Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Brian F. O’Byrne, Sergio Castellitto, Lucian Msamati, Carlos Diehz
When Cardinal Lawrence is tasked with leading one of the world’s most secretive and ancient events, selecting a new Pope, he finds himself at the center of a conspiracy that could shake the very foundation of the Catholic Church.
This film is continually fascinating as it should be about a simple subject, a priest trying to pick who will be the new pope. It becomes more like a political thriller, full of intrigue and double-crosses, as well as its fair share of twists and turns.
It keeps you on the edge of your seat wondering what’s going to happen next and the film manages to stay dialogue-heavy but be purely beautiful in a visual sense also.
As you watch all these men of Faith who have different ways of viewing and incorporating the religion they follow and are all supposed to be about the greater good quietly betray not only one another but seem to scheme and believe themselves to be holier than thou.
Some do actually try to keep closer to the religious tax and dogma and quarrel with their faith if anything, the film is identifiable as these men have taken a vow and spreading the word in which they believe, but acknowledge that they are only men and have Their weaknesses, fables and fails, but still try to stay as close as they do what they preach.
The film is not afraid to take on subjects that have plagued the Catholic Church and priests over the years and the way that they have tried to resolve solved deny the charges.
The film has strong and powerful moments and asks if certain things are forgivable for the greater good. It’s not a totally clean movie and has kind of a monkey wrench of an ending it shows there’s not always a clear answer. The film can be enjoyed by people of faith and those who might not.
Everything in this movie is excellent. The acting performances, script, visuals, production design, and costume design now it seem like it would of course be an Oscar because of when it came out but overall it’s just such a powerful film that seems to come out of nowhere that you wouldn’t expect that deals with religion, one of the strongest stay strong and thrilling and a PG-rated film
This is definitely a must-see film. if even you don’t like the subject matter just the masterful craft of filmmaking is something to behold.
Cast: Robert Pattinson, Naomi Ackie, Mark Ruffalo, Toni Collette, Steven Yeun, Anamaria Vartolomei, Holliday Grainger, Patsy Ferran, Thomas Turgoose, Steve Park
Adapted from the novel Mickey7 by Edward Ashton, this stars Robert Pattinson as an “expendable” – a disposable crew member on a space mission, selected for dangerous tasks because his body can be reprinted if he dies, with his memories largely intact. With one regeneration, though, things go very wrong.
At heart I try to be a film enthusiast but sometimes I have to not only say but share what’s On my mind. So if you choose to go on that path with me this time. I will share my feelings and observations when it comes to this cinematic release.
What gave me serenity watching the film might’ve been went with friends, who enjoyed it first time at a new theater that is more for film fans and also one of the few films unfortunately that I have seen in theaters in the last few months.
I want to, of course promote and encourage many to seek out auteurs. As many times as they can and any chance they get to make new works it feels like a Time to rejoice. Though some time to time get so full Of themselves or come across pretentious it’s hard for them to stick to the landing. Other times they crash or it makes it safe which is good but seems to lack a memorable experience we are used to from them. Which seems to be the case when it comes to this latest film.
The problem Is not with the film it’s with me I seem to ah e this old man disease of feeling like most movies are too long or bloated these days where it’s over two Hours at times feels too much to time.
Though With the current price of movies for your money you should get a show. Which even the younger me wanted. As I used to refuse to watch movies under 90 minutes in theaters feeling i wasn’t getting my money’s worth, with movie theater attendance down now. It’s like when you find a bar you like. Not too popular you can be there and not get bothered but what good is that if it doesn’t do business and has to close. Which is the current state of movie theaters and films.
As I prefer my entertainment on the movie screen. Especially if done by a skilled and talented artist. For the more popcorn entitled blockbuster even if it has the right amount of ridiculous to stay entertaining, but lazy brain dead movies. I can wait for on streaming but then you are not seeing the picture for how it was made. On smaller and smaller screens of course ItMs going to be mroe disappointing but then again indinMt think there is a right screen for a film such as RED ONE. At least for me present company excluded
This film gets that, a science fiction epic that has a wild imagination and visuals that for some reason. Feel mroe cinematic the. Epic but still feel ls Independent even with a billion in price tag of $118 million it still manages to feel a bit small Scale.
