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97 Minutes | Thriller | 2018-10-24
📥 The Last Berliner 2018
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139 Minutes | Crime, Thriller, Comedy | 2018-10-05
📥 Andhadhun 2018
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136 Minutes | Drama, Thriller, Horror | 2018-09-23
📥 The Nightingale 2018
📥 DOWNLOAD HERE
Even with its flaws, this feminist Western is too violent, too dirty, too bloody, and too barbaric to be forgotten easily. When the lights in the cinema came on, the woman next to me was crying and, a few rows over, someone murmured that they had now had PTSD. 'The Nightingale’ is not an easy film to watch and certainly not one to expect to come out of laughing or feeling terrific. But it will make you will feel something, which is a rare thing for a film to be able to do today.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-nightingale-a-blunt-and-brutal-period-piece
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A superb, albeit harrowing drama about colonial violence, misogyny, and racism_**
>_Whether the Blacks deserve any mercy at the hands of the pioneering squatters is an open question, but that they get none is certain. They are a doomed race, and before many years they will be completely wiped out of the land._
- Harold Finch-Hatton; _Advance Australia! An Account of Eight Year's Work, Wandering and Amusement in Queensland, New South Wales and Victoria_ (1885)
>_If Judas Chamberlain can find a black, or brown or yellow race in Asia or Africa, that has as high a standard of civilisat__ion and intelligence as the whites, that is as progressive as the whites, as brave, as sturdy, as good nation-making material, and that can intermarry with the whites without the mixed progeny showing signs of deterioration, that race is welcome in Australia regardless of colour._
- _The Bulletin_ (June 22, 1901)
>_The land is my mother. Like a human mother, the land gives us protection, enjoyment and provides our needs – economic, social and religious. We have a human relationship with the land: mother, daughter, son. When the land is taken from us or destroyed, we feel hurt because we belong to the land and we are part of it._
- Djiniyini Gondarra; Quoted in Ian R. Yule (ed.), _My Mother the Land_ (1980)
>_The attacks on the character and the efficiency of Van Diemonian smallholders bear striking similarities to those made on the Irish and Scottish at this time. In both cases unfavourable contrasts with both 'old English' (hierarchical ordered rural society) and 'new English' (improved and efficient agricultural productivity) were commonly made. In both cases the people were seen to be, if not quite 'savages', at least not fully 'civilised.' And in the penal colony, just as with the Celtic fringe, this judgement was to justify eviction and rigorous social control measures which would deliver exclusive 'ownership' and control of the most productive land to a powerful and privileged elite._
- James Boyce; "An environmental history of British settlement in Van Diemen's Land: The making of a distinct people, 1798- 1831" (2006)
Hollywood has always had a curious relationship with colonialism. Whilst the British colonisation of the Americas tends to be frowned upon, one of the most popular genres of all-time, the western, was, for many decades, an un-ironic celebration of the white mans' subjugation of the Native American populace. It was only with the revisionist westerns of directors such as John Ford, John Sturges, Sam Peckinpah, and Sergio Leone that the genre began to embrace introspection, deconstructing its own codes and rendering problematic its colonialist tropes. Written and directed by Jennifer Kent, _The Nightingale_ could certainly be categorised as a revisionist western, albeit set in Van Diemen's Land (modern-day Tasmania), an island about 150 miles off the southeast coast of Australia, but it's probably more accurate to class it as a colonial revenge. On the surface, it's very much a genre picture, a rape/revenge drama set in a western _milieu_. However, as it progresses, it gradually reveals itself as less concerned with hitting genre beats than engaging with issues such as racism, misogyny, innocence, the fine line between barbarism and civilisation, and the cathartic potential of violent revenge (or possible lack thereof). Much as Kent's debut, the exceptional _The Babadook_ (2014), was a horror in name only, its genre serving as a means to a thematic end, so too with _The Nightingale_. Brutally violent (but never gratuitously so), extremely unpleasant, and downright nihilistic at times, it's not going to pack them in at the multiplex, but for those who think of cinema as art first, entertainment second, this is an important, relevant, and mature study of mans' innate capacity for cruelty.
Van Diemen's Land, 1825. A British penal colony, the island is in the midst of the Black War, with the British army attempting to eradicate the indigenous Palawa population. In an isolated colony, Clare Carroll (a star-making turn from Aisling Franciosi) and her husband Aidan (Michael Sheasby) are Irish convicts with an infant daughter, indentured to garrison commander Lt. Hawkins (an odious Sam Claflin). Convicted of petty theft in Ireland over seven years prior, Clare has served her sentence and is waiting for Hawkins to sign her long overdue letter of recommendation, which would render her and Aidan free citizens. However, Hawkins, who calls her his Nightingale on account of her beautiful singing voice, responds by raping her, and not for the first time. Meanwhile, Cpt. Goodwin (Ewen Leslie) visits the colony to evaluate Hawkins for promotion and a more prestigious command. The night after the rape, Aidan drinks too much and gets into a brawl with Hawkins, the sadistic Sgt. Ruse (Damon Herriman), and the naïve Pvt. Jago (Harry Greenwood). Seeing the brawl, and already unimpressed with the conduct of Hawkins's men, Goodwin tells him he will not be recommending him for promotion. Infuriated, Hawkins orders Ruse and Jago to accompany him on foot through the treacherous bush to Launceston, where he intends to make an in-person appeal for promotion to army brass. However, before they leave, Hawkins and Ruse rape Clare and brutalise Aidan and their baby. And so, determined to exact revenge, she sets off in pursuit of the trio, hiring "Billy" Mangana (an exceptional debut from dancer Baykali Ganambarr), a Palawa tracker and one of the last of his people, who hates whites as much as Clare hates Hawkins.
Having spent over five years researching the frontier wars, Kent made _The Nightingale_ in collaboration with Palawa elders, with the story of Clare and Billy serving as Australia-specific synecdoche for the general oppression and violence of British colonialism. Both Clare and Billy have been deeply wronged by colonialists – her as a convict and woman, him as a Palawa. However, one of Kent's masterstrokes is to complicate their dynamic, whereby neither is capable of seeing their similarity to one another, with both convinced their racist point of view is legitimate. When Clare is first told she'll need a Palawa tracker, she responds, "_I'm not travelling with a black. I'll end up in someone's pot of dinner_". And in literally the next scene, when Clare tries to hire Billy, his response is, "_I'm not working for a bloody white woman._" It doesn't matter to him that Clare is in Van Diemen's Land against her will – she's part of the white race that has murdered his people and taken his land. At the same time, her view of him is based on the crudest of colonial stereotypes – that all Aborigines are cannibalistic savages. Indeed, for much of the first half of the film, she refers to him as "_boy_" rather than his actual name and exerts her authority over him in a not entirely dissimilar manner to how Hawkins exerts his authority over her.
However, it's not exactly a spoiler to say that much of the film concerns itself with the duo coming to understand the oppression experienced by the other, recognising their parallel experiences. Indeed, in one of the strongest scenes in the film, their first real connection comes as they sit at an open fire, each cursing their oppressors in their respective native tongue, linguistically rebelling by rejecting the colonial signifiers and codes. In the hands of a lesser director, their story arcs could easily devolve into the worst kind of facile and clichéd movie sentimentality. Kent, however, keeps everything so grounded in bleak reality, the character beats so organic, and the themes so understated (there are no "cry now" moments), that virtually every stage of the relationship rings true, with unnecessary, authorial imposed plot never overwhelming characterisation.
