This film takes you to the depths of despair and degradation and keeps you there. The suffering so many endure is made palpable. The alcoholic's unheard cries. The fear and self-loathing of the destitute. The hopelessness of someone who knows they have blown too many second chances and must finally face solitude in the darkness. Andrea Riseborough delivers a career performance as Lee. Actors in support are heartfelt and intense. The story is strong. Watch this film. You'll be glad you're alive, and you won't take friends and family for granted. Redemption can seem like a million miles away, but, sometimes, it's right in front of us.
Reviews
19 Reviews
World War Z
(2013)
Sometimes its most brutal weapon is its greatest weakness...
4 February 2023
Warning: Spoilers
World War Z was a high production value film that delivered scene after obscenely expensive and violent scene based on questionable premises and simple, though compelling, storylines. Brad Pitt gave a world class performance and was supported by a large cast of talented actors and a major Hollywood budget to fund cutting-edge and convincing special effects and enough extras to make the producers of Ben Hur jealous. Something infects humans - the film never says what precisely - turns them into rabid predators and the world careens toward chaos and dissolution. Our hero, however, survives near-death experience after implausible near-death experience. Albeit well produced, this film framework was all too familiar to movie fans by the time of this production.
There is a novel twist, however, related to the predatory nature of the infected victims, that makes this film's take on this cinematic genre less common, though not entirely unique. Our hero is, of course, present at the end to resolve the climax of the film.
What I would have been most interested in seeing, however, was how human survivors used that twist to overcome in the ensuing years in various creative ways. In any remake, I would cut the repetitive (and, necessarily brutal) violence by 30% and explore creative survival and in-depth characters - perhaps our hero's family plot line continues - in the last portion of the film to make this film truly great, memorable and ultimately classic.
There is a novel twist, however, related to the predatory nature of the infected victims, that makes this film's take on this cinematic genre less common, though not entirely unique. Our hero is, of course, present at the end to resolve the climax of the film.
What I would have been most interested in seeing, however, was how human survivors used that twist to overcome in the ensuing years in various creative ways. In any remake, I would cut the repetitive (and, necessarily brutal) violence by 30% and explore creative survival and in-depth characters - perhaps our hero's family plot line continues - in the last portion of the film to make this film truly great, memorable and ultimately classic.
After Yang
(2021)
We Contain Multitudes
15 January 2023
"After Yang" was profound in its implications and scope, yet mournfully slow to develop. To his credit, director Kogonada made the dialogue sparse and the pace quite conscious, but, in this reviewer's opinion, we needed a bit more vigor and speed to some of the scenes. I would cut select scenes by 10-15%. The Tone passes over into something approaching tired and morose when we see lead actor Colin Farrell moping around his home, diffident, inarticulate, hesitant, indecisive and seemingly battling depression as he comes to grips with loss and the realization that his "friend" was something far greater than he realized. His 70's porn 'stache somehow adding to our lack of confidence in his abilities. Will our hero overcome?
Suddenly - and too late for this viewer - Farrell's character stumbles upon a realization that blows the film wide open to new possibilities. The created world changes. Yang takes on new meaning and our hearts are broken then filled with a sense of awe - a yearning to understand - and new questions arise.
As a science fiction story, "After Yang" is well-conceived and paints a subtle and poignant future. For this reason alone, it is worth watching amidst the onslaught of Marvel comic bombast being produced in Hollywood.
As with all great science fiction, this story is not only an exploration about artificial intelligence and the future of biological humanity, but it is about humanity as we have always been. We are all of us greater than the thin slices we show each other in passing conversation and holiday cheers. We carry worlds within us. "After Yang" serves as a reminder that we are sacred beings thrown through time, filled with memories we only dimly comprehend and sometimes struggle to manage. In the end, love remains.
Suddenly - and too late for this viewer - Farrell's character stumbles upon a realization that blows the film wide open to new possibilities. The created world changes. Yang takes on new meaning and our hearts are broken then filled with a sense of awe - a yearning to understand - and new questions arise.
As a science fiction story, "After Yang" is well-conceived and paints a subtle and poignant future. For this reason alone, it is worth watching amidst the onslaught of Marvel comic bombast being produced in Hollywood.
As with all great science fiction, this story is not only an exploration about artificial intelligence and the future of biological humanity, but it is about humanity as we have always been. We are all of us greater than the thin slices we show each other in passing conversation and holiday cheers. We carry worlds within us. "After Yang" serves as a reminder that we are sacred beings thrown through time, filled with memories we only dimly comprehend and sometimes struggle to manage. In the end, love remains.
