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Moneyball (2011)
New Age Heroism
This sports drama represents the peak of the American indie cinema movement of the early 21st century led by Newline Cinema but not without affecting the rhythm and tone of the film. It portrays a sociopath baseball coach (Pitt) with bigger dreams than his university skills can allow. And so he spends most of his time lobbying for a sponsorship for a pathetic team of boys and for some salvation along the way in a moneyballed league. The film then circles around to focus not on the rules of the game but more on the human side to life. It grows out of its immature shell exactly as the director wants and to the approval of the audience into serious and compelling cinema.
The film balances itself solely on the experienced shoulders of Brad Pitt. A word must be said about how impactful the acting is as he emotes his way through the crisis that he does not deserve. Moneyball is a tearful script but still a badly made film. It has ordinary lines and the scenes drag themselves with no special effort from the director and his team and it seems as if Pitt should be encouraging them instead of the players. Sadly in this case, it is just not uplifting enough.
A poignant thought arises about the two important dimensions of any game, the unbroken will of an individual and the sacrifices that are made by members of a team. Moneyball hints at these qualities as it seeks to elucidate the tenets of human adventurism. The theme of the film unaltered, it falls into the list of the stoic Clint Eastwood hero but very much for the new age in this case.
Impromptu (1991)
Scenic and Impersonal
Impromptu is ambitious like its protagonist Chopin but it looks average unlike him. A classical French drama presented in a contemporary light works on a leisurely script to attract today's audience. The comedy is a biography of the musical genius Chopin depicting him as an ebullient clown replacing the prevailing notion of him being a lonely personality that's been musing in his loss. There is a lovable side to Chopin's frugal lifestyle in the blissful country outside Paris with a gifted group of close friends. But that's where the problem could lie, our hero is intimidated by a busier than thou world as he creates an artificial space around him and that is moving.
The film has dedicated under acting but uses poor language and much could be done here given that the film is still working inside France. For the dark comedy it is there is no depth understandably, but it makes the film impersonal and estranged.
All this put together ends in a scary duel scene with Chopin having to fight for his ideas but this does not go too badly as we are treated with a happy ending.
The fatalism is not missing as we witness a pure opera with all its elation and scares created by the pathbreaking composer. The film makes a connection between the ordinary world and the higher and special genius of man and is able to achieve a level of trust here that's quite rare and worth lauding.
A Passage to India (1984)
Thoughtful but Unimpressive
Passage to India tries to represent colonialism to the West without much judgment. The film brings the two cultures of Britain and India together to understand the limits of knowledge and more importantly, its veracity in times of revolutionary zeal. It characters are like passing figures in a godless universe, not touching the placid waters of the civilization of the great Ganges even with its blessings of medical, technological and legal discoveries.
The film shows a gradual thawing in the tense relations between European masters and their
Indian slaves as they overcome their common challenges of casteism and tribal savagery. The local protagonist is falsely accused by the government and faces a charge of rape. The humbling of an educated Bengali lawyer who does not supposedly belong to the bar draws sympathy from the more sensitive British officers. The political tension affects the rich and the poor alike, who all unite to plead his innocence, but this only ends up in rioting. This leads to a grand trial that merges into the the ongoing freedom struggle in the nation as the Ganges merges into the sea.
The film shows strict discipline by all actors who seem not to afford making any mistakes. David Lean depends on authentic sets to portray Colonial India and his direction is orthodox in style and objective in depth to create a significant achievement in British cinema.
Passage to India is not a proper depiction of history or culture, it is almost melancholic when it wants to be inspiring while breaking many rules. It however emboldens the British gift of law and strives to re-enforce belief in this method of non-violent emancipation in the darkest of times.
Cadillac Man (1990)
New Film-making!
The film is about the slick and slimy sales agents of New York city fighting a different battle this time. City crime targets a group of them by taking them hostages because it rejects the way greedy mediocres make their living and don't care enough for its co-habitants. This is also the reason cited for the greater social crisis in America for those who fail to achieve the American life.