Hawkins, for his part, is a representative of the worst aspects of British colonialism, not just the kind of jingoistic and xenophobic thinking that made such colonialism possible, but so too the misogyny, racism, and savagery that underpinned the formation of the largest empire in human history (at its largest (around 1920), the British Empire included 23% of the world's population and covered 24% of the globe). Crucially, however, Hawkins is utterly banal; believing himself destined for greatness, he's incapable of accepting what is apparent to Goodwin and the audience – he's a poor officer, an amoral and mediocre man whose lofty ambitions infinitely outweigh his negligible potential. He's a symbol of the toxic masculinity that engendered colonialism, but so too is he a flesh-and-blood person with characteristics relatively unrelated to his savagery. This is important insofar as, yes, he's an irredeemable monster, but he's never a pantomime villain.
Although, on the surface, _The Nightingale_ is a rape/revenge genre piece, Kent argues that this is to miscategorise the film, telling _BUILD_,
>_it's being classed as a rape/revenge film because it's got rape in it and people who are feeling the need for vengeance, but it doesn't follow any of the tropes of that genre. In fact, if people who like those kinds of films come and see it, they're going to be infinitely disappointed, because it provides no catharsis. It actually kicks up the question of why are you wanting revenge in that way. Do you really believe it? It's a fantasy, this idea that revenge provides catharsis, it's largely a fantasy._
This is an important point, as one of the film's main themes is whether revenge can lead to peace of mind. Does revenge provide fleeting satisfaction, even though it's ultimately futile, or is it a necessary and important part of the healing process? Most troublingly of all, however, Kent asks, irrespective of one's awareness of the heavy psychological cost of violent revenge, are there acts which are so abhorrent, inhuman, and evil that revenge is the only possible response. And if so, how does one reconcile the futility of revenge with its necessity?
From an aesthetic point of view, as one would expect from the makers of _The Babadook_, _The Nightingale_ looks exceptional. Kent and cinematographer Radek Ladczuk shot the film in Academy ratio (1.37:1), with the claustrophobic nearly square frame trapping the characters within it, in direct opposition to the vast open plains in which they often find themselves. Especially important are the BCUs of faces, particularly the recurring motif of shooting from above characters as they lie on their back looking up into the sky, usually at night time. Faces in general, and Clare's in particular, are the film's roadmap insofar as the violence is never abstract; it happens to a person, not a depersonalised body, and it has real consequences – compare, for example, Clare's face prior to and after the second rape, with Franciosi's exceptionally modulated performance communicating more than language ever could. Indeed, the economy of Kent's visual language is evident from the opening scene, which sees Clare walking through the bush with her baby, as the camera shows us she's carrying a knife – establishing her independence and strength of character whilst also communicating how dangerous this place is, all without a word of dialogue.
Much has been made of the film's violence, particularly the scene where Hawkins and Ruse rape Clare. At both screenings at the Sydney Film Festival, multiple audience members walked out, and North American distributors IFC included a trigger warning independent of the MPAA rating details, stating, "The Nightingale _features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism._" Personally, although I found the rape scenes disturbing, I didn't think they were as bad as has been made out, and if you've survived films such as Wes Craven's _The Last House on the Left_ (1972), Lukas Moodysson's _Lilja-4-ever_ (2002), or Gaspar Noé's _Irréversible_, you'll be fine with _The Nightingale_. In any case, the violence (whether sexual or otherwise) is never gratuitous, exploitative, or immature – Kent is no Quentin Tarantino; violence in her work has stomach-churning consequences, and when she chooses to show such violence, there is always a point, whether it be thematic or character-driven, it's never arbitrary violence-for-violence's-sake, or worse, violence-for-titillation's-sake.
In terms of problems, as the Sydney screenings attest, the brutality on display will simply be too much for some – this most definitely is not a date movie, or a popcorn movie, or a popcorn date movie – it's dark, brutal, and unrelenting and it asks a lot of the audience. I didn't see this as a problem myself, but certainly, some people believe cinema should entertain, and entertain only, and if you're of that mindset, you'll get nothing from _The Nightingale_. A more objective criticism is that at 136 minutes, it's a tad too long, and it does lapse into repetition from time to time – if the middle act had been tightened up a bit, cutting maybe 10 or 15 minutes, it would have played better. The _dénouement_ is also somewhat rote, which is disappointing given the strength of the filmmaking leading us to that point. I wouldn't necessarily say it doesn't work, but it's the only part of the where it feels like a genre piece.
These issues aside, however, this is exceptionally strong filmmaking. With not a hint of sentimentality in its unflinching depiction of the horrors inherent in the subjugation of an entire people, _The Nightingale_ confirms Kent as a major _auteur_ with a distinctive voice and the courage to remain true to her subject-matter, however abhorrent such truth might be.
Jennifer Kent delivered one of the best horror movies of the decade, The Babadook. With The Nightingale, only her second feature film, she offers one of the most visually brutal, shocking, jaw-dropping, violent revenge stories ever. This movie is the definition of “not for everyone.”
Rating: A-
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117 Minutes | Action, Adventure, Animation, Science Fiction, Comedy | 2018-12-06
📥 Spider-Man: Into the Spider-Verse 2018
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First of all, I love the animation style in this film. The animation in this film is styled to look like an actual comic book. I think this approach for this kind of film was an excellent choice because we’ve all seen the usual kind of animation but nothing like this. To tie in with the animation I need to talk about the action scenes in this film. These tie in with the animation because of the way the directors styled the action shots is to look like something in a comic panel. Most people don’t know who Miles Morales is and after this film, you’ll want to learn more about him because of how they made him so relatable in this film. He acts like a typical teen in this situation compared to other versions of Spider-Man. Other versions kind of just acted like they always knew how to use their powers when Miles struggles with his. Miles isn’t the only relatable character film all of them are. The creators of this film did a “Marvel”ous job at making each character in this film somebody at least one person in the audience can relate to. All of the voice actors did a great job in their respected roles but it would’ve been nice to have a returning voice to at least one of the Spider-Man. It would’ve been cool to hear a returning voice even if it was for a few seconds. I have to talk about the humour in this film. It isn’t overpowered in this film and I felt like it had just the right amount of humour that will make everybody laugh. They poke fun of things that wouldn’t make sense in a real movie and other Spider-Man movies. Not a single moment in this film felt rushed or slowed down every scene felt the right pace for a movie like this. The cinematography in this movie was spectacular. This is probably because of it looking like a comic book and how the lighting needs to match up with how it would look in an actual book. If you are a comic book junkie you’ll love all of the easter eggs in this film. Some of them just comic book readers will get but others a majority of people will understand. The music in this film is fantastic. Every song in this film isn’t overused and matches perfectly with the age of the character. Somebody Miles age would be listening to the type of music he listens to. And the music without lyrics helps increase the emotion in the film. Also, there are two end credit scenes that are worth waiting for. In the end, this film is perfect for everybody. I give Spider-Man: Into the Spider-Verse a 10/10.
It's true I liked it less than perhaps the vast majority of _Spider-Verse's_ audience, but this was still great, the animation enamouring, and the depth of its story and reference totally engaging. Not to me the best Spider-Man movie as many have said, (that honour still goes to _Homecoming_) but a blast all the same.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
My wife doesn’t care for Spider-Man at all - as Batman is her favorite superhero.