Monsters
(2010)
Solid Low Budget Film
9 January 2023
Any production team able to see a film through to completion has done something amazing and praiseworthy. To do so on a small indie budget ($500k) is often a herculean accomplishment. That said, the story is strong overall, but seems to drag in points, and the acting occasionally seems anemic. My disbelief was often "unsuspended" and I fell out of that film-induced trance that we all feed on. Special effects were handled well - minimized - but when exposed sometimes - not always - seemed less than real. I deeply appreciated Monsters as a student of filmmaking, and I thoroughly enjoyed seeing the piece. Well done.
Upgrade
(2018)
Dark Horse From Down Under
28 December 2022
This film is a great success with a rating of 8/10. My attention was captured and held as the writers took me into fresh sci fi thematic territory. This setting is near-future, and we meet our hero at his most vulnerable as technology is on the verge of achieving a new level of integration. At the crucial inflection point of "progress" our story begins. With a fascinating set of surprise endings "Upgrade" leaves you wanting more.
I was impressed by the main character played by Logan Marshal-Green as well as the supporting actors. The voice of Stem was portrayed convincingly by Simon Maiden. Special effects were seamless. The story was compelling and only lagged in moments.
I was impressed by the main character played by Logan Marshal-Green as well as the supporting actors. The voice of Stem was portrayed convincingly by Simon Maiden. Special effects were seamless. The story was compelling and only lagged in moments.
The Fabelmans
(2022)
Cut it by 20% and Hire a Stronger Editor
17 December 2022
Steven Spielberg's new semi- autobiographical film was a disappointment in the theater. I was hoping for something special. I have loved several of his films as so many have - "AI" comes to mind as a particularly underrated work. This one will not join them. It's bloated by at least 20% and lacked good flow. The raw material seems interesting, and I respect Spielberg's inspiring personal journey to success albeit one of privilege compared to the masses. This film, however, fails in its execution. He is simply too close to it to be objective. My fix would be to hire an equally talented and confident editor to hack away at this one until it starts to communicate efficiently and effectively.
Let the Right One In
(2008)
Heartbreaking. Spellbinding.
22 September 2022
"Let The Right One In" hits notes you didn't think you could play. The near-child actors are heartbreaking. We yearn to protect them, though we know what must happen. Director Tomas Alfredson's slow pacing adds to a feeling of yearning and anticipation supported by the music of Johan Söderqvist. Credit must be given to casting by Anna Zackrisson. Lead Lina Leandersson as Eli is deeply compelling - part innocence, part predator - while her co-star Kåre Hedebrant - Oskar - is painfully vulnerable. Per Ragnar plays Hakan, Eli's devoted if aging aid. Into a muted, wintery world we go. A place where legends may be real, but the lessons we learn are without a doubt. Stories such as this remind us that in an imperfect world, love takes many forms.
Jeremiah Johnson
(1972)
Profound and Authentic, Jeremiah Johnson Stands the Test of Time
18 March 2022
Jeremiah Johnson, based loosely on the true story of one "John 'Liver Eating' Johnston," is profound. Telling the story of a storied mid-century 1800's survivor. John Johnston lived hard, but didn't die young. He lived until the age of 75 doing whatever he could. The climax of his mountain adventures - violent and tragic - is an adventurous life the envy of many a man, if painful and, mostly, solitary. First, he learns. Then, he ventures out on his own. Then he meets a girl and has a family, only for it all to come to a bitter, violent, and ironic end. His subsequent journey takes him forward into eventual legend as a brutally vengeful husband and father who earns the reverence of the Crow as their most hated and monstrous enemy - almost beyond comprehension - capable of depriving them of the afterlife by eating their livers after death. After hundreds of deaths - when Johnson finally made peace with the Crow - he became an ally and a friend. In 1974, after Pollack and Redford's film brought attention to this man's life, Johnson's body was re-interred in Wyoming from just outside LA near he had died in a veteran's home in Santa Monica. Robert Redford, in a fitting and poetic tribute, was one of the pall bearers. So be it.
The Power of the Dog
(2021)
Not Quite Believable
17 February 2022
The performance of Benjamin Cumberbatch is superb. His character was developed well, if somehow incomplete. The sets, photography, costumes and landscape are all stunningly beautiful and appropriate. The parts written for Jesse Plemons, Kirsten Dunst, and Kodi Scot-McPhee, however, lack depth. The pacing of the film and the achingly delicate soundtrack lend themselves to deep and thorough personal exploration through quiet moments, but we are left unsatisfied in the end.
