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Sums up The Enforcer perfectly. If it had the look and feel of the previous two films, then I'd enjoy it more. I wouldn't have minded one more Dirty Harry film in maybe 1991, the twentieth anniversary of the original.
The Ballad of Buster Scruggs-- six shorts with all the Coenisms that have made their filmography so eclectic and refreshingly original. There's absurd comedy, dark humour, drama, tragedy, even horror; lots of drawn out tension and suspense...
This is how you make a western without dropping the "N" word once (a reason I could not get through the Hateful 8-- and I love me some Kurt Russell). Tarantino should give it a watch.
What does it all mean?
Probably nothing.
This year's most metal film is a mixed bag. Stunning to look at, with some intoxicating scenes and clever visual flourishes strung out across a film that is really badly paced. The first act seems to take forever to get going; but once the beast comes out of the Cage (who seemed oddly sidelined til then), Mandy embraces its utter insanity. However, considering the hype, it wasn't really enough for me. Nonetheless, the film is still a unique experience and certainly less infuriating than any of the offerings from Nicholas Winding-Refn in the last six years.
THE NEON DEMON is a superb film.
I wasn't keen on it, myself. Though it was an improvement on ONLY GOD FORGIVES. Mind you, anything would have been.
I saw this tonight @peter and enjoyed it with some reservations. The 5th story I found my mind wandering until the impressive end. The last story was kind of meh. The first story with Buster Scruggs himself was pure Coen bros.
Overall very entertaining and the whole thing looked amazing with some gorgeous locations.
The fifth story was also one of my favourites, and these boys are very conniving. Here's my theory: they wanted our mind to wander just a little. They wanted to lead us down the garden path, and I kept thinking:
And then when the ending came, it was like a punch to the gut, and I actually spoke out loud (all I could muster was a very genuine "oh no")... and that was a sad final image. In the end, this was a
Yes, the final story didn't pack it as well as what came before... And I had some pacing issues with Liam Neeson's story (although it was great to see the giant man in a Coen film).
You're right, beautifully shot...
How about DRIVE? Surely we can agree that film is nothing if not absolutely awesome. ;-)
Agreed. Bloody brilliant.
I do love DRIVE. I guess I should have said seven years in my original post, rather than six. His second best film after BRONSON.
Yep, I gave a sharp intake of breath at the denouement of the 5th story.
Look forward to revisiting this film again.
Did you recognize
Oh god yes! I'm a huge fan of his and he was the one actor I knew was in it from when I first heard about the film.
Agreed, brilliant stuff.
Has a slight touch of Argento and Bava to it.
I looked it up right after and smacked my forehead. He's such a strangely charismatic energy. I love him and he was just amazing!
Not yet but I'm going to be watching it, Tom Waits say no more.
I've not read any spoliers just knew he was in it and a great admirer of his music and I don't care what anyone says best Renfield ever commited to screen like Oldman best Dracula, forget all that Hammer nonsense this is close to Stoker as anyone as ever got.
Love me some Coens so I think I'll be satisfied, just been to see Widows today, big McQueen fan and suitably impressed, review to follow.
As far as Waits, Down By Law, Short Cuts and that cameo in the Fisher King, such a talent and what a voice.
P
My wife and I been a fan since catching a screening of Hunger in 2008 at the Warwick Arts Centre, not only was this gritty raw piece of celluloid the debut film for former Turner Prize winning Steve McQueen it was also the calling card for Michael Fassbender. Incidentally Widows McQueen's fourth film is the first without the German Irish actor making an appearance.
Having made Hunger then followed it with sex addiction drama 2011's Shame with Fassbender in the lead then wowing the world in 2013 with the shockingly brutal 12 Years A Slave also with Fassbender it came as a shock to many to hear that McQueen after failing to get a HBO drama up and running was finally going to follow up it up with a film adaptation of British ITV TV 80's drama Widows from then future Prime Suspect creator Lynda La Plante.