With that being said, she loves this movie to death, along with my son and I. It’s safe to say we’ve watched this movie over 10 times and we’ve shown it to all our friends. It’s a really great movie that promotes diversity, good animation, and has a great story. I highly recommend to all who are interested in watching.
Spider-Man: Into the Spider-Verse (2018) is no ordinary Spider-Man movie, it contains multiple characters with the same powers in multiple dimensions.
This is also not an ordinary animated movie. It has animated style we have never seen before. There were 177 animators and it took 1 week to animate 1 second and 1 year to nail down 10 seconds. Nowadays, animations are being made to look real but this movie was different. However, the creators wanted it to look like something new for viewers. They don't make it realistic or cartoon. The creators used an old-school technique called "smear". If you look in a single frame, you'll notice things like multiple limbs to create the illusion of movement. Basically, the entire movie was a comic book that moves. There is a technique in half-toning, which uses dots to create colors and gradients. They were really jaw-dropping. The shadows were created with hatching or crisscrossed lines. The movie had some textures so it would be exactly like a comic and I was glad that it deserved Oscars's Best Animated Feature. All of these techniques combined to make a movie that was the best animated feature not just in 2018 but perhaps of all time. It was really like a masterpiece of animation!
The story plot was really good. The scenes were quite EPIC and sometimes tragic and hilarious. The unbelievable thing was when Peter Parker died in Miles' Dimension. It was really sad to see an iconic superhero killed by a supervillain. The deaths are moving and the hilarious scenes kept me laugh a lot. I like the end-credits when it started in the Animated Tv Show Spider-Man (1966) when the two Spider-Men look exactly like each other arguing, but this time, it was Spider-Man pointing to Spider-Man 2099. How did they do that? Perhaps the best moment to me was “A Leap of Faith” when Miles tried to be the one and only Spider-Man in his dimension, after Peter Parker was dead.
I wasn't bored watching this movie, it kept my eyes open on the screen looking at the newest kind of animation. I was totally impressed! Perhaps this is the greatest animated movie of alll time! It was a really good idea to release this on Christmas!
Stan Lee would be proud! Great story, great message, and great animation.
It's easy to see how this became the visual masterpiece it is. The creators put a lot of love and passion into its making and the results are amazing!
I was asleep most of the time while watching this film, but during the times I was awake, I enjoyed the animation and it looked like something I would've enjoyed - if I weren't too busy dozing off.
I didn't expect I would enjoy this movie this much. The trailers looked too hyped for me and so I thought it would flop just like the other ones. Surprisingly, it didn't and I had my eyes glued to the screen because of the awesome animation the creators put out. Really good job!
Spider-Man has always been that character that I saw in live-action movies so to see him in an animated version was a first for me. It was hard for me to enjoy it at first but the movie didn't seem too bad and had a really good plot.
At first, I expected I was gonna be disappointed because all of the trailers for this Spider-Man looked childish and too millennial for me. And being a fan of the Tobey Spider-Man, I had high expectations. Surprisingly though, I was able to still love the film!
No doubt about it. This is truly Marvel, from the bold storytelling all the way to its stylish animations.
A lot of risks were taken in this video and all that paid off giving us one hell of a film!
Although the story was a textbook plot, it still had enough twists to satisfy both new and returning audiences.
This definitely has Stan Lee's seal of approval. People in the studio, be proud of yourselves. You have made Stan Lee proud.
One of the few films that lived up to the hype and even surpassed my expectations.
Watched this movie a couple of times and I think it's safe to say that it's a near, perfect movie.
Animators really outdid themselves on this one by giving each character a uniqueness to them.
Sony really nails making character movement look detailed and pronounced.
Despite having a plot that's almost predictable, the visual style and the way it was presented made the film feel fresh.
The visuals, concepts, soundtrack, and characters are some of the best I've ever seen!
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149 Minutes | Adventure, Action, Science Fiction | 2018-04-25
📥 Avengers: Infinity War 2018
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"It is a bold undertaking, to readjust what is expected of the MCU/Avengers formula, and there are moments when the sheer scale and momentum match the narrative ambition..."
Read the full review here: http://screen-space.squarespace.com/reviews/2018/4/25/avengers-infinity-war.html
Amazing. Visually stunning. So much going on, but somehow also clear and easy to understand. A little flabby in the middle third, but given the huge cast and story to cover it is very understandable. The highlight was the parings of characters from different stories and their interactions.
If you aren't a Marvel fan this film won't convert you, but if you have liked any of the previous films you will like this too.
10/10
Just a very short, NO SPOILERS review I wanted to get down while it's still fresh.
For a movie with this much riding it, to come out not feeling disappointed, is a **massive** achievement. While I absolutely do love it I had some things that I felt were maybe imperfect about _Infinity War_, but my biggest concern was that it seemed like it would be absolutely meaningless to somebody who didn't put in the effort of watching the 18 movies leading up to it. You can probably assuage that fear though, because I went to see it with two people who had only seen _Black Panther_ at this point, and they both loved it, with minimal confusion.
Personally? I can't wait to see it again. This is probably the most excited I've been about the second watch of an MCU film since the first _Avengers_.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
The third act turns on a character being an idiot. That story beat renders all that the heroes do before and after it immaterial. That moment so preoccupied me that I couldn't enjoy the rest of the story, and made it impossible to ignore the flick's other glaring flaws anymore: the villain's motive makes no sense, the glove exists only to produce plot contrivances, the score is so obvious it might as well be cue cards on screen ("Feel sad now") ...
The first half is some of the best action in a Disney Marvel entry yet, and the other half is so stupid that it sours the whole MCU experience.
Best MCU movie, more than that.... BEST SUPERHERO MOVIE EVER. Hands Down
Nice Movie.
Massive, epic movie. I'm so happy that Marvel is stepping up their game with their villains. For too long, MCU villains have been too bland and generic. But lately, the villains have improved with Michael Keaton's Vulture, Michael B. Jordan's Killmonger, and now James Brolin's Thanos. Thanos has appeared in several other MCU films, but he seemed rather flat in those movies. Here, he's allowed to be fully developed as a character. Especially touching is his relationship with his adoptive daughter, Gamora. It's actually surprisingly tender and moving. Thanos is the actual main focus of the film, and if he failed as a character, the entire movie wouldn't have worked. So bravo, Marvel!
Best Movie Ever...
***Moving ending, but the least of the Avengers movies IMHO***
RELEASED IN 2018 and directed by Anthony & Joe Russo, "Avengers: Infinity War" chronicles events when the Avengers team-up with several allies to defeat the cosmic despot Thanos, whose goal is to collect all six Infinity Stones to attain unimaginable power and radically solve one of the Universe's most challenging problems.
The story focuses on Thanos, Thor and the Guardians of the Galaxy, especially Gamora, as well as Iron Man, Doctor Strange and Spider-Man. The rest of the cast members are more peripheral, e.g. Black Widow, Captain America, Black Panther, Vision and Scarlet Witch.
This is easily the least of the Avengers trilogy. Not to mention "Captain America: Civil War" (2016) and "Thor: Ragnarok" (2017) are significantly more compelling and all-around entertaining. Actually, all three Thor flicks are palpably superior, as is "Iron Man 2" (2010). If you haven't already, I encourage you to watch these movies prior to viewing "Infinity War," as well as "Black Panther" (2018) and the two "Guardians of the Galaxy" flicks (2014/2017); otherwise you'll likely be lost because all these movies lead up to this one.