Now with that price tag it feels impossible
For it to turn a major profit especially as ItMs not a franchise film. Nor an awards bait film. So that it is going to have to survive on reputation and conversations. As it will always be seen financially as a failure maybe not a big one, but not something that inspired It’s Studio to trust another mroe auteur lead dream project
As nothing seems to work. At the box office currently continuations of ip are failing and originals are making some Profit but not enough that was initially spent on the project in the first place.
Which is why I am hoping this brings back the days of the mid-budget project. Rather then studios keep having big dick contests and wanting to be seen as dependable high rollers.
Sometimes it’s Just nice to gamble but not go crazy with the money. It’s ok to be a somewhat responsible gambler.
The film even has all the ingredients of a blockbuster film. You could easily make a toy tie in of all the different Mickey’s and try to encourage owning the whole set of them. Each different in whichever way they died. You could easily make a plush toy out of the alien creatures. Who are both scary and cute. Maybe a limited edition toy versions. Which could also help make some money back.
While one doesn’t mind the satire and the depictions against capitalism even if mroe broad here’s where as if they weren’t they would be too on the nose and made to be taken out. As that is not what the film is supposed to be about
Though For a simple story it feels very bloated
As usual Robert Pattinson does an excellent job in the roles. Not to mention his acting choices re inspired. I really wish more audience members would give him a chance to live past his TWILIGHT films and only see him as that restricted an actor. Though that might be the inspiration of why he tries so hard with each new role. You truly believe him in playing two separate characters for the most part throughout the second half of the film. Making them each distinct.
This seems more obvious a comedy with science fiction elements. So not as hard hitting as Director Bong Joon Ho’s previous films PARASITE or even SNOWPIERCER It’s as dark as those films can be but luckily not as bad or disappointing as OKJA but just as silly and cute at times.
What some might find as a problem with the film is that It’s just ok. Not great, not bad but jsit fine. Which should be good but now we treat good films as a high water mark as that has been the somewhat increasingly Disappointing quality in some films. Though when a master filmmaker or auteur comes out with something just ok. while It’s Average and better than most. It still feels like a disappointment as you expect mroe from them. It’s like a gifted student not doing their best but good enough to get by. Which hurts especially when noted director of photography Darius Khondji is on the job.
So while some might truly think this is exceptional. it might be more in name only. For director Bong Joon Ho, Rather then earned totally and feel like his is the best we have currently. Rather than holding them to a higher standard or a usual standard for them.
The Studio cut, tested higher, it was shorter and got ten points higher in test screenings. Though this is the directors cut as he had that in his contract. So the studio had no choice. This version is indulgent and seems wanting to stay and live in this world little longer.
Though released by a big studio this feels like the artistic version of a time Waster perfectly fine to watch and be entertained by. Though not much sticks with you after. Though at least it has imagination and ideas. That might not add up to to too much but at least you see them
Being creatively being used
A long winded way of saying the film is very wish washy. As it never seems to have . Any edges everything feels More Well Rounded and like it bumps along. So nothing takes a stand or really hits you.
As even the so called dangerous villains a played by mark Ruffalo and toni Colette in this film come Off more as Cartoons who seem descended from the evil characters in HUDSON HAWK or BRAZIL
Worst of all while every director has their common themes. Here doesn’t really try challenging himself. As he is staying in His comfort zone only truly noticed by those who have followed his work over the years. This is jsit his latest update
Where as one wants to be like everyone else at the magic show and watch in wonder and amazement, but I have to be one of the people saying I have seen you do these tricks before. You are jsit using a different presentation which is nice but at this point I am starting to see the strings a bit too much.