Robin Williams plays a misguided and cheating car salesman. He has all ends covered when his many mistresses nag him. And here comes the stage to become a true hero who can co-ordinate more than one front as he helps out with the hostage negotiations through the developing and tense drama. The film shows him coping wonderfully because of his maverick personality and bravado, once again accentuating honed individualism as opposed to the divinely gifted.
Williams is sincere in his role. He gets good support from the actress Pamela Reed and Tim Robbins is convincing as the young robber. Fortunately, the hostages are real enough to tilt the argument in favour of the establishment as the audience starts to believe in the merry-go-round called life all over again.
Cadillac man is a demanding film. It breaks routine at many points and strives for its distinct identity in that universe of mechanical existence. That is not all. Its rebellion is like a poetic aberration fitting perfectly into its narrative.
The film is an anachronism, way ahead in its age. It came as a new film setting the path for the others when originality seemed impossible. The film is an exciting experience.
Amar Prem (1972)
An Indian Classic!
Amar Prem is a memorable Indian classic. Director Shakti Samanta gracefully romanticizes The Great Indian City's social struggle with itself via the relationship between its two heroic faces - the charming businessman and the slick woman of the street. Samanta is nonjudgmental and overtly exposits his characters with deft.
The film shows its characters facing a raw reality beginning to depend on each other more by the day. Fate does not agree with this new deal and tragedy strikes with the lovers being seperated. The pair however, gets reunited after a very long time at an old age for all the saddening loss that has struck them.
There is an excellent performance by both Sharmila Tagore and Rajesh Khanna. Khanna is often caught playing to the gallery if and when the film demands so. The script hovers on a haunting and brilliant soundtrack but the dialogues are slow and dry though gradually engaging.
The symbolism is poor and missable and here Samanta falls short in lifting and imposing the film as the chief commentary on nascent Indian ambition. Set in free Calcutta, Amar Prem preaches a kind of personal independence and human character in this newly born city.
Platoon (1986)
A famous war film!
Platoon is a political criticism of the Vietnam war by Oliver Stone. It can easily be misunderstood as patriotic as it transgresses into religious preaching and even judges the war as being an anti-christian event in history. Further on, the director stands accused of dramatizing the conflict in favour of the American anti-war lobby whence being neutral is essential keeping in mind the grave subject at hand. It demands extra concentration and could really be meant only for military persons as a major weakness.
The film keeps focus on the local landscape and is backed with powerful dialogue and a piercing background score. Here, the director fails to inspire his actors to do justice to the script. It begins to rely on military jargon for authenticity and loses out. Stone uses continuous battle scenes to enforce the brutality of conflict but alienates his critics who would find that needless and patronizing and want him to enforce a deeper reflection of the narrative.
The sub-plot of the film shows atrocities on innocent villagers to incite the viewer and works out. Naturally, the film leads to a glorious and tragic climax that fits the narrative and makes the film deeply touching. Doing well not to exagerrate this sorrow, the film however depicts a steep negative local culture as seen from the perspective of indoctrinated soldiers and asks questions on the modern policies of the military establishment in Washington D. C.. All of this makes Platoon a famous film today.
Midnight Cowboy (1969)
Midnight Cowboy
Midnight Cowboy brings the country dream and modern solitude together into a tragic tale of friendship. It introduces an eligible hand in the form of a young and vicious Jon Voight who plays Lou, someone who does not over-react to New York when he meets it and does not present a self-righteous front moreover. His counterpart is a half-beat Puerto Rican named Rico/Rizzo played by Dustin Hoffman who hates being called Ratso by the locals for the most obvious of reasons.
The film starts the protagonist off and drives forward energetically and crudely. It has a serious script and the cheap dialogue is effective. There are scenes of intensity in plenty and helped by the simplest of music. The screenplay is able to produce spontaneity between the characters when they are shown to be deficient. The special form of lighting used mainly for the purpose of focus is new and welcome. There are numerous zoom-in sequences and difficult shot angles captured as experiments. Overall it shows signs of maturity and experience by the team when employing such a wide range of methods.
