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Showing posts from 2018

A Star is Born

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This was honestly a good film. It had its faults, but it was entertaining enough although ultimately it felt like an extended Lady Gaga music video with a love story thrown in between sets.

As a whole, the film felt indulgent, unfocused, superficial, and really could be shortened by 20 to 30 minutes. It only livened up whenever Bradley Cooper cuts to Lady Gaga singing. This was clearly a vanity project for Cooper and as a first time director he told a straightforward, albeit slightly misogynistic, story. The main flaw was he seemed conflicted as to whose story the film wanted to tell, Cooper's or Lady Gaga's or theirs? The chemistry between Cooper and Gaga was there but it never really felt elevated to that of two people deeply in love (although Cooper's self-loving was blatantly apparent). Gaga, although shortchanged as character, felt at ease in her role that seemed reflective of her and was truly alive when she sung. Speaking of which, her voice was the true star of th…

Shoplifters 万引き家族

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A simple tale of a family brought together not by blood but by choice that was understated in its naturalistic execution but utterly heartfelt and gut-wrenching in its execution. The emotions were absolutely well earned and the cast exuded a genuine sense of warmth and sincerity in their roles. A feel-good, brilliant piece of storytelling by writer/director Hirokazu Koreeda that give us hope, something so needed and lacking in films these days. It deserved all its accolades and the Palme d'Or award.
The story itself was straightforward, although I am sure some nuances were lost in translation. However, what was not lost was the performances of the cast. Those shone through, especially for the young ones, and Koreeda managed to coax a genuine performance and reactions from these newcomers.
Veteran actors like Lily Franky, Sakura Ando and Kirin Kiki anchored the narrative. And again, their acting felt naturalistic and unforced, and the relationships between them all felt real. 
Alt…

Madeline's Madeline

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This film was not for everybody. It can definitely be classified as an art-house film. Writer/Director Josephine Decker had created an unexpected film that weaved a well-known subject matter into an imaginative and experimental tapestry that felt original. The result of which was a film that was oddly disconcerting, strangely affective and hypnotically mesmorising. And most importantly, a star is born in Helena Howard who with her debut in this film becomes one of the most exciting new, young actor to emerge in recent memories. Imagine this film as Lady Bird with mental health issues, and Howard as the next Saoirse Ronan.

The narrative followed a rather straightforward path and Decker expects her audience to pick up the details on their pwn. There were no spoon-feeding of backstory or expository motivations here. Events unfold and you are expected to keep up with the psychedelic unknown and immerse yourself into the experience.

In the end, it was a bit like the nature of the what Mad…

Three Identical Strangers

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A truly fascinating true story of identical triplets separated at birth who found each other 19 years later. And then it veered off into a pseudo-scientific documentary into the controversial study of twins separation and the idea of nature versus nurture.

The first part, this documentary did very well. Ably telling the story of the central triplets and how the lives changed. However, film director, Tim Wardle, then decided to dive into the why they were separated, and that whole arm was messy, albeit interesting. Anybody with an inkling of scientific studies and twin-studies would find the exploration of the Neubauer controversial studies lacking in depth and purpose. It really seemed more sensational here rather than an intellectual exploration of the ethics and ramifications. Which would have made for a more interesting story.

With a title like Three Identical Strangers, the film makers really ought to have gone more in depth into these three people for us to get a better understa…

First Man

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This film had Damien Chazelle's fingerprints all over it. After Whiplashand La La Land, Chazelle has established a very distinctive visual and auditory signature. The film had a docu-realistic feel to it whereby the story was told through Neil Armstrong's POV, and with that, came along a detailed sense of intimacy, when we explored his home/personal life, and also a genuine sense of trepidation and awe when he was at work and in space. Those scenes set within a space/air-craft were utterly gripping and by-your-seat tense, and that final act was fantastic, albeit surprisingly epic. Ryan Gosling remained an acting enigma, is his brooding, hardened stare and pursed lips meant to be serious actor or just brooding? Next to Claire Foy, whose every look carried so much more weight, the difference was noticeable.

At 141 minutes long, you can really feel the length of the movie especially the slightly bloated second act. Although logically it was inevitable since we needed the failure…

Bad Times at the El Royale

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With this film, and after The Cabin in the Woods(in between was also the better-than-expected The Martianand the phenomenal The Good Place), writer/director Drew Goddard has officially joined the pantheon of writers and directors whom I would watch anything that they make.