"Infinity War" is certainly an ambitious comic book movie in that it notably juggles so many super-beings, but this lack of focus isn't conducive to suspense or great drama. It's merely decent with overkill CGI. The big battle in the closing act with the easily slaughtered four-armed dog-creatures is curiously dull; moreover, the attempts at humor sometimes feel forced and fall flat, but several jokes are laugh-out-loud funny, e.g. "Rabbit." Thankfully, the film adds moving drama and gets extra points for a bold, poignant climax, which sets up the 2019 sequel "Endgame."
THE MOVIE RUNS 2 hours, 29 minute and was shot in New York City, Scotland and Philippines with studio work done in Pinewood Atlanta Studios in Fayetteville, Georgia. WRITERS: Christopher Markus and Stephen McFeely.
GRADE: B-
I Love this movie.
It's the epitome of superhero trash and the franchise of manchildren. The ultimate smashing your toys together to battle only this time it's for the world to see.
In 2012, Marvel Studios changed the cinematic landscape with a payoff that was five films in the making, proving a linked universe of movies could work.
In 2014, they proved to be one of the finest purveyors of entertainment by releasing two of the best genre films of all time back to back.
In 2018, Avengers: Infinity War is the culmination of ten years of narrative buildup. All the pieces were patiently put in place. The payoff? Never did my inner 8 year old think he would ever be watching a movie with Iron Man and Spider-Man sharing the same screen together, but here we are. Avengers: Infinity War is a very fine piece of 'turn your brain off' storytelling, except it actually goes the extra mile to have some intelligence.
We all know the film isn't the Endgame, but we're primed and ready for Part 2. Shut up and take my 💰 Marvel!
One of the best Marvel Movies!
Josh Brolin portrayed Thanos really beautiful. He was an amazing villain that kept all the Avengers on their edge and made them think it was a bit hopeless to really go against him.
This is a blast of a Marvel movie and I can't wait to see what will happen next. You are clueless and you don’t know what will happen, keeping us all on the edge of our seats. Fascinating!
Here we are 10 years later with one of the most anticipated movies of all time! The CGI was much better, the story was better...everything about the Infinity War was great!
It is unlike anything ever done in the history of cinema. This one is masterfully woven from the culmination of Marvel movies throughout the years. Truly amazing!
The character development for Thanos was so good that it made me think that maybe he was right. He was the villain that surpassed all the other villains from the past Marvel movies. Trust me, this is the movie that might have changed the MCU.
GOOSEBUMPS! Infinity War is worth watching. The usual comedic banter between the casts, the awesome CGI, amazing plotline, the results did not disappoint.
Avengers: Infinity War was clearly much better than Avengers: Endgame in the sense that 1) it was better in terms of writing, 2) it is the true culmination of an entire decade of MCU films, and 3) Endgame gave me more questions than answers.
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105 Minutes | Romance, Comedy | 2018-05-11
📥 The Kissing Booth 2018
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139 Minutes | Crime, Thriller, Comedy | 2018-10-05
📥 Andhadhun 2018
📥 DOWNLOAD HERE
H Wikipedia ~ H or h is the eighth letter in the ISO basic Latin alphabet Its name in English is aitch pronounced ˈeɪtʃ plural aitches or regionally haitch ˈheɪtʃ
HM offers fashion and quality at the best price ~ Welcome to HM your shopping destination for fashion online We offer fashion and quality at the best price in a more sustainable way
H Definition of H at ~ noun plural Hs or Hs hs or hs the eighth letter of the English alphabet a consonant any spoken sound represented by the letter H or h as in hot or behave something having the shape of an H
h Wiktionary ~ The letter Hh like Ff and Oo representing o oː instead of uə̯ is found only in words of foreign origin borrowings Note that it represents the sound of IPA x like German machen ach not as in most other alphabets based on the Latin script the sound of IPA h
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92 Minutes | Comedy, Drama | 2018-09-12
📥 The Freshmen 2018
📥 DOWNLOAD HERE
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149 Minutes | Adventure, Action, Science Fiction | 2018-04-25
📥 Avengers: Infinity War 2018
📥 DOWNLOAD HERE
"It is a bold undertaking, to readjust what is expected of the MCU/Avengers formula, and there are moments when the sheer scale and momentum match the narrative ambition..."
Read the full review here: http://screen-space.squarespace.com/reviews/2018/4/25/avengers-infinity-war.html
Amazing. Visually stunning. So much going on, but somehow also clear and easy to understand. A little flabby in the middle third, but given the huge cast and story to cover it is very understandable. The highlight was the parings of characters from different stories and their interactions.
If you aren't a Marvel fan this film won't convert you, but if you have liked any of the previous films you will like this too.
10/10
Just a very short, NO SPOILERS review I wanted to get down while it's still fresh.
For a movie with this much riding it, to come out not feeling disappointed, is a **massive** achievement. While I absolutely do love it I had some things that I felt were maybe imperfect about _Infinity War_, but my biggest concern was that it seemed like it would be absolutely meaningless to somebody who didn't put in the effort of watching the 18 movies leading up to it. You can probably assuage that fear though, because I went to see it with two people who had only seen _Black Panther_ at this point, and they both loved it, with minimal confusion.
Personally? I can't wait to see it again. This is probably the most excited I've been about the second watch of an MCU film since the first _Avengers_.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
The third act turns on a character being an idiot. That story beat renders all that the heroes do before and after it immaterial. That moment so preoccupied me that I couldn't enjoy the rest of the story, and made it impossible to ignore the flick's other glaring flaws anymore: the villain's motive makes no sense, the glove exists only to produce plot contrivances, the score is so obvious it might as well be cue cards on screen ("Feel sad now") ...
The first half is some of the best action in a Disney Marvel entry yet, and the other half is so stupid that it sours the whole MCU experience.
Best MCU movie, more than that.... BEST SUPERHERO MOVIE EVER. Hands Down
Nice Movie.
Massive, epic movie. I'm so happy that Marvel is stepping up their game with their villains. For too long, MCU villains have been too bland and generic. But lately, the villains have improved with Michael Keaton's Vulture, Michael B. Jordan's Killmonger, and now James Brolin's Thanos. Thanos has appeared in several other MCU films, but he seemed rather flat in those movies. Here, he's allowed to be fully developed as a character. Especially touching is his relationship with his adoptive daughter, Gamora. It's actually surprisingly tender and moving. Thanos is the actual main focus of the film, and if he failed as a character, the entire movie wouldn't have worked. So bravo, Marvel!
Best Movie Ever...
***Moving ending, but the least of the Avengers movies IMHO***
RELEASED IN 2018 and directed by Anthony & Joe Russo, "Avengers: Infinity War" chronicles events when the Avengers team-up with several allies to defeat the cosmic despot Thanos, whose goal is to collect all six Infinity Stones to attain unimaginable power and radically solve one of the Universe's most challenging problems.
The story focuses on Thanos, Thor and the Guardians of the Galaxy, especially Gamora, as well as Iron Man, Doctor Strange and Spider-Man. The rest of the cast members are more peripheral, e.g. Black Widow, Captain America, Black Panther, Vision and Scarlet Witch.
