience of Deniro’s roles in crime pictures as they seem to relentlessly stalk him just trying to find any little thing to nail him or put him away. It offers DeNiro one of his most affable roles.
The character of Bert Alan, a producer played by Barry Primus seems out of place as he seems more like a 1980s mobster in 1950’s Hollywood.
Watching how an old female ingenue discovery goes from seduction to scared to disgusted. Before trying to finally bribe him to go away. Shows how powerful and scary the blacklist was in its heyday
The film tries to be an epic on the subject from the point of view of a victim’s point of view but not An overview.
This also brings one back to a time and place when movies looked like they might have been prestige but were also made due to the lead actor’s strength and popularity as an actor. Guaranteeing that there will be an audience for the film. Not so much based on popularity it metrics of money-making.
Really a power move trying to spank those who are more successful and who they feel have more influence. Feeling like they are putting them in their place and saving the American people from the influence of the powerful they actually believe to be anti-government. Like they wouldn’t be after being persecuted for nothing really. The betrayal of friends begging him to let them inform on him to save their own skins by naming someone.
In the end, it still leaves time for a powerful speech. This is my kind of history movie.
In 1985, Makoto Tezuka, the son of manga genius Osamu Tezuka, was still a film student with a few experimental shorts to his credit and who was entrusted with the mission to turn an album by Haruo Chikada into a musical film.
Strange, inventive, surreal, and fun. There are no exact words to describe this film and do it justice. If you are a fan of movies like PHANTOM OF THE PARADISE, THE ROCKY HORROR PICTURE SHOW and SHOCK TREATMENT.
The story behind the film is just as wild and creative as the film. that a musician Haruo Chicada wrote an album full of songs, Essentially meant to be a soundtrack for a film that didn’t exist and that was the extent of the project until writer-director Makoto Tezka discovered it and decided to make a film based around it adapting it with a full storyline.
So much talent In Front of and behind the scenes. As the director sought out musicians and artists of all kinds for the film. After all, this was his first full-length film. After just graduating from film school and making only experimental shorts. He considered himself a visualist more than just a director.
The result is a movie that plays like a series of music videos or montages built around the songs with a story connecting it all. So truly a musical at heart without so much choreography and show-stopping staging. though plenty of musical-themed montages when the main characters aren’t singing.
Almost like a mean-spirited movie version of THE MONKEES TV show. only not surrounding a band but a singing duo and focusing on the branding and corporate ownership of the two and being forced to sing the songs their Svengali manager gives them and him always watching. They also lose fame to rivals that come out of nowhere and then try to murder them. Competition between artists and even each other as a duo and want to be independent and try their own music
The film’s soundtrack and visuals are its strength as the story is Minimal and never makes complete sense. As the film is all over the place. In a good way. Making it definitely crazy and unpredictable.
The film has an Animated and even a horror sequence. This makes sense as it is partly anime-influenced or manga, especially towards the end the action sequences feel like live-action cartoons. The writer/director is also the son of Osamu Tezka an anime/Manga legend
The film is definitely a product of its time and a shine as it is a cult film, that is little known In its homeland and the United States, with a soundtrack that is difficult to find
It’s an epic odyssey that goes far but does so much with so little. Involving A story made up that only adds to the legend and might actually be true with The theme of wanting to make it on your own and realizing that you might need help To do it.
This Is a film whose wavelengths you are either going to get on or not. All of the music and songs are quite catchy. It seems to go through all cultures and fads of the time.
It’s not perfect but such a unique, crazy, stylish, and silly journey that represents some things that it might not have intended to constantly invent and reinvent itself. As it is Reckless, dazzling unhinged, and creative. As it always has its heart on its sleeves and despite its surreal nature bares it’s heart and spirit
Cast: Eddie Murphy, Jillian Bell, Tracee Ellis Ross, Nick Offerman, Genneya Walton, Thaddeus J. Mixson, Ken Marino, Timothy Simons, Riki Lindhome, Trevante Rhodes, David Alan Grier, Robin Thede, Chris Redd, Danielle Pinnock, D.C. Young Fly, Catherine Dent, Stephen Tobolowsky, Penatonix, Anjelah Johnson-Reyes, Lombardo Boyer
A man is determined to win the neighborhood’s annual Christmas decorating contest. He makes a pact with an elf to help him win–and the elf casts a spell that brings the 12 days of Christmas to life, which brings unexpected chaos to town.
The film has a lot of goodwill, but it also has a bunch of familiar tropes. They are dressed up and try to feel fresh and for the most part, fit the season and set-up.
The film tries to stay inventive but then falters under the weight of its own predictability and plays it way too safe and familiar.
