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Of Love and Shadows (1994)
I've been wanting to see this film for decades and finally saw it. I loved the book, but was never allowed to rent the video as a teen (because it was 18 rated). It's not the finest example of film making in the world, a little uneven, some of the acting dubious and the music was annoying. Antonio Banderas was perfectly cast as Francisco though and I enjoyed watching it.
I've been wanting to see this film for decades and finally saw it. I loved the book, but was never allowed to rent the video as a teen (because it was 18 rated). It's not the finest example of film making in the world, a little uneven, some of the acting dubious and the music was annoying. Antonio Banderas was perfectly cast as Francisco though and I enjoyed watching it.
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Audrey (2020)
This documentary really did not break any new ground, nor were any of its facets particularly unique. However simply showing video of Audrey Hepburn in selected film roles, in both private and news footage, and hearing her narration gleaned from taped interviews, are enough to hold the viewer enthralled during its 100 minute run time.
Hepburn was one of the very greatest actresses and personalities of the 20th Century. Her large almond shaped eyes, balletic frame, and coquettish mouth combined to make her irresistibly cute-- in obvious contrast to the busty, voluptuous starlets of her era. But it was her delicate but commanding gentleness that permeated every glance, every movement, every sentence, every role that she took, that made her so incredibly distinctive.
Audrey Hepburn’s fans will not be treated to many new revelations about her life, roles, and loves; but to have her whole life encapsulated in a tender package is what makes the biography so appealing. At the height of her career Hepburn slowed way down her film work, appearing only occasionally in films such as Robin And Marian (1976) with Sean Connery, and Peter Bogdanovich’s They All Laughed (1981). For 20 years she spent time nurturing her own children as well as children of the world via UNICEF. Sadly she died at aged 63 of a rare form of abdominal cancer. She was the last great star of Hollywood’s Golden Age, and this documentary showcases her very nicely.
Doc’s rating: 7/10
Audrey Hepburn’s fans will not be treated to many new revelations about her life, roles, and loves; but to have her whole life encapsulated in a tender package is what makes the biography so appealing. At the height of her career Hepburn slowed way down her film work, appearing only occasionally in films such as Robin And Marian (1976) with Sean Connery, and Peter Bogdanovich’s They All Laughed (1981). For 20 years she spent time nurturing her own children as well as children of the world via UNICEF. Sadly she died at aged 63 of a rare form of abdominal cancer. She was the last great star of Hollywood’s Golden Age, and this documentary showcases her very nicely.
Doc’s rating: 7/10
[Available on Netflix subscription and various streaming services.]
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NO SUDDEN MOVE 2021 Steven Soderbergh
1h 55m | Crime | Drama | Mystery | Thriller
Writer: Ed Solomon
Cast: Don Cheadle, Benicio del Toro, David Harbour, Ray Liotta, Jon Hamm, Brendan Fraser, Kieran Culkin, Amy Seimetz, Julia Fox, Bill Duke
1h 55m | Crime | Drama | Mystery | Thriller
Writer: Ed Solomon
Cast: Don Cheadle, Benicio del Toro, David Harbour, Ray Liotta, Jon Hamm, Brendan Fraser, Kieran Culkin, Amy Seimetz, Julia Fox, Bill Duke
Last edited by John-Connor; 05-24-23 at 06:36 AM.
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No Sudden Move 2021 Steven Soderbergh
Don Cheadle, Benicio del Toro, David Harbour, Ray Liotta, Jon Hamm, Brendan Fraser, Kieran Culkin, Amy Seimetz, Julia Fox, Bill Duke
+
Don Cheadle, Benicio del Toro, David Harbour, Ray Liotta, Jon Hamm, Brendan Fraser, Kieran Culkin, Amy Seimetz, Julia Fox, Bill Duke
+
Liked this movie...I'll watch Don Cheadle do anything...gave it the same rating you did.
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Audrey (2020)
This documentary really did not break any new ground, nor were any of its facets particularly unique. However simply showing video of Audrey Hepburn in selected film roles, in both private and news footage, and hearing her narration gleaned from taped interviews, are enough to hold the viewer enthralled during its 100 minute run time.