Written By: Jacques Audiard, Thomas Bidegain, Lea Mysius and Nicole Livecchi
Based on the novel “ECOUTE” By: Boris Razon
Cinematography: Paul Guilhaume
Editor: Juliette Welfing
Cast: Zoe Saldana, Karla Sofia Gascon, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, Eduardo Aladro, Emilio Edmundo Hasan Jalil
follows four remarkable women in Mexico, each pursuing their own happiness. Cartel leader Emilia enlists Rita, an unappreciated lawyer, to help fake her death so that she can finally live authentically as her true self.
One of the joys of listening to the soundtrack of a musical early (even before you see the production) Is seeing where the song will be used in the film And presented. Brought to life, visualized, and performed. See where they place It.
Not necessarily advisable, as you might want to experience a first as you watch the film. Which can be a more magical experience.
There is a lot to admire here visually. Jaques Jacques Audiard is a world-class director and makes everything dazzle here. Though it feels a bit empty, as for all the arresting nature of the film’s production. In the end, it feels like it lacks heart. Making it ultimately feel like a shallow exercise.
As the spectacle and mood take over. Even though most musicals seem to be about the numbers the story is there to link them all together and usually suffers in believability. Here is the story which could be interesting. It doesn’t naturally mix with the musical numbers and as this film tries to be so many things at once. It comes across as quite confusing. As it is roasted in stages or at least that is the best way to consume it.
This feels like another director trying to invade or emulate another director’s style. This film feels more like a Pedro Almodovar film. Who would know how to connect and meld everything together better as it would be more his style and territory in theory?
It’s a spectacle That is at times political then goes back to age-old melodrama at its heart. Yes, An artistic achievement. Through It seems to be more about style. Yet, it is a crime story that the director is known for
Selena Gomez is one of the biggest names appearing in the film. Giving the film some star power next to Zoe Saldana and she is given the least to do. She does have at least two songs of her own to sing and perform. Most of her scenes involve her either crying or screaming. It seems she is here for some artistic cred for herself and to help the box office for the filmmakers.
It’s like going full special needs. It’s devotion to calling attention to itself with genres that Don’t naturally blend. Not to mention it gives us a Trans Character but gives her little depth, nor explores her experiences or being in this new world in a different body. It gets about as deep with her as Caitlin Jenner does with other trans people in life. There is something to say about identity, but the film barely explores it.
Zoe Saldana is the only one who manages to make it through the film unscathed. She gives a strong performance does everything the film and filmmakers ask of her And maintains a glow throughout.
Maybe the fact that it has four screenwriters is the problem. Each one brings their talents, and ideas that seem to work with one another but become quite different as the film goes along.
Cast: Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernard Gravey, Odette Joyeux
Soldiers, chambermaids, poets, prostitutes, aristocrats are on equal footing in this multi-character merry-go-round of love and infidelity.
This is an excellent experimental film. When film was still finding itself and what it could be with such a wide net of imagination
This film Feels like one of those Gary Marshall films Mother’s Day, Valentine’s Day anthology where the characters are linked together with a similar theme. LOVE ACTUALLY or the movies of Robert Altman. This is essentially a film about love, and in an ensemble where each character leads to the Max one and there’s a narrator. I guess you could believe it as a sort of Cupid.
The difference between this and the films is of course time and that this is actually artistic, and as I don’t know any of the stars of this film, you knew what to expect with the Gary Marshall cast
this is the film that you should only watch if you want to see something romantic and a love story and the many different ways, and which characters connect and find one another and almost feels like a book of short stories or at least short scenes as they all lead to another not that they make the best couples work and each one someone who might have been more of the victim and one story is the one in control in the next and vice versa
Like the merry-go-round that constantly comes up. The world spins and the characters move in and out of each other’s lives not the same story but the same subject involving love of some kind.
As the film offers up the ups and downs of relationships and love different meanings of it, different motivations of it, and the different roles some of us play we can all identify with the character in each vignette
At least the film gives its ensemble chances to shine in one way or another.
The film feels experimental, yet magical, especially for its time when it seemed like the rules were still being written when it came to this new invention of film and cinema.
