From Filmento’s YouTube description: It’s been almost a decade since Robert Downey Jr and Guy Ritchie’s Sherlock Holmes: A Game of Shadows and we still haven’t gotten any closer to that Sherlock Holmes 3 movie. And that’s a bummer because both the movies have been really great, and Downey Jr as Sherlock is up there with his role as Tony Stark Iron Man. Benedict Cumberbatch does a great role too, but there’s something Jack Sparrow-y about this version. But if there is something A Game of Shadows really shines at, it’s intelligent writing. It always helps to have Guy Ritchie direct and feature super smart characters like Holmes and Moriarty, but there’s more to it as well. And so in today’s family friendly episode of Film Perfection, let’s see what narrative techniques do the writers use in this movie to pull off a script that comes off as one of the smartest ever written.
Release Date: February 27th, 2019 (London premiere) Directed by: Anna Boden, Ryan Fleck Written by: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet, Nicole Perlman, Meg LeFauve Based on:Captain Marvel by Stan Lee, Gene Colan, Carol Danvers by Roy Thomas, Gene Colan Music by: Pinar Toprak Cast: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Gemma Chan, Annette Bening, Clark Gregg, Jude Law, Mckenna Grace, Kelly Sue DeConnick (cameo)
Marvel Studios, Walt Disney, 124 Minutes
Review:
“You are Carol Danvers. You were the woman on that black box risking her life to do the right thing. My best friend. Who supported me as a mother and a pilot when no one else did. You were smart, and funny, and a huge pain in the ass. And you were the most powerful person I knew, way before you could shoot fire through your fists.” – Maria Rambeau
This was the first Marvel Cinematic Universe movie that I didn’t see in the theater. Frankly, it looked boring and unimaginative and it really has nothing to do with the controversies surrounding the film regardless of what side of the argument your fanboy/girl heart lies on.
Seeing it now, I wasn’t wrong.
This is a drab, mostly pretty boring film. Also, it looks cheap compared to other Marvel movies. This looks more like an episode of a CW superhero show than a film produced by Disney and Marvel. And it’s kind of underwhelming and depressing, really. Especially since this had its fair share of outer space stuff, which Marvel has handled exceedingly well with Thor: Ragnarok and both Guardians of the Galaxy outings.
I think part of the problem is that this film had too many creatives trying to steer the ship. It had two directors and five writers. Fuck, guys… just pick a team of a few people like your best movies and let them make the magic happen. Films made by committees rarely wow anyone.
In regards to Brie Larson, she is, as I’ve said in reviews of other films, a charisma vacuum. She makes charismatic actors around here give uncharismatic performances. Sam Jackson and Jude Law are typically very charismatic and fun to watch. Here, they’re about as entertaining as sleeping dogs.
Throughout this entire film, Brie was told that she’s too emotional yet she barely shows any actual emotion and just delivers her lines with a blank face in monotone. She also does this juvenile smirk all the time that just makes her look like a middle aged soccer mom thinking that she’s still youthful, cute and wishes she was still in high school so she could cozy up to the mean girls.
If this film wasn’t part of the larger MCU canon, it would have come and gone and been completely forgotten already. It’s not even bad to where people can talk for years about how much of a shitshow it was like Catwoman. But this is the future that Disney apparently wants and between this dead on arrival, boring ass film and the slapped together, clusterfuck that Avengers: Endgame was, makes me think that the MCU‘s expiration date was 2019, just a year after it celebrated it’s 10th anniversary.
Usually for a film of this caliber, I’d have a lot more to say. But there isn’t much to talk about with this one. It’s a waste of time, it carries an obvious agenda with it and like things that are trying to be political statements, it fails at conveying that message in a meaningful or genuine way.
Plus, everyone and their mother has torn this film apart already. I don’t think it’s as bad as many people do but it’s certainly a soulless, unemotional, pointless film more concerned with its place in history and trying to challenge societal ideals in the laziest way possible than it is trying to be a fun, escapist piece of entertainment.
But hey, this isn’t as bad as Joss Whedon’s Avengers: Age of Ultron, which still takes the cake as Marvel’s worst. I would put this in my bottom two or three though.
Rating: 5/10 Pairs well with: Everything else in the MCU, I guess.
Release Date: May 8th, 2017 (TCL Chinese Theatre) Directed by: Guy Ritchie Written by: Guy Ritchie, Lionel Wigram, Joby Harold, David Dobkin Music by: Daniel Pemberton Cast: Charlie Hunnam, Àstrid Bergès-Frisbey, Djimon Hounsou, Aidan Gillen, Jude Law, Eric Bana
Warner Bros., Safehouse Pictures, Ritchie/Wigram Productions, Village Roadshow Pictures,Weed Road Pictures, 126 Minutes
Review:
Initially, I was not excited about this movie, as I am not a fan of Charlie Hunnam. I also wasn’t aware that this was directed by Guy Ritchie until the credits on the film started rolling. However, I saw a lot of positive reviews about the movie, so I figured that I’d check it out. I’m really glad I did.