Hepburn was one of the very greatest actresses and personalities of the 20th Century. Her large almond shaped eyes, balletic frame, and coquettish mouth combined to make her irresistibly cute-- in obvious contrast to the busty, voluptuous starlets of her era. But it was her delicate but commanding gentleness that permeated every glance, every movement, every sentence, every role that she took, that made her so incredibly distinctive.
Audrey Hepburn’s fans will not be treated to many new revelations about her life, roles, and loves; but to have her whole life encapsulated in a tender package is what makes the biography so appealing. At the height of her career Hepburn slowed way down her film work, appearing only occasionally in films such as Robin And Marian (1976) with Sean Connery, and Peter Bogdanovich’s They All Laughed (1981). For 20 years she spent time nurturing her own children as well as children of the world via UNICEF. Sadly she died at aged 63 of a rare form of abdominal cancer. She was the last great star of Hollywood’s Golden Age, and this documentary showcases her very nicely.
Doc’s rating: 7/10
Audrey Hepburn’s fans will not be treated to many new revelations about her life, roles, and loves; but to have her whole life encapsulated in a tender package is what makes the biography so appealing. At the height of her career Hepburn slowed way down her film work, appearing only occasionally in films such as Robin And Marian (1976) with Sean Connery, and Peter Bogdanovich’s They All Laughed (1981). For 20 years she spent time nurturing her own children as well as children of the world via UNICEF. Sadly she died at aged 63 of a rare form of abdominal cancer. She was the last great star of Hollywood’s Golden Age, and this documentary showcases her very nicely.
Doc’s rating: 7/10
[Available on Netflix subscription and various streaming services.]
Last edited by Gideon58; 07-14-21 at 08:56 PM.
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because my favs Karen Gillan (MCU) and Angela Bassett (9-1-1,American Horror Story ) is in it. amazing chick flick 
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It had it's flaws, but was going somewhat smoothly until the third act.... boy was it bad. I chose this poster on purpose.
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There has been an awekening.... have you felt it?
There has been an awekening.... have you felt it?
It had it's flaws, but was going somewhat smoothly until the third act.... boy was it bad. I chose this poster on purpose.
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HIGH NOON
(1952, Zinnemann)
Freebie
(1952, Zinnemann)
Freebie
High Noon follows Will Kane (Gary Cooper), a marshal at a small town who is about to retire and move to another town after marrying Amy (Grace Kelly). But things change when he finds out that Frank Miller, a ruthless outlaw with a vendetta against him has just been released and is set to arrive on the noon train.
Unlike other westerns, High Noon is a more introspective film as it follows Kane's unsuccessful attempts to recruit a posse to aid him against Miller, while also questioning his own decisions from the past and his current decision to stay and fight. It is in this process that his predecessor, Martin (Lon Chaney) tells him the above quote. Instead of bringing words of comfort and inspiration, he lays it all bluntly: people just don't care.
Grade:
Full review on my Movie Loot and on the PR HOF4.
When I went back and looked at a number of the technical things on this film, particularly with the photography, and the real-time idea that runs through it, along with a much more morally complex conceit than I expected and some great acting from Peck, Grace Kelly, and Katy Jurado (I also liked Lloyd Bridges), I felt that this movie deserved it's place among the Great Films.
I was really impressed by this film (another extensive write-up I did that was lost in the Corri ending).
When I went back and looked at a number of the technical things on this film, particularly with the photography, and the real-time idea that runs through it, along with a much more morally complex conceit than I expected and some great acting from Peck, Grace Kelly, and Katy Jurado (I also liked Lloyd Bridges), I felt that this movie deserved it's place among the Great Films.
When I went back and looked at a number of the technical things on this film, particularly with the photography, and the real-time idea that runs through it, along with a much more morally complex conceit than I expected and some great acting from Peck, Grace Kelly, and Katy Jurado (I also liked Lloyd Bridges), I felt that this movie deserved it's place among the Great Films.
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because my favs Karen Gillan (MCU) and Angela Bassett (9-1-1,American Horror Story ) is in it. amazing chick flick
Disclosure: Trans Lives on Screen (2020) -
Trans people talk about their experiences as juxtaposed to pop culture. The film largely talks about how movies have depicted transgender people throughout time and how this led to certain stereotypes and stigmas. While some examples do not seem overly offensive to my cis-self, Ace Ventura: Pet Detective feels very cringy even to me. But let's face it: it's Ace Ventura, so it would be cringy even if it had no transphobic elements in it.