This is easily the least of the Avengers trilogy. Not to mention "Captain America: Civil War" (2016) and "Thor: Ragnarok" (2017) are significantly more compelling and all-around entertaining. Actually, all three Thor flicks are palpably superior, as is "Iron Man 2" (2010). If you haven't already, I encourage you to watch these movies prior to viewing "Infinity War," as well as "Black Panther" (2018) and the two "Guardians of the Galaxy" flicks (2014/2017); otherwise you'll likely be lost because all these movies lead up to this one.
"Infinity War" is certainly an ambitious comic book movie in that it notably juggles so many super-beings, but this lack of focus isn't conducive to suspense or great drama. It's merely decent with overkill CGI. The big battle in the closing act with the easily slaughtered four-armed dog-creatures is curiously dull; moreover, the attempts at humor sometimes feel forced and fall flat, but several jokes are laugh-out-loud funny, e.g. "Rabbit." Thankfully, the film adds moving drama and gets extra points for a bold, poignant climax, which sets up the 2019 sequel "Endgame."
THE MOVIE RUNS 2 hours, 29 minute and was shot in New York City, Scotland and Philippines with studio work done in Pinewood Atlanta Studios in Fayetteville, Georgia. WRITERS: Christopher Markus and Stephen McFeely.
GRADE: B-
I Love this movie.
It's the epitome of superhero trash and the franchise of manchildren. The ultimate smashing your toys together to battle only this time it's for the world to see.
In 2012, Marvel Studios changed the cinematic landscape with a payoff that was five films in the making, proving a linked universe of movies could work.
In 2014, they proved to be one of the finest purveyors of entertainment by releasing two of the best genre films of all time back to back.
In 2018, Avengers: Infinity War is the culmination of ten years of narrative buildup. All the pieces were patiently put in place. The payoff? Never did my inner 8 year old think he would ever be watching a movie with Iron Man and Spider-Man sharing the same screen together, but here we are. Avengers: Infinity War is a very fine piece of 'turn your brain off' storytelling, except it actually goes the extra mile to have some intelligence.
We all know the film isn't the Endgame, but we're primed and ready for Part 2. Shut up and take my 💰 Marvel!
One of the best Marvel Movies!
Josh Brolin portrayed Thanos really beautiful. He was an amazing villain that kept all the Avengers on their edge and made them think it was a bit hopeless to really go against him.
This is a blast of a Marvel movie and I can't wait to see what will happen next. You are clueless and you don’t know what will happen, keeping us all on the edge of our seats. Fascinating!
Here we are 10 years later with one of the most anticipated movies of all time! The CGI was much better, the story was better...everything about the Infinity War was great!
It is unlike anything ever done in the history of cinema. This one is masterfully woven from the culmination of Marvel movies throughout the years. Truly amazing!
The character development for Thanos was so good that it made me think that maybe he was right. He was the villain that surpassed all the other villains from the past Marvel movies. Trust me, this is the movie that might have changed the MCU.
GOOSEBUMPS! Infinity War is worth watching. The usual comedic banter between the casts, the awesome CGI, amazing plotline, the results did not disappoint.
Avengers: Infinity War was clearly much better than Avengers: Endgame in the sense that 1) it was better in terms of writing, 2) it is the true culmination of an entire decade of MCU films, and 3) Endgame gave me more questions than answers.
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113 Minutes | Documentary | 2018-11-28
📥 Genesis 2.0 2018
📥 DOWNLOAD HERE
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103 Minutes | Documentary | 2018-12-07
📥 Be Natural: The Untold Story of Alice Guy-Blaché 2018
📥 DOWNLOAD HERE
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116 Minutes | Drama | 2018-11-28
Over the film’s tight running time, characterisation and storyline unspool at an unhurried pace which, when coupled with some darkly elegant cinematography, expert utilisation of colour and excellent performances by the two leads, ensure ‘Slam’ is never less than compelling and through-provoking viewing.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-slam-a-gripping-urban-mystery
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117 Minutes | Action, Adventure, Animation, Science Fiction, Comedy | 2018-12-06
📥 Spider-Man: Into the Spider-Verse 2018
📥 DOWNLOAD HERE
First of all, I love the animation style in this film. The animation in this film is styled to look like an actual comic book. I think this approach for this kind of film was an excellent choice because we’ve all seen the usual kind of animation but nothing like this. To tie in with the animation I need to talk about the action scenes in this film. These tie in with the animation because of the way the directors styled the action shots is to look like something in a comic panel. Most people don’t know who Miles Morales is and after this film, you’ll want to learn more about him because of how they made him so relatable in this film. He acts like a typical teen in this situation compared to other versions of Spider-Man. Other versions kind of just acted like they always knew how to use their powers when Miles struggles with his. Miles isn’t the only relatable character film all of them are. The creators of this film did a “Marvel”ous job at making each character in this film somebody at least one person in the audience can relate to. All of the voice actors did a great job in their respected roles but it would’ve been nice to have a returning voice to at least one of the Spider-Man. It would’ve been cool to hear a returning voice even if it was for a few seconds. I have to talk about the humour in this film. It isn’t overpowered in this film and I felt like it had just the right amount of humour that will make everybody laugh. They poke fun of things that wouldn’t make sense in a real movie and other Spider-Man movies. Not a single moment in this film felt rushed or slowed down every scene felt the right pace for a movie like this. The cinematography in this movie was spectacular. This is probably because of it looking like a comic book and how the lighting needs to match up with how it would look in an actual book. If you are a comic book junkie you’ll love all of the easter eggs in this film. Some of them just comic book readers will get but others a majority of people will understand. The music in this film is fantastic. Every song in this film isn’t overused and matches perfectly with the age of the character. Somebody Miles age would be listening to the type of music he listens to. And the music without lyrics helps increase the emotion in the film. Also, there are two end credit scenes that are worth waiting for. In the end, this film is perfect for everybody. I give Spider-Man: Into the Spider-Verse a 10/10.
It's true I liked it less than perhaps the vast majority of _Spider-Verse's_ audience, but this was still great, the animation enamouring, and the depth of its story and reference totally engaging. Not to me the best Spider-Man movie as many have said, (that honour still goes to _Homecoming_) but a blast all the same.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
My wife doesn’t care for Spider-Man at all - as Batman is her favorite superhero.
With that being said, she loves this movie to death, along with my son and I. It’s safe to say we’ve watched this movie over 10 times and we’ve shown it to all our friends. It’s a really great movie that promotes diversity, good animation, and has a great story. I highly recommend to all who are interested in watching.
Spider-Man: Into the Spider-Verse (2018) is no ordinary Spider-Man movie, it contains multiple characters with the same powers in multiple dimensions.
This is also not an ordinary animated movie. It has animated style we have never seen before. There were 177 animators and it took 1 week to animate 1 second and 1 year to nail down 10 seconds. Nowadays, animations are being made to look real but this movie was different. However, the creators wanted it to look like something new for viewers. They don't make it realistic or cartoon. The creators used an old-school technique called "smear". If you look in a single frame, you'll notice things like multiple limbs to create the illusion of movement. Basically, the entire movie was a comic book that moves. There is a technique in half-toning, which uses dots to create colors and gradients. They were really jaw-dropping. The shadows were created with hatching or crisscrossed lines. The movie had some textures so it would be exactly like a comic and I was glad that it deserved Oscars's Best Animated Feature. All of these techniques combined to make a movie that was the best animated feature not just in 2018 but perhaps of all time. It was really like a masterpiece of animation!
