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.
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.
Directed By: Zachary Wigon Written By: Micah Bloomberg Cinematography: Ludovica Isidori Editor: Kate Brokaw and Lance Edmonds
Cast: Christopher Abbott, Margaret Qualley
Follows a dominatrix and Hal, her wealthy client, and the disaster that ensues when Hal tries to end their relationship.
The film seems simple at first and will be pretty cut and dry storywise and sticks to it but you get involved and ultimately lost in the film, game, and characters
The film reminds one of Christopher Abbott’s previous film and performance in the movie PIERCING only less life and death or violence, just darkly comedic with hints of violence.
The films have the similarity of involving a sec worker and power plays as well seeming to be mostly bound to a hotel room only the previous film left the room
The director Zachary Wigon adds style so as to not make this seem boring and to liven up the experience.
Truly a psychosexual domination film of games
The film truly kicks off once Margaret Qualley’s character takes off her wig. Though the film plays more theatrical for the stage rather than a film. It keeps the Audience interested more in Qualley’s character and performance as she truly is the wildcard to Abbott’s more straight man’s performance.
His threats always keep turning hollow and truly show the weakness of his character, Especially compared to her.
This is Margaret Qualley’s best performance so far though probably not her most memorable which for most might still be ONCE UPON A TIME… IN HOLLYWOOD.
She is smarter than him because she has had to work her way up. whereas Abbott’s character has done what he has been told but resented that work while coasting along it and its features.
Also can be seen as a comparison and power play from a director/writer and actress who might have decided to go off script and prove their defiant character and talent
You can see the characters’ codependency with one another, one reluctantly. the other more willingly and knowingly. You can see it from the many times either could truly walk away but seems willing or fighting to prolong it against their so-called requests. As it easily could end plenty of times.
A kind of love story when it comes to power, communication, and trust with another person who knows you the most or at least your secrets
The ending feels like a throwback to a classic comedy and more of a fantasy or dream than reality
The film gets more intense as it goes along. Like the characters no matter how hard I resisted, continuously felt myself falling for the film even though or against my will
Cast: Ashley Judd, Michael Shannon, Harry Connick Jr., Lynn Collins, Brian F. O’Byrne
Having escaped her abusive ex-husband Goss, recently released from state prison, Agnes, a lonely waitress with a tragic past moves into a sleazy, rundown motel. Her lesbian co-worker R.C. introduces her to Peter, a peculiar, paranoiac drifter and they begin a tentative romance. However, things aren’t always as they appear and Agnes is about to experience a claustrophobic nightmare reality as the bugs begin to arrive.
This is a love story between two damaged individuals. As we can see from the beginning Ashley Judd’s character is not only lonely but also seems to be more willing to put up with abuse and the nature of whoever she is dating. As her ex, she has a court order o. Keeps coming over to beat her up and steal her money.
So it’s not too shocking that soon after being with this new man that she is introduced to, she starts to suffer from the same psychosis.
The couple could be compared to what happens when two drug addicts get together. Where they seem to live off each other and in their own world. Watching this movie they do come off as meth addicts. Even in scenes later we see that they have been freebasing also. Something g strangely even his psychiatrist takes a turn with.
though there is a more artistic rather than erotic sex scene. Which director William Friedkin has been doing constantly in his later films. As overly erotic as KILLER JOE was, the seductive or sexy scenes seemed more like going for pretty and meant much more. It could be that both these films come from the theater world. So these are the only moments where he can truly try to make it more cinematic with his own vision.
It took me some time to watch this film over the years. So the anticipation builds up. So that when finally watching the film it is tamer than expected and feels like it needs to be seen on the big screen to truly feel the film. Unfortunately, I didn’t, but the second half of the film is truly graphic and disturbing.
The film didn’t live up to certain expectations but it is effective to a certain degree. It definitely helps if you come into the movie blindly
Which is why I believe the second half is so disturbing is that the first half has a few shocks but stays mundane. So the lunacy of the second half not only wakes up the Audience but disrupts them out of comfort and expectation.
We also watch the breakdown of Ashley Judd’s Character whom we truly feel sorry for from the beginning though we also see how submissive she is.
The last act comes across as downright artistic when it comes to production design and the acting.
Though he had been a working actor this Is the movie that truly made Michael Shannon a star or put him More on that path. After so far a career of bit roles and more theatrical work.
Harry Connick Jr. Even plays against type in this film. As Judd’s abusive not quite ex-husband
Not your typical horror film or thriller. It is more disturbing about damaged people damaging themselves and each other. Involving those who are unlucky enough to cross their paths.
It ends up not being what you first thought when you sat down to watch it, but luckily something much deeper.
There is some beautiful filmmaking here making the mundane interesting and you can feel its theatrical roots. The director and cast truly make the film feel bigger than the location it seems to be stuck in and make the hotel room seem labyrinthian
Cut To The Chase 