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Whereas I'd be too harsh and do the opposite: focus on all the bad, and not focus on the good (including, as you said, Wayne's journey, something I heavily picked up on this time around). I knew these films were always more than superhero movies, but they really had a lot to say to me this time. Zimmer's score utilizing the "Rise" chant heard in the pit is another brilliant touch.
Anyone that is a fan of Batman and ever picks these up in 4K is in for a real treat. BB wasn't anything special, but I still can't stop thinking about how good the IMAX scenes looked.
I am sad to see where Batman is today on the big screen, but those special films with a director who understood the character and a lead actor who could play him competently are both cherished and missed.
Is there an obvious or not so obvious link between Bond and these super heroes?
Bond is the midpoint between Superman (total good) and Batman (dark justice).
Closer to The Batman, I guess.
It's the JB thing.
James Bond
John Barry
Jason Bourne
Jack Bauer
Jerry Batman
and
Justin Bieber
We're the JB forum.
He always works better on his own, fitting his loner person, which is why having him in a team movie is so ironic and miscalculated. But he's WB's cash cow, so of course he's going to be jammed into any place they can get him.
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All The Money In The World (2017)
This film, based on the true story of the 1970’s kidnapping of billionaire oil man John Paul Getty’s grandson, has been quite controversial. It attracted a lot of publicity prior to its release on account of director Ridley Scott (and production company Sony) making a last minute decision to replace Kevin Spacey (who was originally cast to play Getty) after news of unsavoury sexual misconduct allegations about the actor broke. Scott cast Christopher Plummer in the part instead and reshot scenes in Italy and the UK at a cost of approximately $10m. What’s amazing to learn is that the scenes were reshot with co-stars Michelle Williams (who plays daughter in law Gail Harris) and Mark Wahlberg (who plays ex CIA operative and Getty security man Fletcher Chase) in a different way, because the two actors had a different rhythm, emphasis and styles. This is actually evident if one watches the original trailer and compares respective scenes to those in the final film. I can’t imagine how 80 year old Scott pulled it off in such a short time, but he did.
He’s crafted a very engaging, suitably tense and beautifully lensed film (cinematographer Darius Wolski continues to impress, and should be considered for Bond). It has a lavish and elegant flair to it, somewhat reminiscent of The Talented Mr. Ripley, and even Scott’s own Hannibal. Italy has never looked better. Williams is very impressive as the increasingly frustrated mother doing whatever she can to get her son back and she’s arguably the protagonist. She plays the role with strength and sensitivity, but without excess emotion thankfully. Wahlberg is serviceable as her security man and facilitator, but one wonders if he is a bit miscast here. There’s something about his beefcake muscular frame that seems out of place for the times. Still, it’s a minor quibble as he’s not bad. The real star of the show however is Plummer. He’s magnetic as the eccentric industrialist and one time richest man in the world. A frugal billionaire, he refuses to negotiate with kidnappers or accede to their demands, thereby prolonging his grandson’s agony and plight. Plummer, an excellent actor, is very convincing at selling Getty’s worldview. He somehow manages to make the man sympathetic too. It’s no mean feat, and he deserves to be nominated come Oscar time.
The film is reasonably well paced and tense, but arguably is lacking a bit of emotion. It unfolds in a sort of procedural manner, but Plummer, Williams, and the fantastic cinematography and location work make it well worth a visit to the theatre.
The thriller that created M. Night Shyamalan's reputation for shocking surprise endings - "The Sixth Sense" is by and large a good movie, but just frustratingly short of a great one. Osment deserves a lot of praise for a very fitting child performance, and the film moves well between its gamut of emotions. I just can't help feeling that the exact 'rules' of the film's concepts are a little shaky. I also feel like a cut that was 10-15 minutes shorter would have been a tauter, more exciting watch.
Irish playwright Martin McDonagh delivers the crowning glory he has always promised. 'In Bruges' was a fine, quirky debut (even if I found the gushing praise for it a little undeserved) and 'Seven Psychopaths' was a hit-and-miss meta-journey through the gangster genre flirting with the kind of 'writer writes himself into his own screenplay' trope that Charlie Kaufman had done to far greater emotional resonance in 'Adaptation'. But this time there is no denying McDonagh's hit the bullseye.
An expert piece of casting with France's McDormand as a mother trying to find justice for her murdered daughter in a town that simply wants to look the other way and forget. She posts three billboards demanding justice from jaded but kind sheriff Woody Harrelson (who can do this kind of stuff in his sleep). But it is Sam Rockwell who knocks this one out of the park. As the comic book reading, suspect beating, red neck deputy - Rockwell plays Officer Dixon with the perfect amount of anger, humour and pathos. He is my pick for sure bet at the oscars for 'best supporting actor' win. McDormand will be a strong favourite to collect her second 'best actress' gong in a role that was literally written for her. McDonagh could well win a best original screenplay Oscar too.
With small town America under the microscope, idiosyncratic dialogue, killer one liners and quirky characters led by McDormand - don't be too surprised if you experience a Coen Brothers feel to this - particularly when McDonagh also employs their favourite composer Carter Burwell to score the piece.
The film barely puts a foot wrong. It is compelling, unpredictable, moving and hilarious. These are the kind of characters you want to spend time with.
I've warned you last time already, @DarthDimi, about mentioning that specific singer. ;)
I'll be going to Darkest Hour in a couple of hours, and to Molly's Game tomorrow afternoon.
Star Wars : The Last Jedi : I really loved it, although I must admit that I side with those who think that it plods in certain parts (the casino scenes could have been cut down, I think) But what's good is really good, and there are scenes that really take your breath away (
Finally watched this new film directed by Martin Campbell, featuring Pierce Brosnan and Jackie Chan, 22 years after Goldeneye. And what a movie this is. Fantastic directing by Campbell, a really interesting plot, that was way more of a political thriller style than a straight up Taken with Jackie Chan, which IMO made the film even better than what I expected. Jackie Chan was highly intense as the world-weary older action hero about to kick some major ass, but Pierce Brosnan, for me, was the real star of the film. Absolutely electrifying performance from him, he totally blew my expectations out of the water. I hope Campbell, Chan and Brosnan will continue to add more action thrillers in their respective filmographies, as they've never lost the magic touch in true badassery they've had for several decades now.
^^^ What he said. ;)
I was sceptical and was going to rent it though I bought it on the strength of The Fifth Element which was not wise, the visuals are mixed and the script and acting is some of the worst I have seen in years. Cara Delavigne is attractive and has potential as a actress though is given no direction, and Dane Dehaan is a charisma vacuum and totally miscast.
I do want to see him in A Cure for Wellness as I think that kind of film and role suits him more than blockbuster stuff.