This chapter-movie was seriously funny. It was witty, smart as hell, genre-eschewing, dark but not macabre and just littered with visual and literary puns and gags. And it was also so very well cast. A bottleneck film that trapped its character and had fun exploring their identity as the story twists and turns and flashbacks fleshed out the complexity of these strangers. Goddard weaved together a brilliant, intelligent, original film that not only entertained but also provided a subtext of social commentary. Cynthia Erivo and Lewis Pullman stole the show, but Chris Hemsworth, Jeff Bridges, Jon Hamm and Dakota Johnson all played their roles so bloody well!

As a director, Goddard had some great flourishes, with long …

Can You Ever Forgive Me?

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Melissa McCarthy and Richard E. Grant gave extraordinary performances in this otherwise rather light biopic of novelist/forgery felon Lee Israel. This dramedy lacked drama and emotional heft, and its lead character, although purposely unlikable, did not seem to have much sense. Nonetheless, it was McCarthy's against-type performance, coupled with great on-screen and comedic chemistry with a terrific Grant, that really helped to provide the laughs and tide through a seemingly too-long 107 minutes.

Director Marielle Heller made the stranger-than-fiction real life story into a straight-telling film that ran accordingly but lacked depth. Both in terms of character and narrative depth. Writers Nicole Holofcener and Jeff Whitty ably adapted Israel's memoirs but unlike Israel herself did not seem to able to inhabit fully the character(s) they are writing for.

This film really hinged on McCarthy's star power and acting, and perhaps she may have a shot at an Oscar nomination for t…

Venom [IMAX]

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This was a fun-enough film that had two things going for it: Tom Hardy and a run time under 2 hours. Any time Hardy (or Venom as it may so be) was on screen, the film was infinitely better. Hardy had charm and charisma, he was funny, slightly irreverent and definitely was not taking the film too seriously. Eddie Brock's bromance with Venom was a clear highlight of the film. On the other hand, when he is not on screen, fellow cast members, Michelle Williams and Riz Ahmed, did the best they could, but their clunky lines and superficially written characters did the film, and themselves, no favour. And at just 112 minutes long, the film zipped along after the dull and plodding first act. At least director, Ruben Fleischer, had two good action showcases - the racing scene was exciting enough and would have been better had he relied less on close-ups, and the final showdown was riveting enough to excite.

This film was clearly not by Marvel, and the title card said so as much - "In…

McQueen

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It was very telling that nobody currently working with/in the House of McQueen was interviewed in this documentary. Even current creative director, Sarah Burton, was nary more than just a toss-away mention and a footnote in the credits.

This documentary was at its best when it charted Lee Alexander McQueen's sensation/dramatic runway shows against his own personal emotional trials at those times. The rest, however, was nothing that could not be gleamed from reading Wikipedia. Not much insight was to be had from the interviews of old friends/colleagues and his sister (one of five other siblings, another telling sign) and her son - his nephew - which a cynical viewer might assume was more monetarily-motivated rather than a altruistic need to share.

There was no doubt that McQueen was a very talented designer - he was a personal favourite of mine - but a pity that this film only delved into his fashion/design talent only briefly. The filmmakers seemed to be more interested in his ab…

You Were Never Really Here

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Lynne Ramsay's 2017 Best Actor and Best Screenplay Cannes winner was a tightly paced and visually exciting psychological thriller that at a trim 90 minutes left scarcely any room to breathe as nary a scene was wasted and the action and narrative moved effortlessly along, only powered by the wordless, powerful performance of Joaquin Phoenix, Jonny Greenwood's cacophonic yet palpably accelerative score, and, of course, Ramsay's lyrical yet punchy direction and intelligent script that eschewed blatancy for smart subtle ferocity.

If this film remained in the social consciousness this Oscar season, it would definitely be a shoo-in for a number of above-line nominations, but oddly enough, it remained fairly under the radar still.

Ramsay's direction here was superb. She is an epitome of the "show, don't tell", trusting her audience to understand and follow. This film required attention and beautiful subtleties are rewarding. And like her previous phenomenal, an…

BlacKkKlansman

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Spike Lee's Grand Prix winning dramedy has a very serious message, and that ending was a gut punch and stark, brutal reminder that reality is shockingly really not that far from fiction. Lee effectively used a blend of comedy to highlight the truth of racism and used history to illuminate the sins of the present. The dramatic beats - especially two scenes of speechifying - could be a heavy handed but on hindsight, it was necessary, because otherwise many people (read: movie-goers) may never actually hear/be aware of them.

