Showing posts with label 2020. Show all posts
Saturday, November 7, 2020
2020
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Title : The GentlemenThe Gentlemen genre : Action, Crime, Comedy
The Gentlemen crew : Lucinda Syson, Guy Ritchie, Guy Ritchie, Guy Ritchie, Guy Ritchie, Michael Wilkinson, Gemma Jackson, Robert Simonds, James Herbert, Bill Block
The Gentlemen release date : 22 March 19 9 6
The Gentlemen runtime : 113 Minutes
The Gentlemen Crew : Lucinda Syson, Guy Ritchie, Guy Ritchie, Guy Ritchie, Guy Ritchie, Michael Wilkinson, Gemma Jackson, Robert Simonds, James Herbert, Bill Block
The Gentlemen movie cast :
Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Colin Farrell, Hugh Grant, Eddie Marsan, Chidi Ajufo, Simon R. Barker
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American expat Mickey Pearson has built a highly profitable marijuana empire in London. When word gets out that he’s looking to cash out of the business forever it triggers plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him. The Gentlemen 2020 review : While ‘The Gentlemen’ is a big step forward from Ritchie’s latest films, it’s not the return to form fans may be hoping for. That said, there is still fun to be had here, and it may work better at home than a cinematic experience.
- Chris dos Santos
Read Chris' full article...
https://www.maketheswitch.com.au/article/review-the-gentlemen-underwhelming-but-fun-return-to-form-for-guy-ritchie
**_Nothing too unexpected here, but it's funny and hugely entertaining_**
>_You don't crucify people! Not on Good Friday!_
- Harold Shand; _The Long Good Friday_ (1980)
The Gentlemen is a return to the London gangster milieu where writer/director Guy Ritchie first made his name with films such as _Lock, Stock and Two Smoking Barrels_ (1998) and _snatch._ (2000). His first foray into this territory since the disappointing _RocknRolla_ (2008), _The Gentlemen_ comes at the end of over a decade making big-budget studio-backed crimes against cinema such as _Sherlock Holmes_ (2009), _Sherlo__ck Holmes: A Game of Shadows_ (2011), _The Man from U.N.C.L.E_. (2015), _King Arthur: Legend of the Sword_ (2017), and _Aladdin_ (2019). Granted, the film seems stuck in the last decade in more ways than one, it's highly questionable that the only gay character is a slimy man-whore into S&M, its token female character barely even manages to rise to the level of tokenism, and Ritchie does absolutely nothing new here – if you've seen _Lock, Stock_ or _snatch._, you'll know pretty much exactly what to expect – but _The Gentlemen_ is still hugely entertaining. Most of the jokes land, the dialogue is as sharp and expletive-laden as ever, the cast are having a ball, and the self-reflexivity, although a little forced in places, works well for the most part. And yes, the plot is as derivative as it gets, but there's no denying Ritchie has injected real verve into what looks on paper like an inconsequential C-movie. _The Gentlemen_ definitely won't change your life, but it will make you laugh.
The film begins as sleazy private eye Fletcher (Hugh Grant) arrives unannounced at the home of Ray (Charlie Hunnam), right-hand man to Mickey Pearson (Matthew McConaughey), a suave Oxford-educated American ex-pat who controls a huge marijuana empire in London, valued at around £400 million. Several months prior, Fletcher was hired by tabloid editor Big Dave (the great Eddie Marsen) to dig up dirt on Pearson with the aim to ruin him – Dave's revenge for Pearson blanking him at a gala. Fletcher has written a screenplay based on his investigation (titled _Bush_) and tells Ray that unless Pearson pays him £20 million, he will hand over everything he has to Dave. Meanwhile, Pearson has decided to sell his whole operation, but when word gets out, all hell breaks loose, as the various interested parties vie for advantage. Most of the subsequent film takes the form of Fletcher narrating his exploits to Ray, explaining how he learned so much about Pearson and what he does. Along the way, we meet characters such as Rosalind (Michelle Dockery), Pearson's ruthless and unflappable "_cockney Cleopatra_" wife, who runs a garage with an all-female staff; Berger (Jeremy Strong), Pearson's preferred buyer; Dry Eye (Henry Golding), the ambitious but brutal scion of a Chinese syndicate, who hopes to undermine Berger; Coach (a scene-stealing Colin Farrell), who runs a boxing gym for troubled youths and who inadvertently finds himself in the middle of everything; a plethora of property-rich-but-cash-poor landed gentry who are essential to Pearson's empire; a Russian oligarch; and a street gang called The Toddlers.