The film works to settle the characters in and capture the culture of a menial existence as the city defeats itself every day. It makes a small world in a big place. All Rizzo has to say when invited to a party is 'I ain't dressed for the party', as he mumbles his reply.
Hoffmann delivers a personal show and Voight gives it his every ounce as both actors go about constructing their painful relationship. The film rises above its depth and technical strength to realize its end of revealing human nature and emotion.
Witness for the Prosecution (1957)
Witness for the Prosecution
Based on Agatha Christie's novel and set in 50's London, the story follows the trial of a Leonard Vole, businessman accused of homicide after making friends with Emily French, an old and rich lady who leaves him 80,000 pounds in her will. Tyrone Power, Charles Laughton and Marlene Dietrich play fierce roles in this engaging drama that recalls the events of a murder through a rational and scientific perspective in the face of intrigue.
Wilfrid Robarts (Laughton), defence lawyer, smartly dodges one bullet after the other thrown at him by the prosecuting team and is made to toil through the court room as the suspense unfolds over the capital sentencing of his subject. This is not helped by the false evidence given by a cranky housekeeper, resenting her omission from the same will, and an estranged German ex-wife (Dietrich) who wants to get even. Robarts goes for the incredulous here and exposes bigoted members of society with a show of brilliance and guile worth lauding.
The film is tryingly particular about norms and contains cultural references, especially about modernism and social etiquette. The theme of national community and a common destiny is kept forever close as the film-maker wishes to present the strength of human cooperation and relationships.
Rated at 8, the film is highly recommended for its power and intensity. A film that starts excitingly and propels itself only finishes with a tumultuous end. Another fine film by Billy Wilder who makes this adaptation stand on its own artistic value.
Broadway Danny Rose (1984)
Broadway Danny Rose
Woody Allen plays an attractive and dedicated music agent in a satire on the rich who are failing. He happens to be struggling and held up money-wise as he tries to help another similar act - Lou, an Italian singer who's desire to get back to some kind of form interferes with his fears of fading away from the stage and playing for his new girlfriend's wealth. She however, discovers that her rough and brutish brothers cannot provide her with the status she enjoyed as a minor growing up in the better parts. And Woody now has to keep them both together and himself, so that they can survive through the year in a toughening world for making money and selling concerts.
About a group of headstrong people who want to succeed in show business but find it hard, this film ends up bringing them closer to us but does not give any stronger a message than that with regards to development. Shot fully in black and white for diminishing social aspects, the film has continuous dialogue and keeps to its characters. It wants to invade their wishlists (questioningly) as it gleans on their mediocre personalities but I do not really know if we're able to do that. It fails connecting any of the stories presented and seems unfriendly. It though grows respect and reputation for them, particularly toward the end scenes which highlight the values of will and fight as they now find themselves kidnapped and tied up in ropes by a rival mob.
The film is compact and organized with some very good acting but does not merge the rebellious aspect well. It becomes basic instead of fluent in getting the idea of aesthetic creation but misplaces it.
Rated at an 8, Woody does not show his full potential but makes a great film about people helping each other deal with their depressions and offers strong and complete criticism through this project.
The Perez Family (1995)
The Perez family
This Mira Nair film is easier and kind. It comes from a director gaining experience and expressing with confidence. The film is based on two Cuban immigrants, Marisa Tomei and Alfredo Molina, working their way into settling down in their new country of USA and all the hapless and pitiful situations they find themselves in with the City Departments. Alfredo's character wants to find his separated wife from long ago and Marisa has a thing for John Wayne who's been dead for some time.
Mira then spins a humorous and poetic story around them and their real freedom into true happiness and contentment. The film scores well here. It does not follow any standard negative depictions that are expected from 'such' cinema or population groups. Mira is able to make the characters likable with a warm and friendly tone.