Which is why it kind of feels like a circus as it constantly feels like a show, which might be because this started out as a play or theatrical piece before being made into a film
It’s also an identifiable fairytale that isn’t afraid to go into subject matter that those types of stories usually avoid but still manages to feel like a fantasy of sorts. Where is magic in the storytelling in visuals as well as the presentation?
Cast: Ellie Kemper, Luke Grimes, Nico Santos, Blythe Danner, Julia Shiplett, Ben Cook, Shayvawn Webster, Gus Birney
A year after getting divorced, Helen Carpenter, thirty-two, lets her annoying, ten years younger brother talk her into signing up for a wilderness survival course. It’s supposed to be a chance for her to pull herself together again, but when she discovers that her brother’s even more annoying best friend is also coming on the trip, she can’t imagine how it will be anything other than a disaster.
This has been a trend for Netflix recently releasing romantic movies that seem like they more belong on the hallmark network. That would seem like in the old days the type of TV- movie a network would put all of its show stars into one to win ratings for the night. Not to mention keep their salaries down by making them do the television movie rather than a big screen role that might be a hit and increase their asking price
This film is simple enough and it’s romantic and heartwarming. So that it has its charms and laughs even though you never are in doubt as to where it is going.
Happy to see Ellie Kemper in something. Though there are many things here that just nag you in the audience. The characters other than the roads seem to be one-dimensional they get mroe dimensions by the amount of screen time they have.
Most of the cast are good looking at least the ones who are either the romantic leads or might be distractions for them.
Never quite understand why Kemper’s character would marry a guy who is such an idiot and has no chemistry with him. To set her characters ark and then when it’s obvious who she is supposed to be with they have moderate chemistry but still seem a bit put off.
Despite the film’s many problems and situational humor. It still has a charm. It’s not impressive but it’s a nice enough viewing.
Written By: Virgil Williams and Malcolm Washington
Based on the play by: August Wilson
Cinematography: Michael Gioulakis
Editor: Leslie Jones
Cast: Danielle Deadwyler, Samuel L. Jackson, John David Washington, Ray Fisher, Corey Hawkins, Stephen James, Erykah Badu, Michael Potts, Pauletta Washington, Skylar Aleece Smith
Follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano.
Based off of August Wilson’s play this film obviously is more theatrical, though it does find ways to have more outdoor scenes and leave the central location of a family’s house.
The cast is all excellent especially Danielle Deadwyler even though the film is more of an ensemble. This is also one of the best performances I have seen John David Washington give in his career so far it might not be as memorable, but he seems a little more open and loose than he usually appears to be in most of his roles, it might be that his brother. Malcolm Washington is directing him so he has more trust in him as a Director he can be more vulnerable here.
The film has many memorable scenes, especially an impromptu sing-along by the male members of the cast that is infectious and feels like it goes by way too quickly.
The film is filled with sharp visuals, memorable characters, and dialogue. It even manages to get a little supernatural throughout as it focuses on black history and family history, but also black folklore a bit.
The material is informative and a bit more melodramatic, though it’s also historical, which is a rarity to be seen when it comes to African-Americans and family, especially generational dram of legacy inheritance motives, and love.
While one has a limited knowledge of the works of August Wilson, so far out of his place that have been brought to the big screen like fences black bottom this one has the happiest ending and while it involves family drama, there is no doubt that there is love and support of one another so this ends up being one of the happier plays which unfortunately it’s also comes across as maybe not as strong as the other two though at least this one is uplifting.
Just like the object in the center of the piano, it is also well crafted and carries a history all its own, which is why it’s a slow burn but effective
This feels like a prestige production and one of the more obvious Oscar-bait films so it’s still a story worth telling and watching
Cast: Tom Hardy, Austin Butler, Jodie Comer, Michael Shannon, Norman Reedus, Emory Cohen, Mike Faist, Boyd Holbrook, Beau Knapp, Karl Glusman, Damon Herriman, Toby Wallace, Will Oldham
After a chance encounter, headstrong Kathy is drawn to Benny, a member of the Midwestern motorcycle club the Vandals. As the club transforms into a dangerous underworld of violence, Benny must choose between Kathy and his loyalty to the club.