Aesthetically, _The Gentlemen_ is very much in the mould of Ritchie's previous gangster movies. Because Fletcher frames his narration as a screenplay, it allows Ritchie to employ a multitude of self-reflexive devices – a smash cut coinciding with Fletcher asking Ray to visualise a smash cut; voiceover transitioning into spoken dialogue; on-screen captions telling us who's who; animated maps; YouTube fight porn (don't ask); freeze-frames; rewinds; a shot of film running through a projector etc. At one point, Fletcher is discussing the merits of anamorphic (2.39:1) over 1.78:1, and the film's aspect ratio changes accordingly. At another, he's arguing for the merits of 35mm celluloid over digital, saying he likes the grain of celluloid photography, and the film duly switches formats. Such playfulness means that it never for a second takes itself too seriously, with probably the most self-reflexive moment coming towards the end, when we visit Miramax's offices in London (Miramax produced the movie), and we see a poster for Ritchie's _The Man From U.N.C.L.E._. All of this is immensely fun, with the more you know about the mechanics of assembling a film, the more humorously
self-reflexive the film becomes – Fletcher even acknowledges his own role as an unreliable narrator, and a discussion of the importance of sound leads to his dismissal of Francis Ford Coppola's _The Conversation_ (1974) as "_a bit boring._"
In terms of themes, the most obvious is something Ritchie has examined before – the idea that the economic divide between gangsters and aristocrats masks their practical similarities. Pearson straddles this divide; he's a gangster, but so too is he an aristocrat (in all but name), and the smooth running of his business depends on both classes – the aristocrats who he needs to grow his product (for reasons that constitute a bit of a spoiler, so I'm not going to get into it) and the gangsters who distribute that product. The clash between the pompous insularity of the English upper class and the perceived uncouthness of the lower class has been done to death in both literature (Emily Brontë's _Wuthering Heights_ (1847) springs to mind) and film (Nicolas Roeg and Donald Cammell's _Performance_ (1970), for example), and although Ritchie doesn't say anything even remotely new about it, it still forms an interesting textural background – gentrification is ever present; there are ironic references to the posh areas of Croydon; Ray, a working-class Newcastle native, is a cleanliness freak who eats wagyu steak and lives in a mansion, and when he's dispatched on a mission to an uncivilised working-class area, he explains he "_just hates them junkies_," seeing them as very much his social inferiors.
One of the most central scenes sees a group of obnoxious privileged teens holed up in a council flat, whilst on the street below, a gang of machete-wielding delinquents terrorise the neighbourhood. As Ray and his men clash with the gang, there's a real sense of old vs. new – traditional gangsters fighting it out with internet-savvy hoodlums who don't give a damn about tradition or respect. There are a lot of laughs to be had with these issues, such as Ray and Coach having problems pronouncing the name Phuc, or Coach debating with one of his boxers whether it's racist to call someone "_a black c**t_", even though they are black and they are a c**t. And again, none of this is presented as even remotely serious.
The biggest problems with the film are probably its lack of depth, and the familiarity of the presentation, characters, and _milieu_ – there's nothing here you haven't seen in previous Ritchie films. And as you would expect, there isn't much in the way of emotional maturity or narrative complexity. It's all very surface-level, and it makes no apologies for such.
Nevertheless, I thoroughly enjoyed _The Gentlemen_. It's a funny as hell caper and the actors are clearly having terrific fun. It might be formulaic and overly familiar, but it's also immensely enjoyable.
If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
I've always been a fan of Guy Ritchie's style. While I do admit that he tends to overuse his own techniques (like he does in this movie), he always manages to bring something unique to his projects. He delivered a pretty good live-action remake of Aladdin while offering his own take (Jasmine has more compelling motivations). I surprisingly enjoyed King Arthur: Legend Of The Sword, but the ending is disappointing. The Man from U.N.C.L.E. and the Sherlock Holmes films are entertaining and fun, to say the least. So, yes, I was sort of excited to watch The Gentlemen.
With such a stellar cast, how can someone not be interested in an old-fashioned crime-thriller? First of all, I want to get this out right away: it's a movie that anyone can enjoy, sure, but for people who know how films usually work, Ritchie applies a storytelling method that's going to make every "filmmaking nerd" lose their minds. Hugh Grant (Fletcher) is mostly the narrator of the entire story, and he's basically interpreting a "version" of Guy Ritchie telling the story of his own "flick".
