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95 Minutes | Drama | 2020-07-24
π₯ Pompei 2020
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113 Minutes | Drama, Comedy | 2011-11-02
π₯ The Intouchables 2011
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Funny and moving for a difficult topic to talk about. François Cluzet and Omar Sy perform amazingly well although the rest of the cast is also very good.
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105 Minutes | Animation, Family, Comedy, Adventure, Fantasy | 2017-10-27
π₯ Coco 2017
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Spectacularly colourful with a sweet, (albeit predictable) path. Certainly not a misfire from Pixar, but also did not appeal to me personally in the way that many of their other films have.
_Final rating:★★½ - Not quite for me, but I definitely get the appeal._
**Beautiful, colourful and sweet**
This film has real heart, with great messages about what family can and should do for each other. Great voice acting, great songs without having the burden of exposition via song that you find in the more musical ventures by Disney. I loved that you could see genuine guitar chords being played, so often in live action films the playing of musical instruments, especially guitar are poorly faked. None of that in this animated gem.
One thing I personally loved was the depiction of Mexican culture. Although I really enjoyed _Moana_, I thought it was a little bit too much of a pastiche of multiple Pacific cultures when it should have just picked one (Maori) and stuck with it. _Coco_ celebrates Mexican culture, and depicts it well. The only thing missing for me was more Mexican cuisine.
It can get a little dark in places, so maybe be careful when watching it with the little ones, but should appeal to most of the family.
9/10
I loved the movie starting from the characters, animation, colors, emotions, story everything. A good way to tell how important a family is. Happy it had a happy ending.
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160 Minutes | Action, Drama, History | 1985-06-01
π₯ Ran 1985
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95 Minutes | Action, Crime, Drama, Thriller | 2020-08-07
π₯ The Tax Collector 2020
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128 Minutes | Drama | 1989-06-02
π₯ Dead Poets Society 1989
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Carpe Diem & The Punk Rock Movie.
Dead Poets Society is directed by Peter Weir (Picnic At Hanging Rock/Gallipoli) and stars Robin Williams, Robert Sean Leonard, Ethan Hawke, Kurtwood Smith, Gale Hansen & Norman Lloyd. The script is written by Tom Schulman, based on his life at Montgomery Bell Academy, an all-boys preparatory school in Nashville, Tennessee. The film is set in 1959 at the fictional Welton Academy in Vermont (location shoot from St. Andrew's School in Middletown, Delaware). The story follows that of English teacher John Keating who uses his different method of teaching to inspire his students to be all that they can be whilst warning of the perils of conformity.
Dead Poets Society was a monster smash hit that made almost $220 million profit in Worldwide box office takings. Not bad considering this was the year that film lovers flocked to see the likes of Batman, Lethal Weapon 2 and the third outing for one Indiana Jones. It showed that there was a mainstream market for serious drama if it is done well. And rest assured, Dead Poets Society is done well, very well in fact. Its launchpad is Schulman's Academy Award winning script that puts under the microscope educational conformity and the ogres that are parental and peer pressure. Enter the inspired casting of Robin Wiliams (nominated for BAFTA & Academy Award for Best Actor) as the teacher who urges his charges to see outside of the box that they have been placed in. Young men, soon to be full adults, who have their lives mapped out for them, are challenged by Mr Keating to be spontaneous, to pursue idealism and view life with new perspectives.
Coming two years after he was nominated for Good Morning Vietnam, Williams once and for all proves to his doubters that he is a quality dramatic actor. His Keating is charismatic but without the mad-cap histrionics that Williams is famed for. Very controlled, in that what is in essence a catalyst role, Keating hasn't rushed to become said catalyst. He's a constant sympathetic presence, a father figure type, yet a confidential friend too. That Schulman's script has avoided the usual clichΓ©s that come with teacher-student relations in film's helps Williams as an actor to breath intelligent life into Keating. Even the flecks of humour that Williams is allowed to work from, such as Brando doing Shakespeare, play with a warmth that's essential to the relationships forming in the piece. Tho it's unquestionably Williams' movie (the film soars when he is on screen), the young cast playing the students get an A + for their sensitive portrayals. Notably Robert Sean Leonard (heartfelt), Ethan Hawke (haunting) & Gale Hansen (punky). While Kurtwood Smith leaves an indelible image as a domineering father.
In the hands of Weir, the film, unsurprisingly to his fans, carries an air of mysticism too. Again working with one of his regular DOP's, John Seale, Weir knows how to capture the time, place and people in his movies; while cloaking them in dashes of mystical beauty. Be it the boys striding around the school grounds amidst autumnal hues, or plodding wearily thru the snowy terrain as Winter kicks in, Weir gives the scenes an apt poetic quality. It's also of note that these scenes, as well as the cave sequences where the Dead Poets Society meetings take place, blend with the characters emotional states. Sprightly and optimistic around the greenery, nervous and excited in the darkened cave, then heavy of heart and leg as the fall accompanies the emotionally turbulent last quarter. A last quarter that leads to what has now become a divisive ending. Some have (and will) come away from it irked and claiming it to be syrupy. Others such as myself find it uplifting, hopeful and a fitting end to the emotional roller-coaster that cast and crew have taken us on. Is your glass half full or half empty? An excellent and intelligent story is directed and acted accordingly, with its themes making it actually one of the best Punk Rock movies out there. 9/10
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137 Minutes | Science Fiction, Drama | 1971-12-19
π₯ A Clockwork Orange 1971
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As time goes by, I'll always appreciate my Grade 10 English class (1984-85), taught by Mr. Terry. Looking back, it's probably the year that I was introduced to the most great literary works of all my life (especially 'Anthem' by Ayn Rand and 'Nausea' by Jean-Paul Sartre). Included that year in the course's curriculum was Anthony Burgess' dystopian masterwork, 'A Clockwork Orange' (as well as George Orwell's 'Animal Farm'--like Frank Sinatra would have said, 'It was a very good year'). I was mesmerized with it from the instant I noticed the unique approach to language, the 'ultraviolence' and of course, the eternal question of free will, its relationship to good-and-evil, and the can of worms of the myriad of ethical dilemmas that comes to the fore of individual freedom and rights versus that of society at large. The genius of Burgess was being able to put so well and forcibly, yet in such an entertaining way, so many issues that, had most anyone else set forth on the endeavor, would have come up with the type of off-putting, heavy-handed sermon that would never have reached such a literary pinnacle, and been required reading even now, generations later. It hasn't aged or dated a day.
Most cinematic observers felt the book unfilmable. Director Kubrick's adaptations work so well, particularly this, '2001: A Space Odyssey' and 'The Shining' (even though Stephen King would fervently disagree about the latter) because he, as he did with 'Dr. Strangelove', can so easily both find unforgettable visual metaphors for his ideas and so handily combine humour (an under-recognized trait of his, much more readily associated with say, Sir Alfred Hitchcock) with these heavy and daunting philosophical and intellectual volleys. In the wrong hands (particularly a Stanley Kramer, or his ilk), this could have failed miserably, like typical cinematic treatments of Ayn Rand novels. But this worked triumphantly, and heartily exemplifies one of the greatest directors ever at the apex of his craftsmanship. No self-respecting cinephile can avoid this movie, and I heartily recommend you to read the novel as well, though Kubrick nails it so effectively, reading the novel isn't necessary in the slightest for the film to be enjoyed.
One of the many 'gamechanger' films of Kubrick's storied and remarkable career.