Ben Mendolsohn is so good here. Lets you know he could be this good more often, but the material is strong here, as well, providing lots of opportunities for the cast to give us their best. And they do- Davis, Wallace, and certainly Eliza Scanlen in the main lead role, are all impressive in this film that revolves around some all-too real scenarios.
Great use of tone and pacing by director Murphy.
Commis' work behind the camera, with his use of close-ups and color here, is instrumental in adding to the psychological effect Murphy was going for. Milla's vibrant wigs; the bright range of shades and colors in her outfits/dresses; the intensity of red and blue at the party; all add something exciting & new to Milla's last weeks. There's also the use of such vibrancy against her increasingly pallid face.
Moses, I've known his kind. They invariably are self-centered, opportunistic pea brains you shouldn't trust. But to this credit, Moses does seem to want to be better. After all, there's this family that begrudgingly gives him a chance, and then his own family, esp. his little brother Isaac he clearly cares deeply for. There is growth from his first scene to the last. And that last scene was completely unexpected, but really shrewd filmmaking. Credit here to the writer (Kalnejais), director, and editor (Stephen Evans) on ending the film with a scene clearly outside of immediate reality. This is like a dream scenario for your last day alive, when you're with those closest to you, who mean the most, taking pictures (how we document our history, our lives) and being happy. Beats just passing on without those last moments be precious. 3.4 stars
Good stuff. Another movie made by people who knew just what they were making, and didn't try to do anything more; which is fine. This is meant to be a family drama based on a heartwarming story with a critter at the center of it. Plus, horses are great for kids-tweens (well, every age, c'mon), esp. when they're spirited little colts.
I love me some Toni Collette, and she does a nice Welsh mum well. Teale is wonderful, too, but the gashy teeth is jacked to see so much. Ya got yer lovable lush guy who isn't TOO cheese factory. Nice support performances in general. Credit to director Lyn and writer McKay for making a good light family drama. 3.2 stars
This is some godawful revenge porn trash. I'm all for a good revenge flick, but this isn't one. It's exploitative as hell, with some uber-twisto subhuman abomination. Too much calculated violence, psychopathic speak and sexual sadism is inflicted on the audience for over two hours rather than smart writing or any reasonable source given for the rapist/murderers actions. Not to mention how many people are attacked, tortured, killed cuz the man getting the revenge for his loss leaves the psycho alive so he can brutalize him again when he wishes. 1.8 stars
I loved this. I'm all for trying new angles and expanding the possibilities in cinema, but it's also great when a director sets out to make a genre movie and keeps to the classic structure of the genre as well as the main aspects that make the genre unique, and makes a quality film. In such a case, usually the ability to that structure and uniqueness directly aids in making a better film.
Krasinski knows how to make a quality horror film, a quality thriller, a quality hybrid of sorts. I know this is a horror film in a general sense, but I appreciate it more as a thriller. There is so much tension going on here, with dynamics within the family, between each family member and Emmett, and of course between them and the creatures/monsters that go beyond the horror genre in general.
I love the brevity, the get-in-and-get-out of it. 'Let's make a lean, mean, frightening machine'. Well, they did. Some fine smart writing again by Krasinski. I really liked the 'origin story' beginning; loved the dock scene w/ the signing moment and Scoot McNairy getting one in the thigh. Also good was the use of the radio station (ol' Blue eyes) and the model shuttles.
Emily Blunt apparently can only be very good to great in whatever I see her in. Also great, though, is Thomas Shelby himself, Cillian Murphy. Noah Jupe was impressive again. But no one was better than Millicent Simmonds. She continues to knock my out. She's a very smart, expressive actress. I'm not gonna get nitpicky or over-analyze this like it's an historical epic or a grand statement on the human psyche. It knows what it is and is perfectly happy with that, as am I. Good on ya! 4 stars
The Innocents is a wonderfully mature, composed work by Anne Fontaigne and writers Karine and Vial. Atrocities abound here, from the soldiers who raped a convent of mostly virgin novitiates, to an attempt on the one medic who is helping the now-pregnant young women; the orphans who play among the shrapnel and batterings of war; the absurdity and soul-crushing ligatures of Catholicism.
Led by a stirring performance by the skilled and lovely Lou de Laâge, the cast here is excellent. Also of special note are the great Joanna Kulig (Ida, Cold War), Anna Prochniak, Agata Kulesza, and Vincent Macaigne as the doctor friend and lover of Laâge's Mathilde who so wants to be the cynical, war-hardened cool lothario but is really a decent man who needs some peace in his life.
Tone, pacing, and editing are all very strong here as it clocks in at under two hours. 4 stars