The story plot was really good. The scenes were quite EPIC and sometimes tragic and hilarious. The unbelievable thing was when Peter Parker died in Miles' Dimension. It was really sad to see an iconic superhero killed by a supervillain. The deaths are moving and the hilarious scenes kept me laugh a lot. I like the end-credits when it started in the Animated Tv Show Spider-Man (1966) when the two Spider-Men look exactly like each other arguing, but this time, it was Spider-Man pointing to Spider-Man 2099. How did they do that? Perhaps the best moment to me was “A Leap of Faith” when Miles tried to be the one and only Spider-Man in his dimension, after Peter Parker was dead.
I wasn't bored watching this movie, it kept my eyes open on the screen looking at the newest kind of animation. I was totally impressed! Perhaps this is the greatest animated movie of alll time! It was a really good idea to release this on Christmas!
Stan Lee would be proud! Great story, great message, and great animation.
It's easy to see how this became the visual masterpiece it is. The creators put a lot of love and passion into its making and the results are amazing!
I was asleep most of the time while watching this film, but during the times I was awake, I enjoyed the animation and it looked like something I would've enjoyed - if I weren't too busy dozing off.
I didn't expect I would enjoy this movie this much. The trailers looked too hyped for me and so I thought it would flop just like the other ones. Surprisingly, it didn't and I had my eyes glued to the screen because of the awesome animation the creators put out. Really good job!
Spider-Man has always been that character that I saw in live-action movies so to see him in an animated version was a first for me. It was hard for me to enjoy it at first but the movie didn't seem too bad and had a really good plot.
At first, I expected I was gonna be disappointed because all of the trailers for this Spider-Man looked childish and too millennial for me. And being a fan of the Tobey Spider-Man, I had high expectations. Surprisingly though, I was able to still love the film!
No doubt about it. This is truly Marvel, from the bold storytelling all the way to its stylish animations.
A lot of risks were taken in this video and all that paid off giving us one hell of a film!
Although the story was a textbook plot, it still had enough twists to satisfy both new and returning audiences.
This definitely has Stan Lee's seal of approval. People in the studio, be proud of yourselves. You have made Stan Lee proud.
One of the few films that lived up to the hype and even surpassed my expectations.
Watched this movie a couple of times and I think it's safe to say that it's a near, perfect movie.
Animators really outdid themselves on this one by giving each character a uniqueness to them.
Sony really nails making character movement look detailed and pronounced.
Despite having a plot that's almost predictable, the visual style and the way it was presented made the film feel fresh.
The visuals, concepts, soundtrack, and characters are some of the best I've ever seen!
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130 Minutes | Drama, Comedy | 2018-11-16
📥 Green Book 2018
📥 DOWNLOAD HERE
Sadly, didn't end racism, but still very cute.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
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Living in Portugal has a ton of pros, but regarding movies, it lacks serious advantages. The price of admission is expensive, there is only one film theater in my city (every time I want to watch a movie on IMAX or Dolby Atmos, it's a financial effort and time-consuming) and the worst of all, a whole bunch of films aren't released in their original date, especially November/December Oscar-bait movies. Only now I had the opportunity to see Green Book, and I am so mad I wasn't able to write its review in 2018 because this is undoubtedly the best comedy-drama of last year and one of the best overall!
With the help of a terrific cast, Peter Farrelly and his writing crew (which counts with Vallelonga's son, Nick) deliver what I think is the best screenplay of 2018. I can't remember the last time I cried of so much laughter in a film. I can't remember the last time I did the latter and still got emotional with the dramatic arc. This comedy-drama sent me through a roller coaster of emotions I wasn't expecting, at all. I went in anticipating outstanding performances (check) and solely that. Since 2019 has already begun, I'm watching the Oscar-bait movies with no real hopes of being utterly amazed.
However, Green Book completely took me by surprise. I genuinely don't know why everyone was so shocked when it won Best Screenplay at the Golden Globe Awards. It possesses such a well-written story, filled with brilliant narratives about the most sensitive subjects. It takes the two main characters and elevates their individual arcs into subplots where you begin and end with two completely different personas. It's an extremely relevant film that shows how our world evolved and fought back racism and discrimination, without ever becoming too dark or even dull. It's not more of the same, it's not another movie produced exclusively to send a social message and catch some Oscar nominations. It's a truly captivating story of how two men can change their perspective of another race or even the entire world, by actually spending time with another culture and ignoring preconceived notions.
Nevertheless, this well-structured, beautifully-directed and cleverly-written film would be just "good" if not for the two incredible actors, who take this movie to a whole other level. Viggo Mortensen and Mahershala Ali have such compelling chemistry that I wouldn't mind watching them interact for two hours on a car trip. Every single car sequence either produces hilarious moments, filled with tearful laughter, or it drastically changes into a more dramatic and emotional tone, subtly touching delicate topics. I knew Mortensen had a humorous side to him, but I never saw this coming! His timing, his expressions, his Italian accent, his body movements, everything about his performance is perfect. He absolutely nailed his part, by giving me the best time I had at a film theater in a long time, and his Oscar nomination is more than fair. He made a 130-min feature movie feel like a short flick.
Ali doesn't come far behind. Obviously, since Viggo has a funnier role to portray, the audience members might feel that he's just there to help his co-star shine, but he does much more than that. Since he brings the drama element to the story, he has a more restrained performance during the first half of the film. However, once Shirley starts getting along with Tony Lip, Ali gradually offers more and more splendid acting moments. He's definitely a supporting actor, but God is he a phenomenal one! Linda Cardellini (Dolores Vallelonga), even though she's only on-screen for a few minutes spread throughout the runtime, also delivers a great performance.
Tony Lip and Dr. Don Shirley have quite distinct personalities, besides being from different races. Each character's arc is brilliantly illustrated by Peter Farrelly, who gradually shows how Tony and Don are changing their view of the world and of each other's culture. Either through the witty car sequences or through unfortunate and horrible experiences, these two characters carry the audience on a journey of growth. Change in behavior, mindset and preconceived ideas, by sharing their own culture with another. Even though they were born in different countries and lived through distinguished lifestyles, with contrasting quality of life, they eventually start realizing that what they think of the world and everything else might not be entirely right.
Technically, Farrelly controls the movie's pacing exceptionally well, by making a two-hour-ish film feel like half of it. Remarkably-balanced tone and some great cinematography is showed in a couple of scenes. Consistently-filmed and well-edited, even though the latter has small hiccups here and there. Nevertheless, this isn't a film with extraordinary technical attributes, nor it needs them. Farrelly only needed to do "ok" with the producing and filming of a standout screenplay to achieve a fantastic result, and that's exactly what he did.
Finally, regarding the controversy surrounding this movie ... See how easy it is to watch a film without being affected by outside matters which don't have a single thing to do with the movie itself? I don't care if someone who worked in the film tweeted something wrong today, let alone years ago. I don't care if someone misinterprets Viggo Mortensen's speech about racism. I don't care if the family of Don Shirley doesn't like how the movie approaches his way of being or his way of life. I don't care if the story isn't 100% true, as long as it succeeds in transmitting the vital message it wants to deliver, while actually being a good film. So, please, stop trying to listen to everything everyone says about a movie or the people working on it, especially nowadays, where chaos is easy to create.
