Matthew McConaughey is the central figure of The Gentlemen and the most prominent fixture in the picture’s advertising. That said, while great in the film he’s not in it a ton and probably gives the fourth best performance. I was more impressed by Charlie Hunnam, Hugh Grant and Colin Farrell – all of whom shine brightly here. The soundtrack is chock full of bangers – I especially enjoyed a sequence set to El Michels Affair’s cover of Ol’ Dirty Bastard’s “Shimmy Shimmy Ya.” This is a return to Guy Ritchie’s roots and can stand toe-to-toe with Lock, Stock and Two Smoking Barrels and Snatch. It’s arguable that the picture is unnecessarily complicated, too clever by half and unrelentingly un-PC. That was true of Ritchie’s calling cards and it’s true here, but who really gives a Phuc when the flick’s this fucking fun. You either dig this stuff or you don’t. I mostly just wanted a tartan tracksuit and a pint of Gritchie afterwards. Long live and God bless the Toddlers!
Just Mercy is the best film of 2019. The fact that it got no Oscar love is an immense oversight and injustice. Jamie Foxx’s performance was the one hyped before the movie dropped (and he’s admittedly very, very good), but this is undoubtedly Micheal B. Jordan’s movie. I feel privileged as a moviegoer that I’ll hopefully get to see decades upon decades of Jordan’s work. Sidney Poitier passed the baton to Denzel and now the baton is being passed to Jordan. There’s a bunch of performances worthy of nominations here – Jordan’s, Foxx’s, Brie Larson’s and Rob Morgan’s. Writer/director Destin Daniel Cretton and the film itself deserved Academy love too. More important than Oscar consideration is that Just Mercy could actually effect change. We need more Bryan Stevenson’s in this world – the more people who know his story and the stories of the men he advocated on behalf of the better. 5/5 stars and my highest recommendation … also, bring Kleenex.
Bad Boys for Life
I’m not gonna lie – I got a big ol’ nostalgic, movie nerd boner seeing that Don Simpson/Jerry Bruckheimer Films lightning logo up on an IMAX screen.
Bad Boys for Life is a lot of fun, but it’s probably my least favorite of the franchise. There’s a cool twist that I didn’t see coming. There are also some horrendous special effects and new characters that I liked and loathed in equal measure. Will Smith and Martin Lawrence bring it though. The filmmakers also reprise a character who I was overjoyed to see return. This installment simultaneously has the most heart while being the most violent.
The flick leaves the door wide open for another sequel. Given the commercial and critical reception to this one, it’s Bad Boys for Life indeed.
A movie made for those who wanna see Kristen Stewart run around in her underpants while sopping wet and get thrown through the air repeatedly in slow-mo. Underwater alternates between visual dynamism and incoherence. The monsters are pretty cool-lookin’ … what you see of ’em. The cast is generally pretty likeable … yes, even T.J. Miller … too bad he seems like such a shitbag in actuality.
Take Saving Private Ryan, Dunkirk, Gravity and Battlefield 1, throw ’em all in a blender, hit puree and the result is 1917.
Sam Mendes’ movie is undeniably beautiful – it’s one of the best-looking films of the year as shot by esteemed cinematographer Roger Deakins. It also sports a splendid score from Thomas Newman. All that said, it’s kinda boring.
Saving Private Ryan and Dunkirk mop the floor with this movie. 1917 lacks the tension of Gravity. The picture kinda feels like it’s on rails like Battlefield 1, but your buddy’s hogging the controller and you’re stuck simply watching. 1917 ultimately packs some emotional wallop in the late goings, but most the movie you’re stuck with ciphers you don’t really get to know. The picture also strains the realms of believability – there are some A-Team gunfight dynamics at play here – our primary protagonist is pretty much a crack shot and the Jerries can’t hit the broad side of a barn.
Ultimately, 1917 AKA Saving Leftenant Blake is a technical marvel that veers into emotional hollowness. It’s more sizzle than steak, but what sizzle …
Quite simply Little Women is exquisite. Greta Gerwig improved upon the already impressive game she displayed with Lady Bird to make one of 2019’s absolutely best films. Its cast is uniformly excellent. The costumes, sets and cinematography are stunning. Alexandre Desplat’s score is gorgeous. Gerwig fucking with Louisa May Alcott’s chronology further plumbs emotional depths. Feminist, humanist, funny and moving – Little Women’s a damned near perfect movie. The student’s exceeded the teacher as the new Gerwig > the new Noah Baumbach.
A Hidden Life
If A Hidden Life were 45 minutes shorter it’d be a masterpiece. The movie kinda reminded me of The Irishman in that after the first hour I thought this was the best film I’d seen all year … then each fell into the trap of repetition. Both movies depict mob mentality and our protagonist is every bit as stubborn as Al Pacino’s Jimmy Hoffa. This is easily the best Terrence Malick movie since The Tree of Life. This thing is undeniably exquisite-looking and sounding. If I had my druthers it’d get Oscar nominations for cinematography and its score.
It’s kind of amusing to see August Diehl play a character that’s the antithesis of his Inglorious Basterds role. Diehl is an interestingly handsome actor – he kinda looks like a combination of a younger Christopher Walken and Americana statesman Jason Isbell. I could watch the dude ride a motorcycle all damned day. I can’t decide if Diehl’s character is virtuous, prideful or both, which makes the film interesting even if it’s overlong.
“Christians” who are still supporting 45 should be required to watch A Hidden Life before hitting the voting booth in 2020 for a glimpse at what truth faith looks like. 4.25/5 stars.