ARGYLLE (2024)

Directed By: Matthew Vaughn 

Written By: Jason Fuchs 

Cinematography: George Richmond 

Editor: Lee Smith, Tom Harrison-Read and Col Goudie 

Cast: Bryce Dallas Howard, Sam Rockwell, John Cena, Henry Cavill, Catherine O’Hara, Bryan Cranston, Samuel L. Jackson, Sophia Boutella, Rob Delaney, Ariana Debose, Richard E. Grant, Dua Lipa 

A reclusive author who writes espionage novels about a secret agent and a global spy syndicate realizes that the plot of the new book she’s writing starts to mirror real-world events in real time.


Watching this movie, one constantly is wondering is this supposed to be a parody, spoof or do they honestly expect us to think of it as an action-comedy. Unfortunately, by the end that question is never answered. It is obviously supposed to be based on spy novels and espionage stories. More the fanciful ones that take place in movies and fantasy. Rather than the Tom Clancy para-military and political type stories.

As The scary part is that if this film came out in the early 2000’s. it might have to be considered  of as stylish and be thought of as smart. This plays like more like THE AVENGERS (the classic British show) as there is a lot of spectacle. But not much sense to follow. Which is why one wonders what exactly is it trying to be or aiming for. Maybe as it comes across more comic book like and goofy than anything else. 

I would say this is a perfect Netflix movie, but it looks way better and doesn’t rely on so much green screen or a muted look. It’s actually colorful and you can see the budget onscreen. 

With all the dancing involved I believe this role was specifically written for Sam Rockwell. As that is something that he is known to with his characters on screen. Though the role he plays here feels familiar. As he played a similar role in the movie MR. RIGHT. As he can do action and seem like a more deranged comedic character.

The joke here is that he doesn’t seem like an action hero type. Just as lead Bryce Dallas Howard doesn’t usually come across that way. Not quite as the sexy seductress. Though by the end you beleive or at least are forced to. Though the film doesn’t embarrass them. 

as that seems to be one of the films aim, whereas in the fantasy, we see more of the type of actors we would expect to play these types of roles effortlessly, but in the reality we get more stunt, casting or miss casted actors who are the real life counterparts and the leads of this film so it seems a little bit more often comedic watching them do action sequences, and thriller situations

The film unfortunately gets more ridiculous as it goes along and more confusing. As it keeps building where the film doesn’t even necessarily know if it all makes sense. As the film is trying to keep topping itself with surprise, after surprise after surprise and then many twits, double and triple crosses. Although it seems to want to have a. ROMANCING THE STONE vibe. Done better in films such as THE LOST CITY 

it seems practically to be a reunion for director Matthew Vaughn and some cast members, like Samuel L. Jackson and Sophia Boutiella, but it still didn’t need to be this long. 

It’s also hard to take the film too seriously. When there are comedic actresses like Catherine O’Hara playing someone dangerous.

By the end Dua Lipa’s cameo is the only thing interesting, entertaining or dazzling in this film overall. Other than some nicely choreographed and lit action sequences. That deserve to be in a better movie. 

Even The ending makes no sense. As it is shocking this was not only supposed to be the first in a trilogy, but also supposed to be interconnected with the Kingsman franchise also directed by Matthew Vaughn. 

So while throughout the film looks gorgeous. It just feels kind of misdirected like someone who doesn’t know how to do comedy trying to make one but knows how to do. The action sequence is really well and it’s a shame I was really rooting for this film.

Grade: D+

THE PHOENICIAN SCHEME (2025)

Written & Directed By: Wes Anderson

Story By: Wes Anderson And Roman Coopola 

Cinematography: Bruno Delbonnel

Editor: Barney Pilling 

Cast: Benecio Del Toro, Mia Therapleton, Michael Cera, Tom Hanks, Benedict Cumberbatch, Bryan Cranston, Scarlett Johanson, Jeffrey Wright, Riz Ahmed, Bill Murray

Wealthy businessman Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists and determined assassins.

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It’s getting harder and harder to review Wes Anderson films as it feels like with each film he gets more and more Lost or not even Lost just sticks to his style

There is nothing wrong with that even though it might annoy Some audiences. who want

him more to evolve, just asked from his early films, which had certain sensibilities, but weren’t quite as artistic, as his films are now and at least felt a little more free, whereas his films now, which is a style feel a little more closed off

It feels like more he’s making the film for himself than necessarily an audience. Now he does achieve what most filmmakers seek. He creates his own world and settles into his own absurdist fashion comedies with a tight, bright aesthetic, and all seem to be homage to something or someone.