Dune
(2021)
A Visionary Re-interpretation. See this film.
24 October 2021
Rising above the recent spate of film and television gleefully pandering to the PC winds that blow, Villeneuve shows how to make a timeless, deeply human statement set light years away with a thoughtful and ambitious re-interpretation of Frank Herbert's iconic story. A powerfully impactful score from the legendary Hans Zimmer, a talented cast natural and subtle in its diversity, sets and locations from Villeneuve reminiscent of 2049's sweeping beauty and simplicity, seamless FX and a minimalist script that maximizes imagination all contribute to what could be the beginning of a new modern epic series. It was both a relief and a joy to see on a big screen. I will be looking forward to what comes next. And, I'm grateful that the in an age of soul crushing and simplistic creative misfires filled with predictable clap traps, expansive, immersive and transformative art with the power to surprise can still be made. Well done Warner and Legendary Films - and well done writers Denis Villeneuve, Jon Spaihts and Eric Roth.
Ratched
(2020)
Beautiful visually, but a script and story that are melodramatic, inconsistent, and cartoonish.
12 October 2020
Despite clearly high production value and brilliant acting, sets, costumes, and lighting, I was consistently disappointed in the story and scripting of "Ratched". Writers Ryan Murphy (Director 2 episodes) and Evan Romansky exhibit little sense of subtlety or historical context and the characters often slip into grotesque caricatures of human types tailor made to nicely fit modern politically correct sensibilities - inconsistent and shallow. The plot has many illogical holes. Another reviewer used the word "exploitation" to refer to the extreme violence portrayed to indulgence. I agree.
It is, no doubt, very difficult to create a work of art that is this big - estimated budget of $300,000,000 for a total of 18 episodes - averaging $17,000,000 per episode. Roughly 120 cast. Roughly 400 crew? I'm sure there were many, many cooks in the kitchen, and I give Murphy, Romansky, and other directors and producers due credit for inspired moments - but there really should have been more creative oversight of this one to keep the piece from going so wrong so often. Maybe then it would have done true justice to the amazing professionals who did, in fact, reach true excellence in their contributions - the actors, set, lighting, and costume designers among many others on the crew as other reviewers have noted.
It is, no doubt, very difficult to create a work of art that is this big - estimated budget of $300,000,000 for a total of 18 episodes - averaging $17,000,000 per episode. Roughly 120 cast. Roughly 400 crew? I'm sure there were many, many cooks in the kitchen, and I give Murphy, Romansky, and other directors and producers due credit for inspired moments - but there really should have been more creative oversight of this one to keep the piece from going so wrong so often. Maybe then it would have done true justice to the amazing professionals who did, in fact, reach true excellence in their contributions - the actors, set, lighting, and costume designers among many others on the crew as other reviewers have noted.
You Were Never Really Here
(2017)
Violence. Depravity. Loss of innocence. Public illusions.
9 August 2020
Joaquin Phoenix give a captivating performance as a traumatized man-child - survivor of a violently abusive childhood and the inhuman punishment served up by active military service in the Gulf War. He's found a niche - albeit one that feeds his dysfunctional coping lifestyle - in the form of a "hired gun" whose job it is to retrieve young girls from the depths of hell in the form of child sex trafficking. The film is compelling. The issues are relevant. Explored, also, are the sometimes sickening disconnections between public achievement and dangerous personal traumas.
I wish the film would have provided a bit more commentary on how Phoenix' character went on to process the madness, but, as with other decisions in the film, those realizations were only subtly told to the viewer as images or intimations.
All in all, this is a solid film. Congratulations to everyone involved. Creating a work like this is not easy.
I wish the film would have provided a bit more commentary on how Phoenix' character went on to process the madness, but, as with other decisions in the film, those realizations were only subtly told to the viewer as images or intimations.
All in all, this is a solid film. Congratulations to everyone involved. Creating a work like this is not easy.