Green Book surprised the hell out of me and left me speechless in the end. One of the best comedy-dramas I've seen in a long time, one of the best films of 2017 and, by far, the best original screenplay of the last year. Peter Farrelly and his fellow co-writers delivered a seamlessly-written story, filled with wonderful character arcs and with a quite important message to the audiences around the world. Viggo Mortensen and Mahershala Ali deliver award-worthy performances, especially the former who shows his incredible comedic timing and dramatic range. Still, the most compelling and emotional scenes come from Ali, and he does not deserve to be forgotten. I thought 2018 was going to be the first year without me giving an A+, but guess what ...
Rating: A+
"Frequently, when someone tries to portray the overwhelming decade of the 1960s, they usually misuse the concept of discrimination towards African Americans, which is accurate to describe this social issue. Nevertheless, the way Peter Farrelly and staff go into detail about this social wretchedness embodying the psychological impact it has in the main character makes the film an outstanding one".
The year is 1962, and the film begins inside Copacabana restaurant where we get introduced the imposing personality of Tony Lip, an Italian descendant whose family came from a lower middle class coping with some financial difficulties. The way Viggo Mortensen performs the character is a proper model of then American racism; therefore he attempted to keep them out until the occasion arrived and Don Shirley appeared in his path, offering him a two-month lifetime opportunity. We all need to bear in mind the precise dates because, in real life, it was nearly a year they spent together. Despite his gifted pianist skills and his upper-class status, he was still a victim of the convulsed cultural impact. Both of them, during the film, learn from each other and fight against the unsettling behaviour of determined people.
Although it may seem simple, their interaction is one of the primary reasons why it succeeds. Believe it or not, it arouses curiosity, reaches the climax when they finally let them know as they are, and sometimes it results as a plot twister due to the radical temperament change of each actor. It has been ages since I watched such a pleasant film; afterwards, I felt refreshed as though it renewed me.
The contextualisation was imperative to build up each one's personality; moreover, it was visually dazzling owing to the costumes, the space and the background advertisement of the decade. Comedy is present as well so that you won't be missing from genuine laughs. Everything appears to be perfectly balanced, even the role of secondary personages such as Tony's wife and the cheeky cards experience. I'm chuffed to bits!
On the whole, the film "Green Book" is an exceptional example of the conception of a masterpiece without spending loads of money in production and without creating plenty of trifling scenarios.
[85/100]
***A white streetwise bouncer and an articulate black pianist tour the Deep South in 1962***
A tough, working class Italian New Yawker (Viggo Mortensen) is forced to take a gig driving a refined African-American concert pianist (Mahershala Ali) through the Midwest and Deep South in 1962. Linda Cardellini plays the wife of the Italian.
“Green Book” (2018) was inspired by the real-life story and written by the son of Tony Lip (Mortensen). Like all great dramas, it’s compelling from the get-go and the road movie approach provides an entertaining and revelatory string of episodes, not to mention occasionally amusing. While the movie’s been accused of reverse racism, it’s actually balanced, showing plenty of poor, inarticulate blacks and vice versa. The message is to base your perceptions on the individual rather than ignorant generalizations.
The film runs 2 hours, 10 minutes, and was shot in New York City and Louisiana.
GRADE: A
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106 Minutes | Crime, Drama, Thriller | 2018-09-14
**_Could do with a bit more vitality, but the acting is superb_**
_I knew there was an old axe down cellar; that is all I knew._
- Stefani Koorey quoting Lizzie Borden; _The Preliminary Hearing in the Lizzie Borden Case_ (2005)
Written by Bryce Kass, and directed by Craig William Macneill, _Lizzie_ is based on the _cause célèbre_ of Lizzie Borden (not to be confused with director Lizzie Borden, or extreme porn star/director Lizzy Borden), who was accused and subsequently acquitted of the axe murders of her father and stepmother in Fall River, Massachusetts in 1892, a crime that is still officially unsolved. A "_smash-the-patriarchy_" (to use a quote from producer and star Chloë Sevigny) revisionist take on the material, the film presents Borden as a protofeminist lashing out against patriarchal oppression, homophobia, and sexual assault. Strikingly contemporary in its thematic concerns, this long-time passion project for Sevigny adopts the perspective of the #MeToo movement, proposing a version of events wherein Borden is forced to actively fight back against a lifetime of subjugation. Although the languid pace will alienate many viewers, whilst the liberties it takes with historical facts will irk others, there is much to praise here, including fantastic cinematography, terrific sound design, and flawless acting.
The film begins on the day of the murders, August 4, 1892, with Borden (a terrific Chloë Sevigny) and housemaid Bridget Sullivan (Kristen Stewart, with a surprisingly convincing Irish accent) working in the garden moments before the bodies are discovered. The narrative then jumps back six months, presenting the family dynamic leading up to the murders. 32-years-old, Borden lives with her domineering father, Andrew (a lecherous Jamey Sheridan); stepmother, Abby (Fiona Shaw), and elder sister, Emma (a criminally underused Kim Dickens). Although the Borden family are prominent members of the community, Andrew is well-known for frugality, refusing to install indoor plumbing or electric lights in the house, believing them "_extravagances_". When Sullivan arrives as a live-in housemaid, she and Borden quickly grow close, with Borden attempting to teach her to read and write. Meanwhile, the family is receiving written threats, which Borden believes are connected to her father's land acquisitions. Overhearing Andrew discussing his will with his brother-in-law, John Morse (a slimy Denis O'Hare), Borden is shocked to learn Andrew plans to leave everything to Abby. She later discovers that Andrew is regularly sexually assaulting Sullivan. Eventually, the friendship between Borden and Sullivan turns romantic. However, when Andrew learns of it, he forbids Borden from seeing Sullivan again, something Borden refuses to accept.
Well-known in the US because of the nursery rhyme, this is actually the first theatrical feature to depict Borden's story, although it has been adapted many times for other mediums; a 1948 Agnes de Mille ballet (_Fall River Legend_), a 1952 Michael Brown musical number (in _New Faces of 1952_), a 1961 Chad Mitchell Trio song ("Lizzie Borden"), a 1965 Jack Beeson opera (_Lizzie Borden_), a 1975 Paul Wendkos-directed TV movie (_The Legend of Lizzie Borden_), a 1980 Sharon Pollock play (_Blood Relations_), a 1984 Evan Hunter novel (_Lizzie_), a 1985 Angela Carter short story ("The Fall River Axe Murders"), a 1989 Walter Satterthwait novel (_Miss Lizzie_), a 1998 Christopher McGovern and Amy Powers musical (_Lizzie Borden_), and a 2014 Nick Gomez-directed TV movie (_Lizzie Borden Took an Ax_), which led to a limited series (_The Lizzie Borden Chronicles_).