There seems to be so much to say as this film could’ve been epic, but I don’t know if it was budgetary reasons or wanting to stay more abstract that it doesn’t fulfill its own strength and greatness.
It’s not a bad film but there are still some great flourishes and ideas throughout. it kind of feels a little bit like GOODFELLAS and portrays an era of certain motorcycle gangs not the exact beginning but the beginning in hell over the years it changes. a kind of anthropology lesson.
How’s the next generation evolved, but also brought down and moratorium from its less than innocent beginnings, there seems to be a purity at the beginning of the gang until it truly became more about being criminals.
Even when the change comes, you know by the name of the gang, the renegades and pretty much losing it when things change more through cheating than anything or one-upmanship
It works as Austin Butler’s performance is more mysterious and cool kind of a ghost, but also a heartthrob and a cipher that everyone wants a piece of and is mystified by.
He’s the cool beautiful loner the mystique most all strive for and what attracts most to the allure
For some, the audience might be tested between the accent of Tom Hardy, who once again doesn’t really talk much, and Jodie Comer, who creates a believable character as long as you can get past her voice and accent. She is really our entrance to the gang as she gets more and more involved in the gang. She wanders we learn more about them.
It shows the different generations of the club it would help us get more of an update and maybe a little more in-depth into more of their personal lives when not riding and modes of income. The evolution of the club and how it got more ruthless and less about companionship and about crime and not caring about the camaraderie and brotherhood
The film tries to paint a portrait of its own Americana only it needs a stronger and tighter screenplay and. Or seem so random and taking more of a sideline view and watching the character back with no certain direction. Though the film doesn’t have its moments and can pack a punch once in a while
The film goes for a nostalgic feeling for a lost time while trying to illustrate not only what was lost as the years went by but not only a loss of innocence but of certain morals and decency. Even though it tries to show the good old days had its own set of problems and wasn’t all saccharine.
It’s own updated western with similar themes of a disappearing horizon, way of life, and type of characters.
Cast: Isabela Merced, Cree, Judy Reyes, Felix Mollard, Maliq Johnson, J. Smith-Cameron, Poorna Jagannathan, Tim Gooch, Hannah Marks, Debby Ryan
Aza Holmes. It’s not easy being Aza, but she’s trying… trying to be a good daughter, a good friend, and a good student, all while navigating an endless barrage of invasive, obsessive thoughts that she cannot control. When she reconnects with Davis, her childhood crush, Aza is confronted with fundamental questions about her potential for love, happiness, friendship, and hope in the face of her mental illness.
A nice coming-of-age story that deals with mental health primarily OCD.
Though at times the film does feel a little wish fulfillment It does feel a bit more real emotionally than some of its peers.
What I really enjoyed is that the film starts off introducing the characters and giving us what looks to be a mystery and investigation and uses it as an introduction to take us on a different journey and a different type of film and story and then kind of bring it back to our initial adventure that closure but also further the other story that was in the middle.
It’s refreshing that all of these issues and drama are tackled with a cast. That is the verse, but the main characters are mostly of Hispanic origin so there are more people of color within this film.
One thing I have to credit is that this film is based on the book by John Green and I have not read this book. I have seen most of the film adaptations of his books and each one while summer better than the others. They have all been heart-wrenching and heartbreaking and well done and I feel it because his books are a wealth of material that is easily identifiable and have an everlasting ring of truth in tragedy is still uplifting and romantic.
One has to give Director Hannah Marks great as she is an actress and Director, and for someone so young has knocked it out of the park with the films that she has directed usually our stories are always so well acted quirky, and memorable that she is a great talent that deserves to recognize more.
No, it does show that maybe I’m getting older as the lead character’s best friend I found it continuously annoying and was glad half the time when she wasn’t in scenes, but by the end, her character is so so endearing that I couldn’t imagine the film without her character without her.
As these films used to be catnip for me, and I used to be one of the first people, crying and being emotional over these films and while it still gets to a part of me, I don’t find myself as emotionally invested as I used to. I still these types of films.