To start, this is the first time that I liked Charlie Hunnam in something. While I adored Pacific Rim, when it came out, I thought he was the weakest part of the picture. I also hated Sons of Anarchy even though it did feature some great actors. Hunnam’s Jax Teller was just an awful character with a fake American accent that was trying too hard to sound cool. Now that isn’t necessarily Hunnam’s fault, it’s the directors’, producers’ and creator’s, but he’s the face of that character. A stupid character that I grew to hate and be annoyed by.
In King Arthur we have Hunnam talking in his real voice and it is refreshing, since I’ve really only seen him play Americans. He also feels at home in this role and maybe that is because Guy Ritchie is just an awesome director to work for. Whatever the reason, I would follow Hunnam’s King Arthur into battle. Granted, he has a kaiju-sized snake in his army and that’s just friggin’ cool.
Yeah, a giant snake! There are also a lot of other fantastic beasts, which I really wasn’t expecting. You see, I didn’t check out the trailers and I only heard it mentioned on television, in the background, when I was cooking or writing or doing something else.
This is lightyears ahead of that uber boring King Arthur picture with Clive Owen and Keira Knightley from a decade or so ago. It has bigger balls, more style and certainly isn’t an Ambien party.
The Ritchie touch in this picture was an awesome flourish added into this tale that has been told more times than the “guy walks into a bar…” joke. The editing, the music, the action style was all great and set this film apart from other similar stuff.
The only complaint, really, is that sometimes the CGI looked a bit clunky and cheap. It isn’t something that is noticeable throughout the picture but some action sequences almost turn into video game boss battles. While I like the approach and how it is executed, the CGI just takes it down a notch. I’m sure the budget was somewhat reserved but I hope Ritchie has more money to work with if he does make this into the planned six-part film series.
Jude Law was pretty damn amazing as the villain in this. He’s worked with Ritchie before and the two know how to make magic happen when they collaborate. Law is pretty great in most things but seeing him as the embodiment of evil was really cool. The monster he transforms into is bad ass as hell, by the way.
It was also good seeing Eric Bana, who I feel should be in everything.
For a picture I had no hopes for, I left feeling really happy. The movie is balls to the wall bad ass in every regard. This is how fantasy epics should be. Got that, Game of Thrones? In fact, this is superior to Game of Thrones because people actually STFU and go Ginsu City. King Arthur: Legend of the Sword is to Game of Thrones what a bone-in cowboy ribeye is to a saltine cracker. It’s like what old school Spike TV (when it still had testosterone-fueled entertainment) is to C-SPAN 3.
Release Date: December 12th, 1999 (Fox Bruin Theater premiere) Directed by: Anthony Minghella Written by: Anthony Minghella Based on:The Talented Mr. Ripley by Patricia Highsmith Music by: Gabriel Yared Cast: Matt Damon, Gwyneth Paltrow, Jude Law, Cate Blanchett, Philip Seymour Hoffman, Jack Davenport, James Rebhorn, Sergio Rubini, Philip Baker Hall
This was a picture loaded with a great up and coming cast of big stars at the time of its release. It features Matt Damon, Gwyneth Paltrow, Jude Law, Cate Blanchett, Philip Seymour Hoffman and Jack Davenport.
I like the film but it does have its issues.
To be completely honest, The Talented Mr. Ripley is just too drawn out. The running time is pretty long and probably should have been shaved back a bit. Sure, 138 minutes isn’t excruciating but some scenes felt too long or unnecessary. Maybe it is a true adaptation of the book, I haven’t read it, but I feel like all of this could have happened at right around 120 minutes. It just needed to be tighter, especially the second half.
The thing is, the film has layers to it, I get that. But when you strip everything apart, a whole lot happens and then you hit a wall with the pace of the story.
Tom Ripley (Matt Damon) goes to Italy to convince Dickie Greenleaf (Jude Law) to return to America. While there, he becomes infatuated with Dickie’s life to the point of developing psycho stalker characteristics. Ultimately, Dickie grows tired and bored with Tom and rejects him harshly. Tom, losing his shit, murders Dickie. Tom, who is a self-proclaimed master of imitation, pretends that he is Dickie, so that he can live his life. Dickie’s lady, Marge Sherwood (Gwyneth Paltrow) is then strung along with Tom’s charade, assuming that Dickie is still alive. Dickie’s friend Freddie Miles (Philip Seymour Hoffman) grows suspicious and winds up murdered by Tom. All the while, Tom continues to string Marge along, as well as everyone else that crosses his path. All that happens in the first 75 minutes or so. The remaining hour and its use of time is the real issue.
