mpf101

I like small films. I have the highest regard for Tender Mercies, Aftersun, and others of their kind. Causeway is one of them. The writing and direction are masterfully restrained, as are the three stellar performances (Henry, Houdyshell, Lawrence). Not a single false gesture. The chemistry between Lawrence and Henry will be studied in acting and film classes for a long time, I expect. I 'm just writing now to fill up the character count, but please understand that anyone who loves the arts of acting and filmmaking should view this. Easily one of my Top 10 for 2023, and highly recommended. An Oscar for Henry, please.

This is a gorgeous production, one of the most beautiful westerns ever made. Most of the acting is top notch, especially by Chaske Spencer. But there are far too many characters to keep track of, and while the story is compelling, the storytelling is confusing. It's rare that I cannot follow a plot but half the time I didn't know who was doing what when. Despite that, I deeply enjoyed the series and may rewatch sometime now that I understand the story after reading summaries in Wikipedia. Just to watch the masterful cinematography of the Northern Plains landscapes and the Magic Hour lighting was pure joy.

Look, I can't begin to explain how horrible this train wreck of a series is without spoilers, which I don't like to do. Just ... trust me. If you like bad wigs and incoherent storytelling that never resolves many of the major threads, go for it. Otherwise, a must to avoid.

Before Quibi died, I watched the first two episodes of this and enjoyed them, but couldn't get over the format. So I was intrigued by news that it had been edited to feature length. Again, the beginning is pretty good, with the always charismatic Christoph Waltz mesmerizing. After a few minutes I popped some corn and settled in for a fun evening. But then things fall apart pretty quickly. Film looks like it was made on the budget of an old TV Movie of the Week (for you youngsters, that's not a compliment).

For nearly a century, the tale "Most Dangerous Game" has been rightly anthologized in Greatest Short Stories collections. Great story. Hard to screw it up. They screwed it up. By using multiple charicatured villains - hunters - the filmmakers transformed the essential 1-on-1 uneven battle of the original into a pale, thrill-less imitation of the Borne hunts. Doesn't work, and gets worse as it goes.

Avoid. Except for the first 15-20 minutes of Waltz. And in fairness, Helmsworth ain't bad.

Found this show riveting, but man, was the movie-length finale a disappointment! Just a mess of garbled storytelling. Wanted to give a strong rating, but this ruined everything.

I can understand where the low-raters are coming from, I just think they're likely folks who give 9 and 10 stars to Hollywood adrenaline-driven films. The 2nd act - the long crossing - is a gorgeous example of cinematic suspense. Who to trust? What's going on really? Faces and terrain tell the story here. Naomi is terrific. Sadly, the relatively short third act fails badly, hence 6 stars instead of 7-8. Nevertheless, worth viewing.

I hated the trailer for this, despite a fondness for some of McKay's previous work, and had resolved to skip it. But one night I clicked and was treated to an very well crafted, savage comedy nearly as good as The Big Short. If you're a conservaturd, leave your politics at the door and jump on for a fun ride.

There's plenty to criticize here, but end of the day, it's a very enjoyable, well made film. Ben A deserves the praise he has received. The running gags are effective, and we care about our young protagonist. As a feel-good period piece, it reminded me of Green Book, but this rang more true. Problems? Why do our hero's eyes and hair change color from scene to scene? Why do we learn so little about the mom, Uncle Charlie, or college roomie/best friend? Chris Lloyd is underused despite some wonderful moments. There are some unforgivable edits. Etc. But a delightful soundtrack of underused 70's hits, a fresh take on a Cheers-like neighborhood bar, some good performances ... worth watching.

What an unexpectedly stron small film. Cage is magnificent (not something I've often said during his career), the pig is a gorgeous being, the director is absolutely in control every minute, and a highly risky script somehow is riveting. I got two complaints, both involving action sequences, but they'd be spoilers so I won't mention them. If you like small art house films, this is for you.