Without knowing the real story of Ron Stallworth - who wrote the book this film is based on - I cannot comment how accurate were the depiction of the events shown in the film, however, the crux of the message did get through. But beyond the obvious, Lee also used the film to highlight that passive inertness can be as guilty as overt racism. We - the audience - allowed racism to be. And that is a powerful message that could make the film uncomfortable to some.

On…

Juliet, Naked

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Based on one of my favourite books of the last decade, Jesse Peretz's Juliet, Naked updated the premise but retained Nick Hornby's wry humour and spot-on fanboy geekiness of the pre-millenial generation coupled with his usual lad-lit sensibility and oddly insightful observation of post-90s relationship navigation.

Per cine-nomenclature, this film was an effective rom-com with enough elements of the former to tug but not be overwhelmingly saccherine; and peppered with lots of the latter to laugh and smile throughout without feeling excessively dumb.

All three of the principle cast were perfectly suited for their roles, and in this case, the men outshone the lady.

Ethan Hawke, with all his 90s baggage, was the ideal star to play a washed up, former It-boy. He brought along an effortless charm together with a scumbro-esque attitude, but beneath those layers was an emotional core that could write alt-indie songs of love and heartbreak. He was a believable leading man. A man-child…

Kidding

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Episode 1: Green Means Go
Episode 2: Pusillanimous

Showtime's latest half-hour dramedy by Dave Holstein was an utterly depressing and yet macabrely funny meditation on death and change. It was charming, heartbreaking, sincere but as blackishly wry as death itself. Michel Gondry's direction was superb and hopefully the rest of the series can continue in his visual inventiveness. However, the main draw of this series has got to be Jim Carrey who reminds us why he used to be such a big star, and not because of his slapstick schtick, but think back to the trifecta of Eternal Sunshine of the Spotless Mind, The Truman Show and Man on the Moon (and even the less seen I Love You Phillip Morris). Carrey once again reminds us that not only is he a great comedic actor, but also one that has an unfathomable emotional depth.

He is supported by a great cast including the indomitable Frank Langella, Judy Greer and Catherine Keener, all of whom helped to make Carrey's Jeff Prickles a fully…

Mission: Impossible - Fallout

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Tom Cruise does not disappoint and this sixth installment of the franchise was an exciting and adrenaline-powered action flick that carried on the story from the previous Rouge Nation which set a very high bar for the series. And like all MI films - especially ever since Simon Pegg was involved - wry comedy was peppered throughout to help elevate the mood and break the tension. However, the film ran too long at 147 minutes with scenes that dragged, that looked cool but really unnecessary, and an over-complicated plot that relied on contrivances, made little sense beyond the superficial, and - after six installments - plainly predictable despite the relentless numbers of twists.Superman's Henry Cavill was a wasted presence and Rebecca Ferguson's role more soundly reduced.

This time round, writer and director Christopher McQuarrie placed Cruise and co. mainly in Europe as they continued their international spy-games, and the cities they go to, in particular Paris, oozed their o…

Mamma Mia! Here We Go Again

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This was such a fun film! It definitely had flaws (lots!) and is nowhere as good as the 2008 film, and also lacked the insane energy and chemistry of the original cast, but it was such an irresistible, feel-good crowdpleaser. Great ABBA songs (though most of the big hits have already been used in the first film) with good actor-singers (Lilly James, Amanda Seyfried and Hugh Skinner), kitschy choreography, a touch of sappiness and rom-com hijinks, Cher!, Meryl!, and just a general feeling of happiness and that all is right in the world. Pure escapism entertainment. All these despite the very obvious cheap sets/production values, a lack of a real plot per se - more like a collection of vignettes stitched together for 114 minutes - and Cher just phoning it in and blatantly edited into the scenes (but god-damn it! It's Cher).