The Pacific
(2010)
Another triumph chronicling the WWII experience
12 July 2020
Presaging today's multi episode, high production value series, "The Pacific" is a triumph that will not soon be forgotten. Each episode is impactful, but its genius seems slow to develop and only culminates with the final episode when powerful truths are revealed. Viewers will be particularly moved by the performance of a young Joseph Mazello who appeared, again, alongside the talented Rami Malek (Mr. Robot) in "Bohemian Rhapsody" (2018) as John Deacon. Mazello's character takes us on a journey of dark discovery where, one by one, the brutal and horrific facts of war and their profound and lasting costs are laid bare. I was left with a deep sense of unease that only resolved in episode 10. Watch this series, and respect the sacrifice of those who fought for freedom.
The Florida Project
(2017)
An engaging story with some loose ends
5 July 2020
Looking back at this piece as a story it was an engaging film that, many times, had me enchanted and rooting for the characters. It is good without question, but what would have made it truly "great"?
The kids are, of course, "cute", but just can't justify quite that much screen time - they don't advance the story further at that level of coverage. I would reduce the long closeups by about 25-35%. I believe that was time that would have been better spent on building Willem Dafoe's character - his family context, his role in the outcome of the film. Alternatively, perhaps a more in depth character treatment of one of the children as opposed to "the children" as a group entity. As the "Manager", Dafoe was very good as always, but I would like to have seen him play a slightly more defining role in the story. The ending was intriguing but ultimately unsatisfying - it seemed abrupt and thin. The story builds to a climax that simply can't end well, but the audience is left hanging.
This film did a lot with $2,000,000 and seems to have been highly profitable. Sean Baker did what was no doubt a difficult and consuming job as Producer, Director, Screenwriter, and sole Editor, and all the awards and profits the film gathered do him justice. No doubt he'll be trusted with larger budgets going forward, and it will be exciting to see what comes next.
The kids are, of course, "cute", but just can't justify quite that much screen time - they don't advance the story further at that level of coverage. I would reduce the long closeups by about 25-35%. I believe that was time that would have been better spent on building Willem Dafoe's character - his family context, his role in the outcome of the film. Alternatively, perhaps a more in depth character treatment of one of the children as opposed to "the children" as a group entity. As the "Manager", Dafoe was very good as always, but I would like to have seen him play a slightly more defining role in the story. The ending was intriguing but ultimately unsatisfying - it seemed abrupt and thin. The story builds to a climax that simply can't end well, but the audience is left hanging.
This film did a lot with $2,000,000 and seems to have been highly profitable. Sean Baker did what was no doubt a difficult and consuming job as Producer, Director, Screenwriter, and sole Editor, and all the awards and profits the film gathered do him justice. No doubt he'll be trusted with larger budgets going forward, and it will be exciting to see what comes next.
In Extremis
(2017)
Dramatic exploration of the psychology of grief and trauma
1 February 2020
I can listen to David O'Hara all day. His Scottish brogue bespeaks character. I was impressed by the story, though, admittedly, it's a bit slow to develop. Another reviewer mentions a "Jacob's Ladder" feel - and I would agree. It's worth watching for fans of psychological dramas or thrillers, that's for certain. True students of film will appreciate O'Hara's performance, which carries the film. Use of color throughout the film adds to the story. I was brought to a few tears in the end, but left feeling redeemed and grateful that I'm still alive and kicking. For those who have lost a child, this could very well be too much to bear unless you're ready to face your grief and sadness head on. Please be in a good space before watching alone. Overall, this film was a worthy effort by a number of professionals, and deserves its place in the film record.
1917
(2019)
Not as impactful as it could have been
20 January 2020
As a director Sam Mendes has created some amazing final products rich with character development on a variety of budgets - notably for this reviewer "American Beauty" (Estimated $15MM Budget) and "The Road To Perdition" (Budget $80MM) - films I both rated as 9/10.
1917 (Budget $100MM) is not his best work, though it ranks as quite an achievement, nonetheless. Based on a story from Mendes' own grandfather, 1917 moves at a compelling pace and includes some surprises along the way. As an audience member, I was moved to sympathize with the protagonist, but not to really "love" him - because we just did not know enough about his own story, or those of the other main characters engaged. It's a shame, because the drama and the stakes of the resolution could not be higher - yet the table was not fully set for true "transformation". Instead, though, yes, we root for the hero, we don't truly find ourselves moved to identify fully with him or those 1600 lives at stake and more.
I enjoyed the film, but was not deeply impacted by it. It's truly a missed opportunity on the 100th anniversary of WWI and the millions of stories still waiting to be told. To those who suffered during this horrific global conflict, I give all due respect. It is incumbent on us as storytellers to exploit our own skills to the fullest when given a $100 MM opportunity.
My review: 7/10 stars.