Essentially, it all boils down to: How much do depictions in films affect the viewer? This issue of depiction is not just about transgender people, obviously, but also about violent sex, treatment of women, rape, use of drugs, and a myriad of other things. And the answer is non-binary and a very hard one to measure. Mainly because these things can affect us both consciously and subconsciously. But we've (you've) already said a lot about this on MoFo. I just wonder if these few films that conflate transgender people with a vomit reaction were enough to elicit any big change in the public consciousness.
But the real point of this documentary is to present personal experiences and thoughts of a selected group of transgender people and the film succeeds as far as this intent goes. I don't agree with 100% of what is being said here, though. Unless I misunderstood, it is implied that a transgender person is not obliged to tell their prospective sexual partner about some important details concerning their body prior to the intercourse because that would mean the other person is more important than the transgender person.
While it's slightly rude to ask questions about genitalia on a talk show, I believe it's a transgender person's responsibility to inform their prospective sexual partner about what they can find down there. I understand that we all have this romantic notion that we will be loved and accepted no matter what, but it's not always true. When given more time, the prospective SO has more time to think it over and potentially accept the transgender person. Conversely, when the reveal happens the very moment a transgender person faces their partner stark naked, the partner is prone to react on impulse, and while violence can never be justified, surprise, shock, and escape are all understandable reactions.
I'm also not sold on the idea that non-transgender people playing transgender people is so abhorrent. They say that this creates an idea that transgender people are men just masquerading as women who slip back into their man clothes and looks after they're done acting. But hey, that's exactly what it is - acting. I'm not against the idea of transgender people playing transgender roles. I'm not against people with disabilities playing people with disabilities. But a great actor without disabilities can play a person with disabilities and excel at it, showing great acting skills. This is not ableism. Ideally, filmmakers should be able to make films in which transgender people play any role, including films that never explicitly talk about any transgender topics. Such standardization would shift the focus from 'films about transgender people' to 'films with transgender people', which in my opinion would end up much more empowering to the community. Films about transgender representation and hardships can be made along the way, too, of course.
I loved the point about how we all like seeing our mirror image on the screen and how a transgender person who watches a film with a trans character can find out they're not the only transgender person in the world, feel better, feel represented, etc. I love watching films that fit my personality, worldview, and self, too, so I deeply resonated with this point. I know it's a different thing, but, incidentally, I kinda like the fact not many films represent me as well because it makes them a little bit more special. Incidentally, again, people with mental disabilities are often shown in a very condescending, wrong way, too. I have friends with depression, and that experience makes most representations of depression in film silly. I don't have any transgender friends, though.
The film could use more examples of positive representation. It had some very short clips of films with fair representation, but the film is mostly about the bad representation and lots of complaining.
I think my main takeaway (which isn't really a takeaway from this film but something I've thought about for a long time now) is that our experiences are shaped by a plethora of impulses that come to us from all around. Film is just one of these impulses, and sometimes it's hard to pinpoint how strong it is. Nowadays film is hardly the only impulse. We also have TV, different websites, and places of conversation on the web. A film is just 2 hours a week for an average Joe. So if that average Joe is an asshowl, maybe it's not the films they watched but the way the Joe was brought up, their company, the websites they visit. Because, really, if you're a bitch to some people, you're just a bitch. If you enjoy watching films about people being bitch to other people, you're just a jaded cinephile.
Trans people talk about their experiences as juxtaposed to pop culture. The film largely talks about how movies have depicted transgender people throughout time and how this led to certain stereotypes and stigmas. While some examples do not seem overly offensive to my cis-self, Ace Ventura: Pet Detective feels very cringy even to me. But let's face it: it's Ace Ventura, so it would be cringy even if it had no transphobic elements in it.