James and Seyfried were undeniably the lead in this outing. James held the screen with an effortless charm and she continued to ease her way into major stardom.…

RBG

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Ruth Bader Ginsburg aka The Notorious RBG is a fascinating person, and if you were already on her side this documentary will surely reinforce the positive opinions of her: a feminist, a liberal, a dissenter, an equal-rights hero, a survivor and a democrat. However, if you never did support her nomination and/or political believes, then RBG will also do nothing to change your mind. As well made, and as riveting, as Judge Ginsburg's life is made out to be, this documentary failed to give a balance view of her. It did not show what the republicans not like about her and whether they had grounds in their believes.

Nonetheless, this film also excelled in illuminating Judge Ginsburg's private life which helped to round her out as a person. The intimate look into her youth and her relationship with her husband was truly more fascinating than her political beliefs. And just for that insight, the upcoming Mimi Leder-directed Ginsburg biopic On The Basis of Sex (starring Felicity Jones…

Sicario: Day of the Soldado

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This film is not going to pass the Bechdel Test, but at least it had no illusion of doing so. Ultimately, this surprisingly topical sequel is a summer escapism that hung its allure on two brooding, macho leads speaking very little and doing very violent things. And if you go in not expecting anymore than that, then director Stefano Sollima and cinematographer Dariusz Wolski capably carried the mantel over from Dennis Villeneuve and Roger Deakins, respectively, to tell Taylor Sheridan's modern-western/mexican epic.

Sheridan, for all his faults in writing female characters, is a good writer for the male psyche and daftly managed to topically tie in the story with the current political mess. And the universe that he had created would not be out of place now as a prestige television series. Even the way the story is structured seemed suitable for an event series.

Josh Brolin continued his streak of playing tough strong men - see: Deadpool 2 and Avengers: Infinity War -  okie, maybe m…

Ocean's Eight

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This film ain't like the Steven Soderbergh/Clooney and Pitt franchise and it was not because of the ladies, but rather the execution. It lacked the fun - the joie de vivre - and the chemistry of the boys and the kinetic energy and mischievous style of Soderbergh and co. It seemed that the cast of this film was picked more for their diversity - white, black, asian, lesbian, british, american, australian - rather than their ability to be cohesive as an unit. Writer/Directory Gary Ross and co-writer Olivia Milch did a competent job but the heist lacked danger or even the risk of failure, and the eventual outcome was an exercise in motion rather than a stylish-executed caper.

Of all the stars, Anne Hatheway gets the biggest laughs followed by the brilliantly cookie Helena Bonham Cutter. Cate Blanchett looked effortlessly cool and chic but essentially was just phoning it in As for the ostensible lead actress Sandra Bullock, she oozed charm but lacked the affable spontaneity that made …

Hereditary

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A terrific horror movie in the vein of The Witch, It Followsand Babadook. A tense vibe throughout with writer/director Ari Aster focusing on mood, atmosphere and music to ratchet up the suspense and horror, and coupled with a phenomenal performance from Toni Collette and the two younger stars: the surprisingly emotional Alex Wolff and creepily innocent Milly Shapiro. Also, pleasantly, the story progressed unexpectedly with some really good unpredictable turns.

There were scares peppered throughout but the best thing about this film was how untypical the scares came along. Aster smartly introduced the elements subtly and never bludgeoned the audience with scare jumps or quick cuts. He teases all the senses, making you doubt what you have seen and heard, and then when it hits you, the scene is over and you are left with a lingering doubt of fear. Brilliant.

Sure, the story itself per se was not the most original. It shared DNA with Rosemary's Baby and The Witch, but the execution w…

Ant-Man and The Wasp

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This film is unlike any other previous MCU films and that is a double-edged sword for the audiences, it was more of a straight-up action-comedy rather than an action-comedic superhero film. For one there was no clear villain and the characters that served as the main antagonists were so badly written and fleshed out that they were really just time-fillers for the A-plot.

Regardless, AM&TW was an enjoyable film albeit its predictability, lack of emotional complexity (or even plot-complexity) and absence of any conflict of worth. But where it succeed was in its actors - the effortless charisma and easy chemistry of both Paul Rudd and Evangeline Lily - and the comedic chops of its supporting cast, especially Michael Peña, and Judy Greer, Bobby Canavale and Randall Park. It was fun watching the cast interact and that helped the 118 minutes move along.