The film's weaknesses come from a lack of emotion and sadness that is usually attached to characters by epicureans. Even its surreal scenes do not make this slow moving drama any faster. The missing elements are many and as a film suffers depth issues.
Rated at 8 purely for its approach and strength to connect, Mira Nair can now try to bring more life into her characters in an example of what I consider good film-making but not good films. And not to be missed, both actors in the film play their roles brilliantly and deliver their best.
The Hunted (2003)
The Hunted (2003)
Tommy Lee Jones and Benicio Del Toro play hero and anti-hero in a famous film. Introducing the black art of martial fighting into the western world with a lot of attention to nature and physicality, this film is a beginning of the fundamental movement. By protecting it from the test of time and allowing it to represent the potential instead of the whim, the film-makers have said a word or two about romance and dedication.
Not much to talk about because it contains solid urban and forest imagery that work out for the audiences. It may though start to victimize the characters in order to extract passion and spirit.
It may be able to bring out the qualities of a contest, it may also be able to trace the derivative. It may chase well. It may go the length that it becomes a method.
As a critic, I am speaking about the film's facets, as a movie-goer, I want the story to stand out and speak for itself. If there is the point where I meet my expectations, this film does that job.
Rated at an 8, the film is recommended. Time to lockdown the purpose and the oppression, it is time to breed patrons and consensus, time to cultivate relationships and time to actuate arguments.
Take the Lead (2006)
Antonio and the Kids!
The musical has Antonio Banderas playing an inspirational dance instructor to a group of hesitant and nervous college kids. Carrying a special message about uniting ambition that contains background, age and current trend periods, the film is a modern Dead Poets Society and gains respect.
One feels that somewhere along the film, it tries to remind us of pain, labour and a void that makes humans strive for higher goals and makes them bigger people.
There is good tone, gross music and new camera-work but this does not make the film any compact. The acting is ordinary and Banderas himself struggles with his challenge leaving things for the end.
That an African Bro does not ever raise a hand on another in a free country or on his teacher, goes straight to the de-sexualizing committee working on activism amongst new aliens.
Rated at 7, this boring film tries to catch the STEP UP following and does not do so badly being active and special but only in parts.
The Comfort of Strangers (1990)
Review: Comfort of Strangers
Written and directed by the writer of Taxi Driver, Raging Bull and City Hall, this film stars Chris Walken and Helen Mirren in excellent lead roles.
A story about a couple on their honeymoon in Europe that turns into a tragedy can be interesting when there is good drama and even better pace. Many would feel that this film has the central idea of human misunderstanding but I find it without an adequate background. Failure and shortcomings of men can be depicted easily and the pathos can be a symbol.
The cold and hostile attitude of a baron becomes violent when he is challenged by a young and ambitious visitor from America showing a deep and old problem of culture and people. What the film tries is to create the case for a successful criticism of social relationships. Why it does not exaggerate the effect and further the divisions is a charitable gesture.
Points for making a strong film and for good film-making including acting. No points for any commentarium unless it puts itself into an objectivity that retorts at the modern socialistic cause and the machinery of professionalism.
Hang 'Em High (1968)
Watchable!
Hang em' High is Western and critical. And so finds it hard to maintain its argument, the only plus being that it claims continuity. Clint Eastwood stars as Jed, an ex-lawman and survivor chasing a gang of gentlemen in and around an area known as Red Creek, who happen to be keeping things quite evenly distributed and marking time on the national scale.
A poorly made film with no progression or build-up, it shows weaknesses in characters if that is what we're meant to do with our films. It almost succeeds in canceling itself out when one of the gang members goes - 'we wouldn't take you for a liar' - to our hero as he drags them to prison through the desert.
The film keeps returning to the Sheriff's office for him only to find him escaping through the hatchet with his half-baked notions of justice and honor. And nobody makes it to the Roll and surely not Jed, not with his keen eye for reward or his ability to evade.
A number of sub-plots drown you before a grand hanging placates the nerves. Political campaigning begins at the grassroots and it never changes there.