Although the British director has shown that he's not one that wants to be put in a box and each of his previous films have been nothing but similar. So, it should come as no surprise that whatever he did next should have been what we expected him to do.
When a all-male heist crew led by Liam Neesome's Harry Rawlins ends up dead during one of their jobs, the aftermath the four widows notably Veronica Rawlins (Viola Davis), Harry's widow are left behind with a rather deadly legacy in the aftermath that forces them to team up and pull off one of the gangs future jobs to pay off a debt to Jamal Manning (Brian Tyree Henry, Paperboy from Donald Glover's Atlanta) who's aided by brother Jatemme, Daniel Kuluuya playing against type as a rather sadistic psychopath.
There is more to the story and this being McQueen aided by Gillian Flynn, this isn't just a straight forward bog-standard heist film. Flynn riding high already with a hugely successful team up with David Fincher on 2014's Gone Girl. Also this year’s HBO drama, the terrific Sharp Objects, alongside McQueen provides a terrific screenplay that adds social commentary but most importantly gives the three main female leads Davis, Elizabeth Debicki and Michelle Rodriguez strong fleshed out characters to play.
The whole cast including Colin Farrell, Robert Duvall Garett Dillahunt and Tyree Henry are excellent although Kuluuya's terrifying Jatemme is a particular highlight. Though the film belongs to Davis, Debicki and Rodriguez. Although it's a remake of a TV show it goes to show that rather than lazily attributing women to a male led story like Ghostbuster or the Oceans films, take an existing not so well known and commercially viable property originally female led and put a new spin on it, can reap dividends
Those that know McQueen's work will know that he was unlikely be looking for a quick pay cheque and if he was going to attempt a remake or a revision of an existing idea, he was going to have something interesting to say. From the moment this starts you know you aren't in generic territory; the visceral violent opening immediately makes you realise you are watching an auteur not a hack at the helm.
The film is populated with moments that illustrate this throughout, the already talked about car windscreen sequence has McQueen taking a unusual angle to not only convey a conversation between Farrell's politician and his assistance but also manages to show the change in social landscape as they drive from one side of Chicago to the other. Although McQueen aided by usual cinematographer Sean Bobbit is not battering you over the head with social messages and with the aid of Flynn and his screenplay still realises this is a heist film and although this is a slow burn, we get rewarded with a thrilling climax with an emotional heightening.
While there is a depth McQueen and co are also respecting the genre, they are playing in while also diverting it. The fact that master works like Riffifi and Heat can be referenced shows McQueen isn't trying to be pretentious or arty for the sake of it. Notably the Heat reference might actually come across lazy or too obvious but the correlation is far from an insult.
Interestingly enough a knowledge of McQueen's work (well it did for me) actually diverted me from the number of twists the story employs. I don't want to give away too much as reviews these days have a tendency to do but a familiarity to the directors’ work unlike someone who isn't might not tip you off to what is coming.
To explain anymore might give the game away, I'll just say I was pleasantly surprised how this played out. McQueen continues to impress and has so far not made a dud. It only makes you wonder what this exciting and talented film maker will tackle next, I for one wait with baited breath to see what is next on the man's agenda.
4/5
A bit hard to connect the dots sometimes, but there is much to say for the second installment of the Fantastic Beasts franchise. Jude Law is great, so is Johnny Depp. The special effects are top-notch, and there are quite a few surprises in the mix. Worth watching.
Let me know when you've seen it and see if you understand what I mean about it catching me by surprise despite it being a McQueen film through and through.
One of my favourite Christmas films!
"You'll shoot your eye out!"
Before Blade there was this dashing fellow. An unusual Hammer film mixing age stealing vampires with swordplay.
Cheesy and corny, yes, but great entertainment, written and directed by Brian Clemens creator of TV's The Professionals.
Swashbuckling stuff with a really cool score from Laurie Anderson. Apparently Tarantino is a fan.
Definitely don't make em' like this anymore.
Never heard of this film surprisingly, though love the title.
Check it out! Think it's only available on DVD. But you can watch the whole thing on YouTube.