Some of the action sequences by repeat director Peyton Reed were visually exciting and he definitely used 3D and VFX to good effect he…

Incredibles 2

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Pixar/Disney has another hit! A crowd-pleaser for all ages that was entertaining, funny, exciting and unrelenting in its pacing and action. However, writer/director Brad Bird apparently got lazy, the plotting was highly predictable and all sorts of tropes were thrown in with nary a sparked of originality. And it all led to a narrative that lacked the emotional weight that made the original such an insta-classic, but at least we some great action sequences/directing and Michael Giacchino’s best score in ages. 
As aforementioned, the story was highly unoriginal. Every beat of the story line was predictable and nothing was refreshing or given a new spin. That being said, most audience would still eat it up - especially the younger ones - but the laughs were not as big, there were not any standout lines/sequences and the emotional beats just seemed perfunctory and unearned. 
Some of the early action sequences were superbly directed by Bird and closely reminiscent of Steven Spielberg’s fluid…

Jurassic World: Fallen Kingdom [IMAX/3D]

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The latest in this never-ending franchise, helmed by Spanish director J.A. Bayona, proved that a good director can always be let down by a hamfisted and over-ambitious script, and also by leads that lacked chemistry together. Christ Pratt is an enigmatic lead actor: he has the charisma but not the acting chops; Bryce Dallas Howard - this time with sensible footwear - has still not found another breakout role since her The Village days.

The first and third acts were good, with great action sequences and moments of gorgeous cinematography and imagery (by cinematographer Oscar Faura), but it was really the second act which was the film's Achilles' heel. Writers Collin Trevorrow and Derek Connolly were over-ambitious in their attempt to intellectualise the film/franchise, but the execution and outcome was ultimately one of caricature over-simplicity. The pseudo-philosophical approach into ethics and morality was briefly broached but never bravely explored which then left the ques…

Solo: A Star Wars Story

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An entertaining and fairly exciting ride albeit predictable. Ron Howard capably delivered a summer popcorn flick that paid service to the franchise but not necessarily adding much new fans. Nonetheless, it still had its share of moments especially whenever the familiar Star Wars theme play up or when Chewie and Han have a moment. After his star-making turn in the Coen brothers’ Hail, Caesar!, Alden Ehrenreich cements his leading man status here with an old-school, cinematic charisma and swagger that was highly reminiscent of a young Harrison Ford except for the annoyingly constant hands on hips/thumbs hooking pants, power-posing. 
The rest of the cast were all competent with Woody Harrelson again reprising the gruff, yet fatherly, mentor role (see: “Hunger Games”) and Emilia Clarke still coasting on her fame as Danaerys and trying to act beyond her emotional range (perhaps Ehrenreich’s much-buzzed about acting coach should have worked on Clarke too). Paul Bettany continued the Star War…

Deadpool 2

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For all its humour and meta self-referentials which entertained and brought the laughs, this Ryan Reynolds-fronted sequel lacked the spark of originality which made the first movie such a breath of fresh air in this superhero-saturated landscape. This was expected - and inevitable - with most sequels but this film really over-compensated its weak plot, lack of characterisation, and honestly, poor action sequences/CGI, with a constant barrage of sight gags and running jokes. It all got too thin and tiresome after the first act and glaringly too reliant on (or obsessed with?) Reynolds to the detrimental sidelining of proper storytelling (or movie spectacle). But, hey, at least they got Celine to help riff-off Bond.
The problem with non-Marvel produced Marvel franchises (especially Fox-produced ones) is that without Kevin Feige they do not understand, or know, what their fans (and fanboys and fangirls) want. Instead, they focused on the character without the respect to the complicated his…

Isle of Dogs

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Wes Anderson’s latest film is a The Little Prince-esque fable that will definitively entertain all ages. The young ones for its visual splendour and child-like allegorical storytelling of good triumphing over evil; for the adults, the visual allure of Anderson’s signature symmetry and colour-styling, and the dry, deadpan humour peppered throughout the vague, political satire. And of course we have one of Alexandre Desplat’s best score stringing the whole move along, and boy does he have fun with the Japanese influences. 
This was a Japanese dystopian derived from the mind of Anderson. It appeared typically how a non-native, familiar, yet still ultimately a stranger, visualises and imagines Japan to be. Is it offensive? Not really except for his decision to have a white, American to be the heroine. Must the radical be not from the society? Must she be the only one to see the truth? Maybe if it was not about Japan it would not have been so bad...say North Korea? Or Russia? There was no g…

Avengers: Infinity War [3D/Atmos]

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Well, that was...over. Avengers: Infinity War was a fun film but it was not necessarily the best film in the MCU. However, kudos to the Russo brothers for carrying it off and delivering a superhero / Marvel film that serviced the fans and was also a good summer/popcorn tentpole blockbuster. With such a large cast, they did actually manage to give the fan/crowd favourites the most screen time but yet not neglect the others.