The climax shot has the villain dead having hung himself because of the fear of incarceration, robbing us of a trial scene or even a Mexican shootout.
A pain to any amateur stumbling upon bygone stages, Hang em' excites your imagination enough to start discussions on re-populating Oklahoma. A point in the history of film that can be throughly interpreted and accommodated. Points to the director and team for completing the job and other mistakes. Eastwood passes the test on a blank night and fires straighter than before for this. All in all, a recommended film for buffs.
42 (2013)
Good and Trying!
42 is about the African-American story of baseball player Jackie Robinson. It captures all the elements of his struggle and fight against racism during the 1950's.
Not a great film with any special period effects but relies on the central character to deliver its message. A good performance by the lead in terms of boldness and clarity but not as much sensitivity as would be needed to complete his personality. The character starts to represent resistance more instead of magnanimity and spirit, something not true about our topic of interest.
A lack of atmosphere and drama would always bring more meaning to the story and unless the film-makers are afraid of losing out on focus and depth, it becomes difficult to understand this deliberate void. While filling the need for socially inspiring dramas, I think it also tries to get very close to the character's perspective.
Rated at 8, it can be watched for all the large amount of film time dedicated to the games and keeping out the dire culture that usually pervades such films. Some good work by the technical staff makes sure this is achieved. If the purpose is to make newer films for a newer audience then 42 does well to tell the story but falls short of celebrating it.
Irma la Douce (1963)
Sensitive!
Irma la Douce is about romance and adventure set in 50's Paris and almost entirely at a Café.
A poor French police officer is forced to play a rich English businessman (double) who visits Paris for recreation and gambling, to keep his love from being stolen by another competitor. This cannot be done without the usual cat and mouse games between the local police on the look-out for a culprit - our protagonist - now accused of the murder of the same businessman.
The film brings to light the misery of the common French folk as it shows us a glimpse of their mannerisms, quirkiness and fashion styles. It develops into a more personal film towards the end as the characters become easier to identify but is very ordinary at the beginning and fails to excite any interest. Humourous at many points with a cute Chihuahua also playing her part well, it need not be clearly mentioned that the English businessman is a great lookalike of Vladimir Lenin himself as the movie tries to catch political angles of the time as well.
Things turn for the better only when our friend finds himself walking out of the Seine like Jesus and the Dead Sea and making the cops look foolish but only after having been supposedly drowned in it and that's all's well that ends well.
A good film with some good acting by Jack Lemmon and Nora Roberts. Brilliant in parts the film should not have been made on such a tight schedule or on a tight attitude. Rated at 8 as it serves fully to the professional wave.
A Walk in the Woods (2015)
Patient!
Bill (Robert Redford) and Katz (Nick Nolte) are seniors who go on a hike through the Appalachian mountains together by re-uniting after a good 30 years, the last time they met was in Europe as students. Redford is married to a British lady and quite settled as a book writer in the Jersey area but is looking for a new idea.
The men wish to be close with nature once again covering 2118 miles on this trek but also connect with ordinary people on their trip, all the while surviving a grizzly bear attack. Looking like war veterans and learning about the changing times and a new country, they are nostalgic about past times.
But when Bill returns, he can feel the fear in his wife's eyes as she cries in his arms. By the end of it, he gets the chance to write another book and is thankful for it. And Katz is content with the cleansing of the soul.
Overall, the film reminds us about the spirit of teams which is more poignant toward the end scenes. It could have had better dialogues and with some effort, become a good film from an average one.
I recommend this to all Redford fans and those who like trekking!
Bananas (1971)
Fresh DEAL!
Lasting for just 80 minutes, Woody Allen makes it clear that he does not relish cynicizing political drams in 'Bananas'. By playing the main lead and occupying a fat share of it he also shows a deep interest in acting and does well.
Bananas is an overtly funny film about Latin dictators and revolutions that fails to make an impact because of its apathetic approach and finds a place between lampoons and satires. Woody happens to be a Mellish with a struggling journalist's job before he pushes himself into the affairs of San Marcos, a hypothetical nation close to Puerto Rico, befriending its General and planning its revolutions and rising to the very top to replace him.