This means Fletcher goes on and on about film specs like aspect ratios and film gauges but also helping the audience understand what's happening, by announcing if the story is near its climax or if "the plot thickens". It's a captivating and funny way of using exposition without it being lazy or forced. Grant also makes sure to ask the questions the audience should be asking. This way, even people who don't like to think when they go to the cinema (yes, they exist) will be able to follow the mystery unraveling.
Obviously, the unbelievable cast makes this movie so much fun. Matthew McConaughey is a masterful actor when it comes to carrying long dialogues. Everything he says is always engaging, either by the way he says it, his expressions, or the physical intensity he puts into his own words. Charlie Hunnam (Ray) probably delivers his most amusing performance to date. Ray is definitely going to be a fan-favorite character, and his interactions with Fletcher (with who he spends most of the runtime) are hilarious.
Henry Golding (Dry Eye), Michelle Dockery (Rosalind Pearson), and Jeremy Strong (Matthew) all give excellent performances, but Colin Farrell is the best of this group of characters as Coach. His scenes are some of the funniest sequences of the entire year so far. From his accent to the action he eventually gets into, he's one of those characters who will leave everyone wanting more. As for the story, it's undoubtedly one of the most complex screenplays I've seen in a while. Comparing with Knives Out, the narrative structure ends up being a bit similar.
Both possess tons of twists and turns that will make everyone scratch their heads for quite some time. Both show different events of the story, featuring a specific character at a particular time in a distinct manner (flashback, flashforward, simple exposition). However, The Gentlemen abuses from its own trick a bit too much, especially during the first half. Something entertaining can quickly turn into something pretty annoying if the storytelling isn't well-balanced. Can't have too much of anything, right?
This is my overall issue with the film. Guy Ritchie brings something cool and fresh to escape heavy exposition, but it's still a lot of information to transmit, and it doesn't always work smoothly. Some subplots didn't need to go so deep, which takes time away from more emotionally investing storylines. Nevertheless, in the end, Ritchie stitches every story together seamlessly to create a very well-written flick. With so many intricate layers, it's extremely difficult to bring it all together to make a cohesive finale, but Ritchie does it superbly.
All in all, The Gentlemen is another hit for Guy Ritchie, and it might even be his best movie yet. With one of the most complex screenplays in a while, the phenomenal cast elevates this crime-thriller into one of the best films of 2020, so far. Matthew McConaughey, Charlie Hunnam, Hugh Grant, and Colin Farrell stand out, but every actor delivers excellent performances. Extremely funny and captivating storytelling through Grant's narration, which ironic or not, it's both the best and worst component of the movie. When used in excess, it can be a bit bothersome and lengthy, but for most of the runtime, this alternative to substantial exposition works brilliantly. Interesting characters, intriguing mystery, and hilarious bits of comedy make this feature very entertaining. Technically, great editing keeps a well-paced flow, but it's Ritchie's layered narrative that steals the show.
Rating: B+
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Monday, August 31, 2020
2020
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Kung Fury II: The Movie dvd movie streaming online box office 2020 hd
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Title : Kung Fury II: The MovieKung Fury II: The Movie genre : Action, Comedy, Science Fiction, Fantasy, Crime
Kung Fury II: The Movie crew : Stefan Ciupek, Seth Grahame-Smith, David Katzenberg, David Sandberg, David Sandberg, David Sandberg, Tyler Burton Smith, Philip Westgren
Kung Fury II: The Movie release date : 5 July 19 4 3
Kung Fury II: The Movie runtime :
Kung Fury II: The Movie Crew : Stefan Ciupek, Seth Grahame-Smith, David Katzenberg, David Sandberg, David Sandberg, David Sandberg, Tyler Burton Smith, Philip Westgren
Kung Fury II: The Movie cast :
David Sandberg, Michael Fassbender, Arnold Schwarzenegger, David Hasselhoff, Leopold Nilsson, Eleni Young, Alexandra Shipp
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Wednesday, April 22, 2020
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Title : The New MutantsThe New Mutants genre : Action, Science Fiction, Horror, Adventure
The New Mutants crew : Ronna Kress, Karen Rosenfelt, Lauren Shuler Donner, Stan Lee, Peter Deming, Molly Hughes, Simon Kinberg, Brenda McNally, Robb Sullivan, Leesa Evans