I admire vision. Asimov had it, and the creators of this show have it. But then comes execution. I did not not enjoy this, but I can't say I truly enjoyed it, beyond the jaw-dropping visuals and the magnificence that is Clarke Peters. Too much exposition. Too much coincidence. Too many logic gaps, some quite fundamental. Still, I'm glad I watched, and may even watch Season 2 should it come. The quality of production indicates what could have been. The lack of quality storytelling prevented it.

The Lord of the Rings and Dune bookended a decade for me - Tolkien in fall of 1960, Herbert summer of 1970. I suffered through various attempts at making each into a satisfactory film until the Peter Jackson miracle, and have been waiting all these years for what only the amazing Denis Villeneuve could have done. For this fan, perfectly realized. So why not 10 stars for one of the greatest stories ever told turned into a spectacular film? I could quibble with some clunky dialog, but my greatest concern is accessibility. I've read Dune many times, and this film completely satisfied me, but I suspect that many viewers who are less familiar will fail to follow the political and cultural nuances that are essential to its greatness. Whatever. Villeneuve is the greatest visualizer of stories in the business, and this is a worthy addition to his resume. As for young Chalamet, there have been and will be greater roles for him, but I cannot imagine a better Paul Atreides.

Let me be clear, I adored the first five episodes. But this season finale had holes you could drive a truck thru. At least three huge fails (spoiler alert): 1) the police release a just killed body for return to mainland within hours, 2) our bride reconciles with the worst groom in history, 3) the family doesn't jump off the plane to chase down their son. Those were the most egregious but there were others. Sorry, the season deserved so much better.

I cannot believe I wasted 5 minutes on this, let alone 90-ish. To succeed, comic action films (e.g., Deadpool) require 1) clever visuals and 2) intelligent writing. This has neither. Why did I stick with it to the end and give it as many as 3 stars? Solid acting. Every cast member delivers rotten lines with conviction and authenticity. Bravo to Cox, Beckinsale, Tucci, Cannavale, Sarandon, and the iconic Bradley. But my god, what a waste of talent!

With all due respect to The Wire, The Sopranos, The Americans, Better Things, Fargo, and Get Shorty - my Ultimate TV list - this is my all-time #1 series. It has all the awesome vision, production values, character development, cosmic truth, acting, and storytelling of the others, plus ... THE MUSIC! Damn. How can you watch this and not smile and gasp and and dance? Required repeated viewing.

Soderbergh is a master of so many genres, but seems to most enjoy making complex heist stories. Folks, if you couldn't follow this, it's on you. Halfway through, I mentioned to my friend that this was the kind of film (like other Soderbergh and Guy Ritchie films) that get better with repeated viewings, and I expect to watch this a few times, but honestly at the end we each had few questions about what we'd seen. Complex but complete, thoroughly enjoyable. Intelligence required.

Look, the 80's were not good for women's clothes, men's hair, or Hollywood films. But that's no excuse for the hate dumped on this solid film. Ridiculous plot twists? Sure, but that applies to North By Northwest and many other Hitchcock masterpieces. Suspend disbelief, and you can settle into an engaging story that progressively ratchets up the tension, well filmed with interesting set design and without too many bad lighting choices. The film is marred by 80's-style acting, however. Gutenberg is amiably shallow throughout, certainly no Jimmy Stewart or Cary Grant. Likewise, McGovern is no Kim Novak. And unfortunately Huppert phoned it in. Still, this was a satisfying way to spend a couple of hours. Curtis Hanson deserves respect.

Are you one star viewers kidding me? This was cinematic genius. Sorry, that's all I got. I'm wrung out by watching this.

Not even close to great, but SO close to very good. Slick production, fine acting, engaging sequences ... and then you hit a plot hole big enough to drive a tank thru. One after another after another. I admire the actors' professionalism in powering thru ridiculous situations time and again, but after a while, c'mon already. Yet...so close to very good. BTW, season one at least was unified. Season two lurches from one subplot to another with no discernible unifying arc. But still, I watched, I enjoyed, I regretted what could have been.

