Part 2 of Rogue, Rogue being the better. And about 15-mins too long. Ilsa should be here to stay. Lots of exposition about Julia that's a bit contrived. A good ride but somehow not quite what one might hope ... See it in IMAX, for sure, even tho' most of the picture is LieMAX letterboxed IMAX, not full screen. Always feel a bit cheated with that. The big set pieces are full IMAX however, maybe 30-mins total.
A weird story rather blandly done by an outstanding cast of former A-List names. Very weird actually, even in an era of Trumplicanism underpinned by the conservative christian right-wing evangelicals - not to be confused with actual Believers and disciple followers of the authentic Jesus of Nazareth. | ~ Norm de Guerre | PS: Fandangers should delete Douglas M's attempt at a self-published novel, below. This is not the venue for that.
Wasn't sure this would be of much interest - but the docu-styling of the drama, and the performances, esp'ly a seriously deglam'ed Robbie, make this nearly a tour-de-force, including even the VFX folks who allowed Margot to do a triple axel quite believably. And the backstory story is intriguing, too. Poor Tonya. After her dad got the heave-ho she seemed never really to have had a chance to be other than the C word having absorbed so much abuse. Give credit to her redemptive skate coach (played well by J. Nicholson) for hangin-in as much as she could. And what about those doofus boobs Harding seemed to attract and hang with ...?! Congrats to Robbie for seeing the potential in playing against (her) type for this. | ~ Norm de Guerre
The Vienna opera sequence is Hollywood action & top-class style in every way - and the rest is good, too. The only criticism, action fatique. It's that non-stop. This tops all but maybe the Dalton 007's, calibrated relatively for that era of screen efx & tech. Rebecca Ferguson is a terrific find - good she's supposed to be back for the next impossible Action Express! | ~ Norm de Guerre
A handsome film filled with nearly every southern cliché - including the lack of widespread air-conditioning. And yet, regrettably, the cliché's exist, even today - a kind of Red State ethic. But talk about a dazzling cast doing a nice job. The end seems more fanciful than likely but it's a good entertainment - and with some credibility since the author of the book from which this was adapted is a lawyer. Some jury room delibs would've been interesting but the film already is too long. In all, worth a look ... PS: Don't the '90's look quaint and lovely looking back from the present? | ~ Norm de Guerre
A reprise mashup of "Vanishing Point" and "Bonnie & Clyde" before "Jaws" broke it big for Spielberg - and 10-minutes too long after the end has long become obvious. But there are a few of the Spielberg trademarks that appear in this West Texas supposedly true yarn - and a clear example of why Texans should never occupy the Oval Office. One trademark is the zoom-in-dolly-out, and its reverse, that had such visual impact with Roy Scheider in "Jaws." Here, the same optical lens effect is used looking over the shoulder of one of the snipers. Same thing, a good effect, but not so lauded in this nearly average film. Worth a look in the Spielberg canon but not nearly as fresh as the tomatoes suggest. A better film in this general genre is "Mean Dreams." | ~ Norm de Guerre
Terrific! Remembering the actual event and its hype, who knew there was such a good backstory of personal journey. Stone & Carell hit it out-of-the-park, to shift the sports metaphor, delivering aces in scene after scene, to return to an unmixed metaphor. The supporting cast superb - even the surprise appearance of Seth Meyers "Portlandia" drummer as an eternal youth pill pusher. For polish, the soundtrack was modulated beautifully for the montage of certain scenes. And the integration of Howard Cosell was perfect, even amazing where he's merged on-screen with the actors. As goofy as the event seemed then, it's captured again and lifted, perhaps suddenly more relevant now than then. | ~ Norm de Guerre