What I appreciate is that there was no big cure at the end there’s an ending that works, but there’s also the truth about the condition and the characters in that it may never be solved. Simply, you have to keep living your life and deal with it as it comes.
It’s also the first time that maybe I’ve noticed where a romantic comedy kind of looks at the male love interest through a female gaze as they’re not the center of the story, but more towards the side and are unbelievably helpful and good-looking and are there to provide moral support and the film goes out of its way to make them just the perfect love interest for the character where they’re tall their good looking they’re rich they give them what any woman would want.
The only thing in the way is the female character and confidence. So the male here is more in the role of the dream partner in the flesh and willing and waiting. While only having eyes for them.
Cast: Dakota Fanning, Georgina Campbell, Olsen Fouere, Oliver Finnegan, Alister Brammer, John Lynch, Siobhan Hewlett
A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night.
This film is disappointing now much will be sad because this film is from the daughter of M. Night Shyamalan, Ishana Shyamalan. There have already been calls of nepotism or Nepo baby feeling that she only got a big studio release because of who her father is and the fact that he also produced the film.
Now the film is in a similar style of being something supernatural and mysterious, and having a twist. Unfortunately, it doesn’t make good on its prints as the trailer for this film intrigued me as you didn’t exactly know what was happening. She also follows him and his more recent footsteps of adapting, a little-known or well-hidden novel for the big screen that if not for some research you would think would be an original script. That would work for her father, as his name comes with a certain pedigree and is bigger than any source material.
Once you watch the film and the story is fully explained there would be less mystery, but the problem isn’t that there is less mystery. It’s that it just doesn’t seem the greatest thought out as the script is barely subtle, and along the way becomes a bit predictable or if not predictable it’s nothing you haven’t seen before and other films so that here it just feels like a hodgepodge of ideas combine together to try and make the story work.
It feels more like a first draft than a fully thought-through and finished story. There seems so much potential in the setup, never quite comes together in a meaningful or sensible way, Which is especially shocking considering it’s based on a novel.
The direction is quite inspired and the cinematography is tight, but the rest of the film feels so empty. It’s one of these films that by the end. You don’t really care. You’re just happy that it’s coming to an end.
Rarely offers surprises or suspense you watch as it goes along and hope it will get better along the way with its twist and it rarely does.
There is a glimmer of hope and promise here, though tighter scripting and a better follow-through will be needed. Especially to follow either in her father’s footsteps or even the car out an original artistic voice of her own.
A crew of environmental activists plot a daring plan to disrupt an oil pipeline.
This is an interesting little thriller. As it starts off so anonymously. Then turns into an ecological heist movie. It lives up to its title but the strength is in the storytelling
We see how the plan is all coming together and what everyone’s duties and responsibilities are.
Meanwhile, we get glimpses into the characters’ reasons origins, and what brought them here.
Only in pivotal moments of the storyline. This also shows how the group all came together in the first place. As characters sometimes overlap in these moments.
The film provides plenty of drama, but also plenty of twists, turns, and double-crosses. Even when you think you know what’s going to happen, the film throws either a monkey wrench or what you think will happen but in a different way that you weren’t expecting.
The film is loosely based on the book of the same name which talks about the dilemma and the history of the problem. it is more dramatized and focused on this group of characters and their individual reasons as to why they came together to do this.
The ensemble works as each one is definitely passionate and works well with one another and you are on the edge of your seat plenty of times as this plan goes into effect. Even the aftermath is fascinating. As there is more to tell even during the credits as to the character’s fates. There is still the question was it all worth it?
This film is definitely worth watching even if you’re not necessarily into the politics of the character it works as a heist, film, and as a thriller and a film that examines the issues they are protesting against. Wow, the film provides plenty of suspense.
The film does feel like you are a fly on the wall, including your access to the information as a lot of times the film feels shot on the fly and feels as organic do it yourself and homemade the characters in their plan are.
Oh, the MVP of the film is Ariela Barer as she is the producer, writer, and one of the stars of the film. The film is an ensemble actor and character gets their moments to shine.
Cut To The Chase 