The film is pretty fascinating until you hit that wall. Then you just kind of want to see it wrap up and it finds ways to add more layers, mostly unnecessary to the resolution. Spoiler alert, there really is no resolution. There were multiple Ripley books however, so maybe the film was left with an open ending because of that. As a stand alone film, it just feels sort of empty and Tom getting away with his final awful act just seems implausible, considering what he’s done up to that point.
The other thing that works against this film, is that no one is remotely likable, except for Jack Davenport’s Peter Smith-Kingsly and Cate Blanchett’s Meredith Logue. Both of them, however, while important to the story, don’t have anywhere near the amount of screen time as the top billed stars. Both are tragic characters, due to their association with Tom but they aren’t as fleshed out as they should be.
Another negative was the opening credits sequence. The titles felt odd and out of place and were somewhat distracting. The editing techniques were maybe done to convey that Tom is broken or has a split personality but it makes the film feel dated in a bad way. Here we have a majestic looking motion picture that primarily takes place in 1950s Italy but the first thing we see is an over-stylized 90s credits sequence.
The story has a very Hitchcockian feel to it. Frankly, I’m surprised that Alfred Hitchcock didn’t try to tackle this book. It has everything that makes those classic Hitchcock films work yet it just didn’t capture the same sort of magic. And that’s not really due to having a mediocre director, as Anthony Minghella has helmed some fine films: The English Patient and Cold Mountain, for example.
The acting is superb, the cinematography is stellar and the overall direction was great. There is a lot to love about The Talented Mr. Ripley, despite my complaints.
Matt Damon was friggin’ perfect as Tom. Jude Law was charismatic yet despicable as Dickie. Gwyneth Paltrow was a bit grating and annoying at times but that was due to how her character was written.
The Talented Mr. Ripley is worth watching, for the most part. I just don’t think that it was as effective as it could have been.
Release Date: February 6th, 2014 (Berlin premiere) Directed by: Wes Anderson Written by: Wes Anderson, Hugo Guinness Music by: Alexandre Desplat Cast: Ralph Fiennes, Tony Revolori, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Léa Seydoux, Tilda Swinton, Tom Wilkinson, Owen Wilson
American Empirical Pictures, Indian Paintbrush, Studio Babelsberg, Scott Rudin Productions, TSG Entertainment, Fox Searchlight Pictures, 100 Minutes
Review:
The Grand Budapest Hotel did the unthinkable, it became the highest rated film on IMDb of Wes Anderson’s career, despite the director making countless classics before it. It cracked the top 200 films of all-time and currently sits at 204 on IMDb’s well-known and highly referenced Top 250 list. That’s pretty impressive considering The Life Aquatic with Steve Zissou, The Royal Tenenbaums, Rushmore, Moonrise Kingdom and others came out before it.
Let me get into the fantastic cast, which is huge.
In somewhat of a small role, never has F. Murray Abraham been better. That is a big statement to make, as he has been an actor featured in countless films over the last several decades but his ability to pull the filmgoer in, as he did, is a gift bestowed upon very few. This also brought out amazing performances by the rest of the cast, which isn’t just a who’s who of those cemented in Wes Anderson lore, it is a who’s who of Hollywood’s most talented crop.
You get Bill Murray in a small but amusing role, Jeff Goldblum and Willem Dafoe in an amazing sequence, Adrien Brody as a fantastic asshole, not to mention Edward Norton, Owen Wilson, Tilda Swinton, Harvey Keitel, Jason Schwartzman, Jude Law, Mathieu Amalric and Tom Wilkinson.
The bulk of the acting duties are split between the pair of the spectacular Ralph Fiennes and his perfect sidekick Tony Revolori. Saoirse Ronan, who is becoming a favorite of mine, was near perfection as the apple of the young Revolori’s eye. Léa Seydoux also shows up and she is alluring as ever, even as a maid in the hotel.
As a director, Wes Anderson never disappoints, at least in my experiences with his work. This was another gem to add to his seemingly flawless resume but going beyond that, one could argue that this was Anderson’s magnum opus. The high accolades and ratings for this film probably reflect that.
With this picture, Anderson broke his own mold and took some chances that he never has before, which paid off tremendously. For instance, there was a level of violence in this film that one wouldn’t expect from him. Yet, such changes in Anderson’s narrative tone were only enhanced by his crisp and colorful style, thus bringing a new layer to his methodical visual technique that added some depth to his artistic repertoire.
Wes Anderson found a way to reinvent himself and still stay true to his craft and style, giving his few critics something new to chew on and dissect that should thwart the naysayers who relish in the countless parodies of Anderson’s work.
Not to say that I don’t enjoy the parodies myself but Anderson proved that his quirkiness and visual approach aren’t predictable and mundane but that they work exceptionally well and are still presented in new ways: refreshing and enjoyable as the first time one experienced his style. For a filmmaker with such a specific visual aesthetic, such a feat is unheard of after having this much longevity.
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Talking Pulp 
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