~ This movie starts so visually dark & carping, by creative choice apparently, that one thinks, "Oh no. An hour-&-a-half of this?" But then, slowly & steadily a bit of what surely seems to be Gerwig genius begins to illumine scenes where the visual darkness tends to persist, even with Panavision & Arri equipment. And then the images become good and insightful and at times deliciously ironic. Yes, this is a severe chick-flick, indie style, in a Marvel world. But there's talent at work here, esp'ly Saoirse, and a bit of a message about hometowns and a girl being really lucky if she had a dad who loved her enough to keep her moving onward & upward, buffering the estrogen in an increasingly beta-male world. There's also that thing about the cute/exciting boy (or man) and the good boy, what we saw from Carey Mulligan in "An Education." In fact, Ronan & Mulligan give similarly modulated performances. ~ By the end, it was Bravo for a feature writing and directorial debut. And the DVD featurettes seem to show Gerwig as a really neat girl - woman - who would be fun to know and maybe love. ~ PS: It would've been interesting to have had Gerwig direct "I'm Not Ashamed" about the first student, a girl, murdered at Columbine. Like "Lady Bird," there is a girl's hometown life story, only her story is poignantly, savagely, movingly, and just as interestingly true. ~ PPS: This picture won the GGlobe Best Picture, Musical or Comedy. Musical? No. Comedy? Well, this is more of a coming-of-age tale, female style, than a comedy, tho' there are some amusing, charming moments. But it's not LOL "Fast Times at Ridgemont High." | ~ Norm de Guerre
A BBC Masterpiece style costume drama that really moves and cuts to the chase. An interesting true story about which not that much is known. Scarlet really gets the job done, too, in a role one might question she could perform. Not quite great, but very good. Women surely had it bad at court and in gentry families as a form of Tudor currency for upward mobility. But there's a bit of a feminist undertone that doesn't help this project. | ~ Norm de Guerre
100%? Really? This was 30-mins too long with 2-hours of literal waiting for 10-minutes, finally, of some pretty mild semi-showdown action. Until then there's every cowboy cliche and Waynerism - plus some totally Hollywood movie singing what with Dino and Ricky in cow town. Also, Hawks forgot that a town needs townspeople. Guess he ran out of budget for extras & stand-ins. It's very hard to understand these ratings except as a cinematic museum piece for Marion Morrison, aka John Wayne. | ~ Norm de Guerre
Mighty ripe, red tomatoes for what basically is a 2-hr Rawhide with John Wayne instead of Eric Fleming as Gil Favor - and Clint Eastwood as Rowdy Yates. Some interesting casting but ultimately it's formulaic with very weak roles for the 2 women. Yes, Wayne was an uncharacteristic grump until at the end suddenly he's not - which is cinematically odd obligatory scripting. But it's worth a look if you've got the time. | ~ Norm de Guerre
Here is your situation rom comedy - with plenty of situations set-up for some good screwball laughs. But it's laugh'us interruptus. The situations get wasted and never really climax in ha-ha funny. Maybe there are too many cameos from Bogdano's past. I mean, Cybill Shepard? In this she's an arrrgh cliché when first seen on screen. Tarentino? No. Was Owen Wilson right? Mmmm. Probably not. HOWEVER, Imogin Poots steals the show and is magnetic. And she manages to nail a Fran Drescher accent even tho' a native Brit. When she's on-screen one doesn't want even to blink. Jennifer Aniston does her job like always. It's a pretty production that just never quite gets going.