1917 (Budget $100MM) is not his best work, though it ranks as quite an achievement, nonetheless. Based on a story from Mendes' own grandfather, 1917 moves at a compelling pace and includes some surprises along the way. As an audience member, I was moved to sympathize with the protagonist, but not to really "love" him - because we just did not know enough about his own story, or those of the other main characters engaged. It's a shame, because the drama and the stakes of the resolution could not be higher - yet the table was not fully set for true "transformation". Instead, though, yes, we root for the hero, we don't truly find ourselves moved to identify fully with him or those 1600 lives at stake and more.
I enjoyed the film, but was not deeply impacted by it. It's truly a missed opportunity on the 100th anniversary of WWI and the millions of stories still waiting to be told. To those who suffered during this horrific global conflict, I give all due respect. It is incumbent on us as storytellers to exploit our own skills to the fullest when given a $100 MM opportunity.
My review: 7/10 stars.
With all due respect - J. J. Abrams seems to be a better producer than director
20 December 2019
I love some of Abrams' credits - especially as producer for "WestWorld". This film, however, features far more special effect and 3D expertise than compelling story substance and depth of character. That's not a good mix. Contrary to some earlier iterations in the Star Wars series, this one needs story help. It's full of illogical jumps and plot holes. In my estimation, storytelling - ultimately - falls on the director's shoulders. Given the resources put into the film, going weak on story seems to be sad mistake. Movie goers should expect better.
Doctor Sleep
(2019)
Worthwhile Effort Falls Short of Greatness
17 November 2019
Flanagan's film needed to be made, and Shining fans will applaud the effort. We really wanted this one to blow us away. At many times in the film, however, I felt the project would have benefited from having a strong and independent story and script editor cut out the too frequent fluff and veering off into language and timing best left in King's book. Too many of the characters were simple devices and lacked depth. In fact, the film, as a whole, too often seemed flat.
Rebecca Ferguson's "Rose The Hat" character seemed to, again, lack depth and often appears to be a fanboy's forbidden crush complete with dangerous curves, a magic hat and colorful braids rather than a nearly immortal, child-killing, soul-sucking banshee. Her minions seem oddly cliche. Kyleigh Curran held her own, but seemed a bit out of her depth - not surprising for a child - but this is what director's and coaches are for. Ewan McGregor was fine - but not particularly compelling, and who could expect him to carry the whole picture?
It's difficult - nearly impossible one could say - to create a successful sequel when significant portions of the sequel recast the original roles and try to recreate original scenes. My advice would have been - for the sake of a moving picture show - to avoid those visual mine fields altogether no matter now much Stephen King asked for it. Pick up the story with adolescent, then adult Danny and let mother, father and the original film be classic misty memories that stand alone. Build on them as they lay.
Overall, good effort that had potential, but you should have re-edited and "killed your darlings" before the final cut.
Rebecca Ferguson's "Rose The Hat" character seemed to, again, lack depth and often appears to be a fanboy's forbidden crush complete with dangerous curves, a magic hat and colorful braids rather than a nearly immortal, child-killing, soul-sucking banshee. Her minions seem oddly cliche. Kyleigh Curran held her own, but seemed a bit out of her depth - not surprising for a child - but this is what director's and coaches are for. Ewan McGregor was fine - but not particularly compelling, and who could expect him to carry the whole picture?
It's difficult - nearly impossible one could say - to create a successful sequel when significant portions of the sequel recast the original roles and try to recreate original scenes. My advice would have been - for the sake of a moving picture show - to avoid those visual mine fields altogether no matter now much Stephen King asked for it. Pick up the story with adolescent, then adult Danny and let mother, father and the original film be classic misty memories that stand alone. Build on them as they lay.
Overall, good effort that had potential, but you should have re-edited and "killed your darlings" before the final cut.
Painfully weak story punctuated by absurdist and gratuitous violence.
3 November 2019
There's no denying Tarantino's success as creative artist and film industry player, and I give him all due respect. Having said that, this project does not succeed from a cinematic perspective. It's a bloated and meandering story that, in the end, does not justify the time we spent together. An over the top violence and death scene near the end only made me feel disgusted and used. I don't often feel compelled to write a film review, but I am motivated to call out this film project as a (highly) profitable creative failure. It's a shame to think of what could have been done with that $90,000,00. Take some time to re-engage - re-edit and re-release a new and improved "Director's Cut" that's shorter, more focused, and more entertaining.
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