Is films aren’t necessarily bad it’s just a style you have to get used to it either. You love it or you hate it. You Can enjoy them because they are visual story books pretty much while one can’t say they loved each and every one  of his films but one will say there’s at least something interesting about each film and they’re all pretty to look at.

This film one can believe allows younTo get into a bit more than his last film ASTEROID CITY, maybe because it wasn’t such a big cast and while it’s kind of a spy/espionage tale, that seems to go global near Sumner. This one is more enjoyable personally because he tries to be deep at times, but it more focused on the actual story plot and moving forward, even though there are plenty of character moment.

whereas ASTEROID CITY, each was just the size of the cast was so grand, but it did have more dramatic moments and showcasing of actors but that also seem to be a little bit more devoted to a little sci-fi, but definitely to theater whereas this film still has that kind of deadpan humor. It does have an emotional center that is an obvious, but it does come about this also feels more like a common. 

That with this room, Benicio Del Toro gets the rare leading man role, where he gets to be comedic and suave and commanding even though he’s surrounded by an ensemble, who more seem to play caricatures or pretty much their wardrobe, pretty much defines their character it’s still managed to take you on a journey maybe not as emotional this one is a bit more detached, playing more into it setting in Europe 

The film does offer Michael Cera, a more noteworthy rolled and he has had in sometime. No as an ensemble whenever the big names in the Castillo show up, it’s still does feel like they’re more guest starring. It’s a little jarring and takes you out a little reminding you that it’s a production but then again, that is how most of Anderson’s films tend to feel as over the years they feel like they’ve gotten more and more away from any kind of reality or truth, at least in any kind of world that we might now but makes sense and can be emotional and their own kind of worlds.

This places perfectly into his wheelhouse, but it seems to lack the flare that his films usually have

One will say that Wes Anderson films are starting to feel like not only their own world, but kind of going into a museum where the designs and patterns are so well. So that they always seem hip and watchable.

Grade: B 

EL CAMINO: A BREAKING BAD MOVIE (2019)

Written & Directed By: Vince Gilligan Cinematography: Marshall Adams Editor: Skip MacDonald

Cast: Aaron Paul, Jonathan Banks, Jesse Plemmons, Matt Jones, Charles Baker, Robert Forester, Larry Hankin, Tom Bower, Marla Gibbs, Tess Harper,  Brendan Sexton III, Kevin Rankin, Krysten Ritter, Bryan Cranston 

Fugitive Jesse Pinkman runs from his captors, the law, and his past.


If you are a fan of the series this is a must-see as it doesn’t Disgrace the legacy of the show as some finales can do. It adds to it a little. Though for those who had their own fantasies and theories about what happens to Jesse Pinkman after he drives away at the end of the series. This gives a definite answer rather than what some fans might have to imagined or believed. Hopefully, you will find it better. What do you think.

This is partially difficult to review as it helps the viewer to know what came before it by watching the series. It’s not a must but probably helps your enjoyment and understanding but it is entirely necessary. As it also does a good job of exposing itself and its scenes as well as its motivations.

The film plays more like an epilogue of the series but also feels kind of like a finale for the series and the remaining lead character you care about. As many major characters cameo in this film.

The film is a slow burn that could easily have played like two episodes from the series. As they are expansive yet tiny and meticulous.

As we watch the character of Jessie maneuver his actions and motivations are hampered by the past. As we see various flashbacks that tell their own story but explain Jesse’s Actions and kind of work as inner monologues of sorts. Though they help explain where he is going or at least heading to.

He is still down and dirty and trying to make an escape where it either seems like he is having the worst luck or a comedy of errors keeps happening to him.

While certainly a crime thriller it also works as a character study and as goodbye in the form of a kind of side story to the series. That helps explain exactly some of his treatment and trauma. As well as letting the character continue his story and get his own proper ending.