Essentially, it all boils down to: How much do depictions in films affect the viewer? This issue of depiction is not just about transgender people, obviously, but also about violent sex, treatment of women, rape, use of drugs, and a myriad of other things. And the answer is non-binary and a very hard one to measure. Mainly because these things can affect us both consciously and subconsciously. But we've (you've) already said a lot about this on MoFo. I just wonder if these few films that conflate transgender people with a vomit reaction were enough to elicit any big change in the public consciousness.
But the real point of this documentary is to present personal experiences and thoughts of a selected group of transgender people and the film succeeds as far as this intent goes. I don't agree with 100% of what is being said here, though. Unless I misunderstood, it is implied that a transgender person is not obliged to tell their prospective sexual partner about some important details concerning their body prior to the intercourse because that would mean the other person is more important than the transgender person.
While it's slightly rude to ask questions about genitalia on a talk show, I believe it's a transgender person's responsibility to inform their prospective sexual partner about what they can find down there. I understand that we all have this romantic notion that we will be loved and accepted no matter what, but it's not always true. When given more time, the prospective SO has more time to think it over and potentially accept the transgender person. Conversely, when the reveal happens the very moment a transgender person faces their partner stark naked, the partner is prone to react on impulse, and while violence can never be justified, surprise, shock, and escape are all understandable reactions.
I'm also not sold on the idea that non-transgender people playing transgender people is so abhorrent. They say that this creates an idea that transgender people are men just masquerading as women who slip back into their man clothes and looks after they're done acting. But hey, that's exactly what it is - acting. I'm not against the idea of transgender people playing transgender roles. I'm not against people with disabilities playing people with disabilities. But a great actor without disabilities can play a person with disabilities and excel at it, showing great acting skills. This is not ableism. Ideally, filmmakers should be able to make films in which transgender people play any role, including films that never explicitly talk about any transgender topics. Such standardization would shift the focus from 'films about transgender people' to 'films with transgender people', which in my opinion would end up much more empowering to the community. Films about transgender representation and hardships can be made along the way, too, of course.
I loved the point about how we all like seeing our mirror image on the screen and how a transgender person who watches a film with a trans character can find out they're not the only transgender person in the world, feel better, feel represented, etc. I love watching films that fit my personality, worldview, and self, too, so I deeply resonated with this point. I know it's a different thing, but, incidentally, I kinda like the fact not many films represent me as well because it makes them a little bit more special. Incidentally, again, people with mental disabilities are often shown in a very condescending, wrong way, too. I have friends with depression, and that experience makes most representations of depression in film silly. I don't have any transgender friends, though.
The film could use more examples of positive representation. It had some very short clips of films with fair representation, but the film is mostly about the bad representation and lots of complaining.
I think my main takeaway (which isn't really a takeaway from this film but something I've thought about for a long time now) is that our experiences are shaped by a plethora of impulses that come to us from all around. Film is just one of these impulses, and sometimes it's hard to pinpoint how strong it is. Nowadays film is hardly the only impulse. We also have TV, different websites, and places of conversation on the web. A film is just 2 hours a week for an average Joe. So if that average Joe is an asshowl, maybe it's not the films they watched but the way the Joe was brought up, their company, the websites they visit. Because, really, if you're a bitch to some people, you're just a bitch. If you enjoy watching films about people being bitch to other people, you're just a jaded cinephile.
__________________
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
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User Lists
Beast (2017)
Atmospheric British psychological thriller. a young and fragile lady on the Isle of Jersey seems brow-beaten by her family and longs for freedom. This seems to come in the shape of Pascal, a local man with a bad reputation and rough ways. This puts her at odds with her family and, an admirer, a local police detective. Enjoyed this and all the acting was spot-on.
Strong
Atmospheric British psychological thriller. a young and fragile lady on the Isle of Jersey seems brow-beaten by her family and longs for freedom. This seems to come in the shape of Pascal, a local man with a bad reputation and rough ways. This puts her at odds with her family and, an admirer, a local police detective. Enjoyed this and all the acting was spot-on.
Strong
Goon (2012) - My buddy was praising it so I had to check it out. I believe this was one of Seann Williams Scott best performances. He had to play it low key and pulled it off well. I know next too nothing about Hockey, and don't really care for it, but learned a few things about it. If you have ever been on a team sport the messages it is trying to translate are pretty relevant across all team sports. It was very violent and pretty funny at times, but was surprised at how much heart it had. Anyways, I really enjoyed it.