The film isn’t necessarily good but it’s entertaining and keeps you invested. Even though star Eddie Murphy goes through the motions. He even has his moments to flex an original comedic lie here and there. Unfortunately for the most part it also feels like he is playing a role any actor or star could have played easily. That is how bland it is written. Though as always it is always in his strengths when his character is under pressure and his reactions can be priceless, Just not here
It does bring the audience back to when he was making more family films for better or worse. Though when they were just passing.
What works within this film is the spirit and the fact that his family in the film all get a chance to shine and be the hero throughout and come together when needed. Reminding the audience of the importance and need of family and enforcing the holiday spirit.
Though those looking for laughs might be hard-pressed to find any genuine comedy throughout.
Directed by Reginald Hudlin, it leaves you expecting more. Even though it does have a great production design. The less said of Santa Claus. Huggy bear ,velvet suit the better.
In the end, it’s a film that fits the holidays but isn’t the triumph you are hoping for when it comes to an Eddie Murphy film.
Cast: Keir Tillman, Charley Hogan, Sarah H. Natani, Martin Sensmeier, Kahara Hodges, Morningstar Angeline, Leilani Taliaferro, Nasheen Sleuth, Jeremiah Bitsui
Two adolescent Navajo cousins from different worlds bond during a summer herding sheep on their grandmother’s ranch in Arizona while learning more about their family’s past and themselves.
This film came out of nowhere. It’s heartwarming as can be and shows the importance of family and our ancestors. Especially when trying to uphold traditions that are slowly being forgotten and not used at all.
It also shows the hardships of one family and how over one summer. There seems to be a passage of importance and forgiveness. Even those family members who you can’t stand or are annoying mean something and contribute to you and your future.
Be it advice or living lessons. Throughout you have characters who are lost and are trying to find themselves and some sort of meaning. Others have it figured out and need that opportunity or push in the right direction.
Every character in this film has a tale of what’s shown and spoken and so much that is not that that shapes them. The strongest impression is from the protagonist’s uncle. who is exaggerated in trying to be masculine and not measuring up to his older brother. While also feeling trapped to a certain extent.
Kahara Hodges makes an impression as the wild aunt who ends up being the most caring next to the grandmother. She steals her scenes. Her character defies any kind of stereotype but is so heartfelt.
This is a film that is much better and richer to watch and discover. Some will compare it to the show RESERVATION ROAD. It deals with indigenous people like that show. Not as modern or quirky, but shows Native American people in a different light. We still see their struggle but we also see their joy, livelihood, and traditions. The curation of culture unfortunately seems to be losing Its way.
While it stays a coming-of-age film. It is an identifiable nostalgic story. That involves growing up to the world and those around you and appreciating them. It’s a personal story from writer-director Billy Luther
And one we should be honored that he told it and shared it. As the film has so much heart and hidden joys. It’s gritty but filled with warmth and love.
After unapologetic and fiercely loyal Inez kidnaps her son Terry from the foster care system, mother and son set out to reclaim their sense of home, identity, and stability, in a rapidly changing New York City.
It’s truly a coming-of-age film for most of the characters, especially the mother and the son as we see various points of their life growing up and the hardships and sacrifices. They both must make, but the undeniable thing in everything is how much they love and care for each other.
Choreographer, rapper singer, and now actress Teyana Taylor gives a dynamite lead performance. This is one of the many strengths of the film it is mostly put up on her shoulders, and she knocks it out of the park with nuance and strength.
Even though what her character does is wrong legally she’s doing it for the right reasons and you can’t hate on her for that. No, you know sooner or later as even another character Towers, it’s going to catch up with her.
What is truly appreciated and remarkable about this film is that every detail matters because it has an effect on the rest of the film and the future of the characters.
The film for some might seem like another tale of poverty porn, but it also shows the strength of family and the resilience of spirit and character. When what you do is out of love, and the many hardships you might face, especially when mistakes might define you where you are never given a chance, or at least much of one.
It also doesn’t fall into certain clichés like it shows him the sun trying to have a relationship, but kind of is over before I can even truly start it shows the oncoming gentrification of Harlem in the microaggressions in which the owners try to seem like they’re decent or trying to help you out, but really just trying to drive you out in so that they can get tenants they prefer will overpay
It’s like watching a fight movie I wouldn’t say hard, because of all the horrors and challenges that other films with well in, and only be about this film faces, and sees its way through it, and dealing with it as just a factor of life. You can’t stay stuck on one thing.
I also admire that the film doesn’t present the characters as perfect, but they are good-hearted and decent for the most part. It doesn’t feed into the cliché of a black man not being a father. It shows him actually taking care of this child even though biologically, it’s not truly his, and while we can admire that aspect of him, even he admits he’s not perfect.
The film might be rough around the edges, but it never quite feels like it’s going off on a false note.
Cut To The Chase 