This is a watchable flick and the funny fuse gets lit many times. But it never sets-off what should be a firecracker of a funny show. | ~ Norm de Guerre
~ Fine stage performances ... on the screen where, in this case, they don't belong. This movie is all dialogue and no action with a lot of bellowing to the mezzanine and pound-the-boards posturing. And so many of the lines are written for a venue with a live audience reacting to the actors. Also, the lighting is very much stage lighting, nothing like you'd see in a medieval setting. To make matters more awkward, the very 20th century use of the zoom lens further distracts from the atmospherics. ~ So ... This is almost a tutorial in stage acting that really doesn't work as a film. | ~ Norm de Guerre
A handsome production it is - but just could not get into it. This was meant for the stage and a live theater audience, in the same way as "Richard the Lionhearted." From the ratings here, some don't agree. But unless you're really into a lot of Shakespearean dialogue transmogrified and translocated to a venue not particularly suited for it - film - this is hard to recommend. Great acting by a good cast, but still ... Maybe I'll try again since this is a new age of old with Putin & Trump thanks to the Red State confederacy. Scary. | ~ Norm de Guerre
Terrific movie nicely cut with a sports motif (English football, or soccer), but not actually about sports - and a near perfect serendipitous cinematic celebration of Int'l Woman Day when this was seen - written and directed by a woman who gets some fine performances from her known and unknown actors. | ~ Norm de Guerre
Somewhat clichéd Lifetime movie with larger, nobler aspirations about the transitional time between '60's unrest in the deep South and whatever hypocrisies we have now in the Red State confederacy of Dunces. It was the time when the TV mini-series "Roots" ran on ABC and broke ratings records.
Maggie Grace is great hearkening to and channeling "Steel Magnolias" - also filmed in Louisiana ... and in a setting of what they still call in the South, "beauty shops".
After an hour and 30-minutes of interracial angst the movie goes for a formulaic, storybook ending. (In the Extra materials the cast refers to the script as a fairytale - that it certainly is not after the final edit). All that's missing is confetti and streamers. But nothing very much actually has changed, even in the little town of Plaquemine, LA, where the images were captured in 2016,
So The End'ing rings hollow as the movie switches from a microcosm of southern conflict and distrust to a sort of Nicholas Sparks pulp romance. It's jarring and leaves an aftertaste of cotton candy and stale beer. Weird. It's as though the producer ran out of time and money and said we need to wrap this and make it sweet for the Lifetime pseudo-executives.
Oh well ... Nevertheless, there are some good performances from an earnest cast to go with the good intentions. | ~ Norm de Guerre
In many ways, a masterpiece - especially cinematographically - and a stunning debut for Kinski. Ironically, this film is current, the Hardy story about how men, rascals & robed, and hypocrites, impact & harm young, hopeful women's lives - and this op-ed from a senior man. A good and involved father is probably the best vaccination. But alas, Tess doesn't have one. | ~ Norm de Guerre
A movie about not that much, and about everything - when young men try to suppress the realization they soon will be marching to possible oblivion ... in 1942, before the war had begun to turn.
The cast is great, young ones whose stars were just beginning to rise in the West. Elizabeth McGovern, the girl of one's dreams. And interesting to see Penn playing the straight one, the stand-up anti-eternal-Spicoli guy. But there you have it.
Richard Benjamin could've cut the movie 10-mins shorter and probably it would've been even better, benefiting from better pacing. But it's still good.
The '80's were a good time for a certain kind of movie ... like this one - the John Hughes era maybe ... before the cell phone & a twitter'verse started snarking & claiming lives. | Norm de Guerre
These ratings are ridiculously & wrongly low. Is this the best of DMoore? No. Was casting Elizabeth McGovern inspired? Yes. Is this the best rom-com you'll see? No. Is it all good though? Yes. Is it reminiscent of Woody? Yes.
This is an hour-&-a-half of a pleasant, nearly delightful NYC town-&-no-country rom-com. And it works for the perfect length to which the film is cut. It's great to see the leads & a fine supporting cast back in the early '80's - and the warm apartment interiors of what's now yester'year. Perhaps not coincidentally McGovern's character is from Illinois; so is she.
Speaking of the '80's: One now drifts dreamily into memory when lives weren't dominated by electronic devices best suited to nerds & the socially stunted - i.e., the swarm of maternally helicoptered millennials who now outnumber the offspring of the men of the WW2 gen, the Boomers. | Norm de Guerre
~ It is what it is - 007. M.I., & Crouching Tiger to the Xth tatooed degree - fantasy action, violence, innuendo. What's real? Nobody getting any. Made for the Dolby Cinema. Good int'l supporting cast. Popcorn to the max! | ~ Norm de Guerre