Grade: B

DETACHMENT (2012)


Directed & Cinematography By: Tony Kaye
Written By: Carl Lund
Editor: Michelle Botticelli, Barry Alexander Brown & Geoffrey Richman

 Cast: Adrien Brody, James Caan, Christina Hendricks, Sammi Gayle, Tim Blake Nelson, Bryan Cranston, William Peterson, Betty Kaye, Lucy Liu, Marcia Gay Harden, Blythe Danner, Isiah Whitlock Jr., Josh Pais, Doug E. Doug,

Detachment is a chronicle of three weeks in the lives of several high school teachers, administrators, and students through the eyes of a substitute teacher named Henry Barthes. Henry roams from school to school, imparting modes of knowledge, but never staying long enough to form any semblance of sentient attachment. A perfect profession for one seeking to hide out in the open. One day Henry arrives at his next assignment. Upon his entry into this particular school, a secret world of emotion is awakened within him by three women. A girl named Meredith is in his first period. A fellow teacher Ms. Madison, and a street hooker named Erica, whom Henry has personally granted brief shelter from the streets. Each one of these women, like Henry, is in a life and death struggle to find beauty in a seemingly vicious and loveless world.

 The film-like its main character shows us the problems. Makes us aware of the problems, but also offers no answers. So not only is it bleak but also nihilistic. While it is heavily philosophical at times and becomes cerebral. It also at times becomes a bit too much.

The storyline of him taking in a girl off the street is understandable as he seems to try to prove to himself he is a good person and help someone he sees as innocent while one of his students sends out warning signs of trouble yet he is blind to it. It also shows a way to make up for things in his past. I also believe it is a way for him to communicate with someone as lonely as he is. In one scene he even witnesses a teacher clearly with mental problems, yet does nothing about it.

 The film shows the hardships not only he but most teachers and administrators have to go through not only from students but also parents and the state. They seem to be battling in a losing war that they are not supplied to handle. Where the only hope is that you can grab one kid, one mind, and teach them something then you have succeeded. You have kids who don’t care. Parents who look to you to babysit and raise their children have no funds for anything.

 Tony Kaye Makes another powerful hard-hitting film that while a little too indulgent at times makes you think and delivers a message. Despite his past troubles, his talent as a director is undeniable. He gets solid performances from the supporting cast who don’t have much to work with as far as characters but you feel the world-weariness.

James Caan’s character is full of spirit and funny yet has the feeling of hitting a brick wall way too many times. Kaye even casts his daughter in a key role and she is effective as is Sammi Gayle as a teen prostitute staying with Brody’s character. Tony Kaye also gets a boost from getting a natural and powerful performance from his lead Adrien Brody who hasn’t been this good in years, His performance is full and realized. He is soulful and complicated but comes through as solid. IT’s also his first leading role in quite some time.

 The storyline of taking the girl off the street is far-fetched. In a real-life way, but works for the film. Marcia Gay Harden’s breakdown feels a bit over the top and far-reaching. The film feels important if only hopefully as a time capsule. More to look back upon as how bad a problem the school system was. More of a social problem film, than a dramatic one. As at times, we get to know the teacher’s home life some of whose is just as bad as the school system is but they are quickly jettisoned and forgotten for the rest of the film. ‘
The film provides dramatic characters and situations but is more concerned with the dilemma of these characters. Though it also is more focused on Adrien Brody’s character and problems.

 I warn you this is not a happy film. It is very sad and depressing. It is worth watching for filmmaking and the performances. The film is definitely Worth Watching. An Addition to the film library you can come back and look from time to time. 
 GRADE: B

RED TAILS (2012)

Directed By: Anthony Hemingway
Written By: John Ridley & Aaron McGruder
Story By: John Ridley
Cinematography By: John B. Aronson
Editor: Ben Burtt & Michael O’Halloran

Cast: Nate Parker, David Oyelowo, Michael B. Jordan, Marcus T. Paulk, Elijah Kelly, Bryan Cranston, Terrence Howard, Cuba Gooding Jr. Gerald McRaney, Tristan Wilds, Lee Tergesen, Andre Royo, Method Man, Ne-Yo, Daniela Rush

A crew of African American pilots in the Tuskegee training program, having faced segregation while kept mostly on the ground during World War II, are called into duty under the guidance of Col. A.J. Bullard.

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THE INFILTRATOR (2016)

infiltrator

Directed By: Brad Furman
Written By: Ellen Brown Furman
Based On The Book By/on: Robert Mazur
Cinematography By: Joshua Rais 

Editor: Luis Carballer, Jeff McEvoy & David Rosenbloom 


Cast: Bryan Cranston, John Leguizamo, Diane Kruger, Benjamin Bratt, Amy Ryan, Jason Issacs, Olympia Dukakis, Jospeh Gilgun, Juliet Aubrey, Yul Vasquez, Art Malik, Michael Pare, Said Taghmaoui, Elena Anaya, Carsten Hayes 


 A U.S. Customs official uncovers a money laundering scheme involving Colombian drug lord Pablo Escobar.


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