Oh c'mon people. If you've watched Memento, Dunkirk, and Inception, you know what to expect. I found this easier to follow on first viewing than any of those. This is Nolan's masterpiece, and history will dismiss the dismissers. I take off a star because I question the set up of having the future hide pieces of their algorithm at the same time in the past - why not scatter them throughout time? - but that could just be me missing something that will become clear on rewatching. Which I most certainly will.

Admittedly, I'm comparing tonight's viewing of the re-edited Coda with a 30 year old memory of the original III, but wow. I so strongly disliked the original, and very much admire this new edit. My aesthetics have matured in 30 years, so I can't say if it's me or the new edit, but whatever, I found this film thrilling. Sophia seemed somehow more acceptable as an ingenue, the ending less over-the-top operatic., the story more cohesive. Mostly, it feels less like Coppola replaying his greatest hits and more like a brilliant re-imaging of scenes he did brilliantly before - the wedding, the end montage. Subtract a star because the film still wasn't necessary, and another for a few awkward moments and some bad voice dubs, but overall, a very satisfying and close to brilliant film.

Once you start, it's hard to stop. I'll give it that. But while you're binging, you gotta admire Bill Pullman. Good looking guy! And an actor's actor. He can face straight ahead while watching something out of the right corner of his eyes. Pretty remarkable. But it doesn't stop. He can do the same thing on the other side! I know, right? But here's the kicker. He's got the range to face ahead, look at something out of the right corner of his eye, and then without turning his head, shift to stare pensively out of the left corner! Meanwhile, because of his artistic chops, nothing else changes in his expression. OMG. Emmy, please.

And it doesn't end there. Jessica B proves that a skilled actor can be less lively as a real character than the animated one she played in Bojack!

So why did I finish Season 1? And bigger question, why TF am I starting S2? I worry about myself sometimes.

I don't know any American film from this era as mesmerizingly gorgeous as this. But I do know American films from this era that tell great stories; this does not, my friends. The three stories, sadly, suck. But I will likely watch this again fork the visual artistry, and I recommend it to any serious lover of cinema. I never took Vadim seriously, but his piece, and young Jane Fonda's performance in it, are spectacular, if you don't mind the limpest ending in any film ever. The Malle is acceptable, with fabulous editing and a strong Bardot (Delon, kinda meh), but again, the story flops and flails. The Fellini and Stamp are masterful. But you want a tale? Don't look here. Even though the stories are allegedly based on the master tale teller, it sure ain't Poe.

My list of All Time Best Series is short. Sopranos, The Wire, Treme, Fargo, Breaking Bad, Better Things. And Get Shorty. Cannot believe how little love, let alone adulation, this show gets. Best ensemble ever. Smart twisty plot. Crackling dialog. I liked the book and movie, but this has almost nothing to do with either, just the premise of hitman goes Hollywood. O'Dowd and Romano are fantastic, and the Latinx actors nothing short of remarkable. Do yourself a favor: watch. Why nine stars and not ten? They took too long between seasons, so the teen is clearly too old by season 3. Other than that ...

Bigelow has the artistry to, in every one of her films, put us in dangerous immersive situations. Her paradox is that we never really care. Even while my heart is pounding (think that incredible opening scene in Hurt Locker), I feel uninvolved. I've watched 50 minutes of Detroit. I've loved every minute. Gorgeous cinematography, gorgeous editing, gorgeous acting, a master class in filmmaking. But I don't care enough to go further. I want real caring. I'll have to go elsewhere. But hey, if you're in film school? This is some frame-by-frame genius!

Season 1: The kind of slow simmering creepy that Polanski perfected in his first few films. This is fine filmmaking and well worth the watch. As for the bad reviews, hey, art's not for everyone.

Season 2: ick ick ick. Do not bother. Ick.