I'd give it a strong 7.5/10...depends on your taste whether or not you'll like it.
I'd give it a strong 7.5/10...depends on your taste whether or not you'll like it.
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A Quiet Place, Part II - ★★☆☆☆
- John Krasinsky, 2021 -
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I was kind of looking forward to this after having the enjoyed the refreshing (albeit somewhat slight) original. Unfortunately, it ended up being a massive disappointment. The meager script, when it isn't attempting to retreat the best beats of the the first film, does absolutely nothing to advance the story, characters or even basic world building, and instead chooses to present us with endless jump scares and another one of the classic staples of horror: writer-induced stupidity. Every decision made by the characters is illogically and transparently contrived to keep the characters moving or to generate unearned tension. It might just be the most brain dead horror movie I've seen all year.
It's a shame, because the opening scene, which features Krasinsky's character from the first movie, is actually pretty good. He is definitely a skilled director with a keen eye for drama in the midst of mayhem. His vision and guiding hand definitely result in something that is well-shot, proficiently crafted and beautifully (and subtly) scored during the best of moments. You can tell he enjoys playing around with shot composition and audio mixing to get the most out the film's inherently captivating (yet fatally stupid) core gimmick. He just needs to be fired as a writer, though. Or at least given the chance to learn a thing or two.
I hope the inevitable third film takes things in a much-needed new direction. No need to give us the exact same ending thrice, eh?
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How am I supposed to find someone willing to go into that musty old claptrap?
How am I supposed to find someone willing to go into that musty old claptrap?
A Young Man with High Potential (2018)
Pretty decent film about a young man at a German Uni (the film is in English) who is technically brilliant but socially lacking. The start of a study project with a young attractive female gets him acting rather strangely..romance/horror if that's even a genre!
Pretty decent film about a young man at a German Uni (the film is in English) who is technically brilliant but socially lacking. The start of a study project with a young attractive female gets him acting rather strangely..romance/horror if that's even a genre!
Tides AKA The Colony (Tim Fehlbaum, 2021) 5/10
The Good Guys and the Bad Guys (Burt Kennedy, 1969) 6/10
Blood Nasty (Richard Gabai & Robert Strauss, 1989) + 4.5/10
Eyewitness (Peter Yates, 1981) 6/10
Convoluted murder mystery where janitor William Hurt tries to convince network newscaster Sigourney Weaver that he knows more about the murder because he has a crush on her from years of watching her on TV.
Untitled Horror Movie (Nick Simon, 2021) 5.5/10
The Cowboys (Mark Rydell, 1972) 6/10
Slam Dance (Wayne Wang, 1987) 5.5/10
Blood on the Moon (Robert Wise, 1948) 6/10
Noirish western where Robert Mitchum is hired by his buddy for questionable reasons.
Zombies on Broadway (Gordon Douglas, 1945) + 5/10
Man with the Gun (Richard Wilson, 1955) 6/10
Wishman (Mike Marvin, 1992) 5/10
Gunpowder Milkshake (Navot Papushado, 2021) 6/10
Mother (Lena Headey) and daughter (Karen Gillen) assassins share a milkshake in between killing most everybody.
Out of Death (Mark Burns, 2021) + 4.5/10
Courage (Robert L. Rosen, 1984) 6/10
Girl Rush (Gordon Douglas, 1944) + 5/10
The Wasps Are Here (Darmasena Pathiraja, 1978) 6/10
Violence [not so much love] is all around when competing patriarchal societies in Sri Lanka want to kill after an affair between Vijaya Kumaratunga & Malini Fonseka leads to a well-liked man's death.
America: The Motion Picture (Matt Thompson, 2021) 6/10
Cruel Jaws (Bruno Mattei, 1995) 4/10
The Wrath of God (Ralph Nelson, 1972) 5.5/10
Bandido! (Richard Fleischer, 1956) 6.5/10
Mercenary Robert Mitchum tries to sell guns to revolutionary Gilbert Roland in twisty, action-packed western set in 1916 Mexico.
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It's what you learn after you know it all that counts. - John Wooden
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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