Sure, they were a couple of scenes where logic fails (which was to be expected) and some moments that dragged on longer than necessary (inevitable with a 149 minutes runtime), however, one important aspect that A:IW had was an emotional weight that held the narrative together. The story had consequences. There was a cost and heroes do die, although the Russo brothers - and Kevin Feige - could have been more cruel and brutal, and also creatively braver. Maybe in the sequel.

Speaking of which, for once - and possibly due to the pending sequel - the MCU has developed …

Annihilation

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What a pity non-Americans do not get to watch Alex Garland’s follow-up to “Ex-Machina” on the big screen. But thankfully we have Netflix saving the day. Other than perhaps losing the sense of scope and sound design, “Annihilation” did translate rather well to the small screen. And, boy, fans of smart, intelligent sci-fi should watch this! 
This was definitely not “The Cloverfield Paradox”. “Annihilation” was definitely not dumbed down and was led by a quintet of smart, strong women/actress with nary a male in sight other than to play supporting, almost sexualised, roles. But at least, they cast Oscar Isaac, and his crazy-expressive eyes, who was great in his minimal scenes. 
If this film had the visual panache and style of Dennis Villeneuve’s “Arrival” (read: budget), coupled with a more emotional-centric (read: Hollywood-esque) script, than it might have been more acceptable in the mainstream and not been relegated to Netflix. 
Natalie Portman definitely had the depth and range to handl…

The Square

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Swedish director Ruben Östlund followed up his tour de force film “Force Majeure” with this biting - and Palme d’Or winning - social satire about classism, elitism, ageism, narcissism, prejudices, legacy, pretensions, disenfranchisement and bystander apathy. 
The biggest problem with the film is that Östlund tried to include too much into one, singular - albeit 150 mins long - film, such that at times the film felt like a string of vignettes or short films intermittently strung together by a thin thread of narrative. 
However, at least the film was anchored by Claes Bang’s strong and charismatic performance as a flawed protagonist, and many impactful visuals and moments. 
The dining room scene - where the image of the poster was taken from - was one of the most powerful scene to be seen on screen in a long time. Just those few minutes beautifully, and hauntingly, captured so many of the themes the film and problems with our society now. 
And then we also had scenes where Östlund basically…

A Quiet Place

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John Krasinski’s directorial debut had so much potential with its concept and Emily Blunt as the lead, but unfortunately the outcome was a moderately tensed monster-thriller/horror wannabe that was riddled with plot holes, contrivances and questions. Krasinski’s direction was amateurishly competent, the screenplay lacked intelligence and logic, and even the score failed to heighten the tension. 
The core concept was exciting, albeit not the most original, but if only more thought had gone into the plot. There were glimpses of what the film could have been. For one the opening prologue was effective in setting the story and it was a smart choice by Krasinski to begin in media res. Also, the middle of the second act could have taken a left turn but instead it was just a brief detour and then back into the expected and typical. What a pity. And annoyingly so.
Blunt was absolutely wasted and although the promotional materials put her front and centre, she was not and director/husband Krasin…

A Wrinkle in Time

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Madeleine L’Engle’s “A Wrinkle in Time” was one of the earliest books I read, and together with Douglas Adams’ “A Hitchhiker’s Guide to the Galaxy” formed my childhood - and continual adult - fascination with sci-fi, quantum physics, time travel, mysticism vs religion and ignited my obsession with sci-fi/fantasy series. With that in mind, and the fact that the last time I read the source material was at least 20 years ago, Ava DuVarney’s version of it had the broad themes of love, acceptance and family in its heart but unfortunately her execution lacked the wonder and vision (and even horror) of L’Engle’s richly-imagined world, and also lacking was the emotional bond between its younger (main) characters and the familial bond of the Murrays. 
DuVarney excelled in the smaller and more intimate moments, especially in the first act, but once the story moved on, she was clearly overwhelmed by the fantastical aspects of the story, and consequently the CGI challenge in building a world (for …