The film is direct and bold as compared to its age and Woody can be proud of the technique applied here. The film's depth of cultural references shows Woody is the rightful person when it comes to knowing and discussing human idiosyncrasies universally. Its strength lies in its objectivity and the inspiring and intelligent message that it contains for everyone.
What reasons the film has for not violating American creed and exploring bigger seas like Griffith are yet to be known. It however must be recognized as a major part of the liberalism and intellectual thought of the modern era.
A good film that must be appreciated and lauded for its humanistic and art value.
Per qualche dollaro in più (1965)
Greats!
Indio Rodriguez is wanted for robbery and murder and has a bounty on his head. He is chased by 'The man with no name' and his charismatic partner 'The Colonel'.
Indio and his men rob the famous Bank of El Paso but can't find the means to get their hands on the loot - an iron box with unknown keys - and this gives the heroes an opportunity to enter the gang. Indio then takes them to a desolate and tiny village where he wishes to resolve internal issues and also make plans to target the Sheriff. Sadly for them, Indio is as sharp as bad and does not fall for their false front. The bounty killers are given a hard beating, duly spared and asked to leave.
Not to be outdone, the team reassess their positions and get back at the Gang by trapping them in an interesting climax that also shows Indio as a victim and calls for sympathy and understanding toward him.
A legendary western film that sticks its head out for fundamentalism and objectivity, it however does show a laden table with people eating contently. Fernando, the 10 year old actor playing help in El Paso (would be 64 to-day) is all the addition there is in this simple story of thieves and sheriffs.
The action and style is remarkable and attractive. There aren't many great lines except Indio muttering 'It's done now', toward the end.
All actors are excellent and well supported by the rest of the casting. Credit to Sergio Leone for making a classic.
Full Metal Jacket (1987)
Must Watch!
Full Metal Jacket is a watchable war movie for all its weaknesses. Based on the American invasion of Vietnam, it follows a team of US marines from their training bases to the frontlines. Always looking out not to 'sell' war, it brings to the fore the many aspects of its barbaric nature - timidity, aggression and madness. A provocative film needing quite a bit of background knowledge about the war story and ideology, it moves into strong action on the ground and works hard to maintain its grip on attention. Tension and hate are mixed to create a stolid imagery that is meant to show this modern war in its proper light - a game of killing machines and survival. Slow and cultural in the beginning, it becomes real and suspenseful towards the end. Apart from being a record, the film must be criticized for its technical flaws, one of them being poor editing. Definite and purposeful, the experience is more perplexing than provoking. Points to the director and cast for a good job as well as other staff who have contributed to creating the war atmosphere.
Dunkirk (2017)
War Glory!
Dunkirk is a good action film. It has some great landscape shots that are also symbolic. Navy boats, fortified beaches and ace fighter pilots all come together to make the accuracy the director needs to put in a right version of this particular battle of the second World War. It shows war as it is fought - in responsive teams, by tough orders and through prompt signals. Mostly avoids emotion though touching it gravely in some scenes like being attacked by threatening enemy jet planes while abandoned at sea. This may also have something to do with the director's insistence on the character and culture of the fighting troops. There is a slow turn from distress to optimism as the film progresses quite following the events of the war. It however takes a toll on the audience for this very reason, it is not easy to follow. While most war movie followers will appreciate this film, others may reject it for being real and practical and lacking the purpose of glory and inspiration they want. Good performances by the cast and some highly experienced camera work help Dunkirk pull through.
West Side Story (1961)
West Side Interesting Story!
Opening with a tough disclaimer given the meager backgrounds it comes from, West Side Story is provocative for what it wants to achieve, or throw off.
Most receptions of this film are disparaging and the film team makes no qualms about them being a kind of suffering critique. An obvious tribute to the brotherhood and camaraderie that was responsible for the early successes of the American economic story, especially the Western frontier, it does not even spare fellow citizens at times, looking quite busy working the easier slopes in the more northern Dakotas and speaking a different method. America lives here. Furthering the cause, the characters also target enemy nations like Germany and its Patrons who determine freedom for their people but expose their lack of organization.