The idea for the film originated with Sevigny herself, who brought it to Kass to write as a TV miniseries almost a decade ago. The script was sold to HBO in 2011, but by the time the network decided to move forward with the project, Lifetime's _Lizzie Borden Took an Ax_ was nearing completion. When it spawned _The Lizzie Borden Chronicles_, HBO decided against proceeding with Sevigny's version, so she and Kass purchased the rights back, with Kass adapting the script into a feature film. Pieter Van Hees was hired to direct, but had to drop out due to scheduling conflicts, and was replaced by Macneill. The idea that Borden and Sullivan were lovers is not original to Kass's script, as it was first posited in Hunter's novel. He theorised that Abby had caught the girls having sex, firing Sullivan, and prompting Borden to kill her. When Andrew returned home, Borden confessed, but when he reacted with horror, she also killed him. In later life, Borden was rumoured to be a lesbian, but there was no such speculation about Sullivan, who moved to Butte, Montana and got married. Speaking to the _Huffington Post_ at Sundance 2018, Sevigny revealed she was somewhat disappointed with the finished film, stating
> _almost everything that was on the page was filmed, and a lot of it didn't make it in the movie. More stuff with me and Fiona Shaw. There was more to the relationships that made them more complicated, and also then informed why Lizzie did it. Now it's a little more vague than what Bryce and I intended._
One of most interesting aspects of _Lizzie_ is its narrative structure. Beginning on August 4 just as the (unseen) bodies are discovered, it then flashes back six months to Sullivan's arrival in the Borden house. Building up to August 4 again, this time we are shown the bodies, but we don't see the murders. It then jumps forward to the trial, before once again flashing back to August 4, this time showing us the actual killing. This pseudo-_In Cold Blood_ structure is well-handled for the most part, and has a number of advantages. For one, it allows the film to briefly cover the trial, whilst still employing the murders as a powerful and very effective _dénouement_. It also allows the film to build tension around an event which the audience know is coming; by not showing the killings (twice), it has the effect that when the film does actually depict them, they are all the more impactful, placing a suitable cap on what is essentially a story of forbidden love.
From an aesthetic point of view, there's much to praise, with Noah Greenberg's cinematography particularly laudable. Often framing Borden in windows, doorways, and behind railings, whilst also using shallow focus to flatten backgrounds, the sense is that this is a woman living a confined life with little room to move, trapped in her immediate environment. When she and Sullivan first kiss, the camera pulls back to reveal that Andrew is watching them – even in this moment of release, they are still trapped in his domain. Borden is also often shot off-centre, or reflected in mirrors, particularly as she talks to someone who is on camera. This reinforces the sense that she is trapped, and also feeds into the metaphorical meaning of a later scene where she spreads the shards of a broken mirror outside the door of Sullivan's room to cut her father's feet as he emerges.
Dank and airless, the dimly lit Borden household, outside of which the film rarely ventures, is practically another character in and of itself. Complimenting Elizabeth J. Jones's production design, Greenberg's photography gives rise to a restrictive and claustrophobic _mise en scène_, which is often lit with only a single candle. However, it's not just how he lights scenes that impresses, it's also how he uses the camera; gliding over important details without hammering home why we should be paying attention (the first time we see the hatchet, for example). Also worth mentioning is how Macneill uses the full-frontal nudity towards the end of the film. Although it will no doubt be accused of gratuitousness by some, it's not only historically accurate, it's shocking, necessary, and makes a powerful statement. God forbid a woman should ever appear naked on screen in a scene _not_ of a sexual nature. Assisting Greenberg's photography and Jones's design is Ruy García's superb sound design. Of particular note are the floorboards, which creak with the slightest touch, making any kind of clandestine interaction between Borden and Sullivan virtually impossible, and thus contributing to the sense of the household as a prison. Enhancing this even further, is the lack of warmth in the sound design, with footsteps and voices echoing and bouncing off the walls due to the lack of any soft surfaces.
As a narrative of female empowerment (albeit of the homicidal variety), most of the film's main themes relate to combating the patriarchal strictures of the Gilded Age, represented primarily by Andrew and John, both loathsome characters in their own way, and Abby, who reinforces patriarchal hypocrisy by unquestioningly submitting to it (she is well aware that Andrew is abusing Sullivan, for example). Talking to the _Huffington Post_, Sevigny explains,
> _we just really wanted to focus on how she went about finding [her freedom] and how important that was to her and what that meant to her. Whether it was through the relationship with Bridget or ultimately killing her parents for money – because money equalled freedom then. It still does. I wanted it to be this rousing, smash-the-patriarchy piece and then she gets everything she wants, monetarily – the capitalist dream._
Presenting Borden as a woman driven to her wit's end, with few practical options in a society that looks down on her because she is unwed and in her 30s, the film depicts a free-spirit living in a cage, yearning for agency, with the murders presented, at least in part, as her attempt to break free of such restrictions. Suffocated by unquestioned authoritarian patriarchal rule, Borden essentially becomes a protofeminist heroine, actively rebelling against the dominion of men and the women who enable them.
Sullivan, who acts as the audience's moral compass, faces different obstacles, primarily related to economics and social caste. Her place in the ideological and socio-economic hierarchy is manifested in the fact that the family call her Maggie (the generic name given to all Irish servants). However, Borden's insistence on calling her by her actual name (which is historically inaccurate, as Borden also called her Maggie) lays the groundwork for their later emotional connection. Presenting their relationship as an illicit romance which they had to hide because of the moral bigotry of the age, the film very much adopts a #MeToo sensibility, as Borden and Sullivan fight back against self-righteous judgement, unchecked abuse, and socially sanctioned oppression. In this sense, when Borden and Sullivan strip naked before the murders, they aren't just undressing to avoid getting incriminating blood on their clothes, they are repudiating the garments that have restricted them in a physical sense just as much as men have in an ideological sense.
There are, however, some sizeable problems in all of this. For one, the film lacks energy, and the slow pacing will leave some viewers bored to tears. Additionally, apart from Sevigny and Stewart, the rest of the cast is wasted, particularly Shaw, O'Hare, and Dickens (who only has a handful of scenes, and is virtually a background extra). None of their characters come across as possessing any kind of interiority, instead existing almost exclusively as archetypes; the wicked stepmother, the lecherous uncle, and the ice-cold older sister. Additionally, although he has a lot more to do, Sheridan's Andrew is completely over-the-top, only one or two beats away from a moustache-twirling mega-villain. Perhaps the most egregious problem is that the film seems as war with itself. On the one hand, it wants to be an elegant, period-appropriate tale of women attempting to take their destinies into their own hands in a Victorian society not predisposed to allow such, but on the other, it wants to present a modern story of murder and homosexual women (Patty Jenkins's _Monster_ (2003) in corsets, if you will). At times, such as the superb depiction of the murders themselves, you can feel the modern sensibilities rise to the surface, but for the most part, they're stifled by the hushed austerity of the more muted _milieu_.
_Lizzie_ tells the story of an initially powerless victim who lashes out and, quite literally, slays patriarchal authority. Just by giving Sevigny the first significant starring role of her career, the film earns a lot of brownie points, as she's been an unsung, but consistently brilliant supporting player since her debut in Larry Clark's _Kids_ (1995). Alongside her, Stewart equates herself very well, even having a decent go at an Irish accent, and the passion between the two, though period-appropriately muted, is completely believable. However, the film's attempts to shoehorn in 21st century moral values doesn't entirely work, primarily because Kass's script tips the scale in Borden's favour to a ridiculous degree – there's Andrew's over-the-top villainy (not just an authoritarian homophobe, but a rapist to boot), John's creepy intimations, Abby's refusal to stand up for her step-daughters, Borden's protofeminist rhetoric and humanitarianism, the alterations to historical fact to ensure the audience is never in any doubt as to where its sympathies are supposed to lie. Weighing the scales so decisively drains the film of any ambiguity and most of its vitality, presenting a binary story of righteous good slaying hypocritical evil, rather than a murder with many facets. A Gothic tale told from a #MeToo perspective, _Lizzie_ tries to be many things at once – a revisionist history, a feminist tract, a championing of homosexuality, a murder mystery, a period drama – but ends up kind of falling into a no man's land between genres. Still though, there are aspects of the film that are enjoyable, if you can look past the enervating pace.