Sticking with the main issues of youth rebellion, alienation and unemployment in the poorer west side, it tries to fill existence offered by the ordinary human ritual of song and dance. Various scenes try and bring out the qualities and values of social intelligence that exist or that are being lost but are attached to a National identity. Also, women speak openly and boldly, they mingle with men and demand power, and they determine course.
Choreography and Sets are a major plus for the film. The dance sequences are ordinarily fantastic. Real sets transform into stages easily and lighting shifts from bright to dark quickly with the mood.
It is a shade away from becoming apologetic but for the love stories that are subtly flowing toward their tragic ends. There is a sense of sophistication and maturity about the story that claims to lend a helping hand to everyone else fighting for more insight and inspiration.
The film director duo have clearly tried to make a very entertaining film inside the social cause of integration.
Of Mice and Men (1992)
Touching!
Based on John Steinbeck's 1937 novel of the same name, Of Mice and Men is Gary Sinise's only directorial project till date, who also stars in its lead role.
Set in the Prairies (California) during the depression, the film revolves around the friendship between two marginalized farm-hands seeking work on a 'White' ranch, one of them a paraplegic played by John Malkovich.
While trying to stay out of trouble with the local farmers, the duo try and keep to their dream of becoming landowners themselves, going on about it in their rhapsodies and merry rhymes.
Sherilyn Fenn plays a simple but lost girl, the daughter of the ranch-owner, away from the big, noisy and rich cities where life is more real and satisfying. She expresses these regrets and that more than once.
Unfortunately, one ugly thing leads to another, fights break out, and all dreams turn to nightmares. A tragic tale that seems to emphasize the hapless and miserable condition of the weak and poor in a touching manner.
The film is treated with a mature hand and that shows in its careful pace. Though it takes time with some scenes, the screenplay is fluent and flowing. A brilliant film with few weaknesses, it should be watched with attention to derive more from it.
Be Cool (2005)
Cooler than Cool!
BE COOL is an American film. And thus, it is meant for Americans. I would not say that we're missing each other on a fast lane but being 'in your face' will really limit your friendship circle. A review of this film could have a bias for it has a band of much loved stars (that may distort its feedback). But the film turned out to be engrossing and deserves a (be) cool analysis.
#Gary Gray manages to hold our attention with some nostalgic parody and slapstick humour. Human relationships can be taken to commercial relationships when the time is right and he proves that by bombarding you with clichés that made up old school banter and African-American innuendo.
If one forgives him for being 'narrow', far too much to be even discussed some would think, the film is necessary as a voice of conservatism and should be received with sensible moderation.
#JohnTravolta applies himself well and one is forced to appreciate his candid but outdated style. Marks for trying but not for keeping up. He is backed well by #UmaThurman and #VinceVaughan who play their parts with a lot of zest and there is something to look forward to there.
Again, a film that could've turned out to be very exciting and meaningful but ends as a fleeting touch in a big and rich entertainment world full of surprises.
Free Fire (2016)
Dublin Doubloons!
FREE FIRE starts boldly with its gang war story and selects its audience at the outset. A lengthy opening scene introduces all characters and sets the somber mood for the rest of the film. Physical appearance is emphasized and so is style. While dealing with the impressionable, I think it tries to catch their longing for backgrounds.
The existing enmity gets provoked through a deep and intense negotiation between the criminal gangs as it settles into a famous but dragging gunfight, further revealing the true natures of each of the members.
The movie needs a lot of patience even for its mix to reach the expected end. There are weaknesses where the director could've easily worked on and I don't know why he's held back. Dialogues are poor and so is the screenplay. Latin American film influences are improper even if accidental.
A Martin Scorsese executive production, Free Fire does not excite or disappoint. The ensemble cast tries hard and does a routine that can only get better with more experience.