The New Mutants release date : 1 July 19 4 6
The New Mutants runtime : 99 Minutes
The New Mutants Crew : Ronna Kress, Karen Rosenfelt, Lauren Shuler Donner, Stan Lee, Peter Deming, Molly Hughes, Simon Kinberg, Brenda McNally, Robb Sullivan, Leesa Evans
The New Mutants movie cast :
Anya Taylor-Joy, Maisie Williams, Charlie Heaton, Blu Hunt, Henry Zaga, Alice Braga, Happy Anderson, Thomas Kee, Mickey Gilmore, Jeffrey Corazzini
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Five young mutants, just discovering their abilities while held in a secret facility against their will, fight to escape their past sins and save themselves. The New Mutants 2020 review :
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Thursday, August 1, 2019
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Bloodshot song, Watch Bloodshot full movie online now.After he and his wife are murdered, marine Ray Garrison is resurrected by a team of scientists. Enhanced with nanotechnology, he becomes a superhuman, biotech killing machine—'Bloodshot'. As Ray first trains with fellow super-soldiers, he cannot recall anything from his former life. But when his memories flood back and he remembers the man that killed both him and his wife, he breaks out of the facility to get revenge, only to discover that there's more to the conspiracy than he thought.,what are Bloodshot movies in order Bloodshot synopsis full movie Bloodshot 2020 HD Movies, Full Length Movie
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Title : BloodshotBloodshot genre : Action, Science Fiction
Bloodshot crew : John Papsidera, Matthew Vaughn, Jim May, Neal H. Moritz, Steve Jablonsky, Kimberly A. Tillman, Jeff Wadlow, Jeff Wadlow, Toby Jaffe, Eric Heisserer
Bloodshot release date : 28 January 19 9 4
Bloodshot runtime : 110 Minutes
Bloodshot Crew : John Papsidera, Matthew Vaughn, Jim May, Neal H. Moritz, Steve Jablonsky, Kimberly A. Tillman, Jeff Wadlow, Jeff Wadlow, Toby Jaffe, Eric Heisserer
Bloodshot cast :
Vin Diesel, Eiza González, Sam Heughan, Toby Kebbell, Talulah Riley, Lamorne Morris, Guy Pearce, Jóhannes Haukur Jóhannesson, Alex Hernandez, Siddharth Dhananjay
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After he and his wife are murdered, marine Ray Garrison is resurrected by a team of scientists. Enhanced with nanotechnology, he becomes a superhuman, biotech killing machine—'Bloodshot'. As Ray first trains with fellow super-soldiers, he cannot recall anything from his former life. But when his memories flood back and he remembers the man that killed both him and his wife, he breaks out of the facility to get revenge, only to discover that there's more to the conspiracy than he thought. Bloodshot 2020 review : In one of the most mediocre movies so far this year, “Bloodshot” squanders every last positive thing it has going for it. Based on the bestselling sci-fi comic book, the film tells the story of recently killed soldier Ray Garrison (Vin Diesel) who is brought back to life as a super-assassin. Ray has an army of nanotechnology in his veins, making him an outrageously strong, unstoppable force who has the ability to instantly heal any injuries he sustains in combat. When his memories begin to contradict what’s reality and what’s fiction, Ray starts to suspect lead scientist Dr. Harting (Guy Pearce) may have sinister intentions — and he does everything in his superhuman power to stop him.
The film lacks enough material for a feature length film, and it feels like the story has been stretched out from the get-go. The plot is far-fetched but interesting, yet the best elements are dismissed in a rushed fashion. The film could’ve gone one of two ways, and it chooses the path of greatest disappointment, which leaves it in this weird limbo. It’s not quite smart enough and not quite dumb enough to work. Like when director Dave Wilson gets the sense that things are lagging, he inserts a not-so-subtle explosion or dick joke to keep things moving along. Yeah, it’s that kind of bad.
Even the action scenes fall victim to rapid-fire editing that is intended to disguise the bloodless PG-13 action flick. There’s an almost-satisfying extended fight sequence involving elevators and a skyscraper, but it comes late in the film when most audiences will likely have already lost interest. Even worse, there are no consequences because Ray can’t be hurt or killed, and the special effects look like they were created in a couple of hours by a pre-teen boy on the family room laptop.
Diesel is not a great actor, but that’s never been a job requirement to bring the charismatic, cinematic muscle to the big screen. He’s a perfectly acceptable action star, but here he turns in a laughably bad performance. His poor acting hogs the spotlight, especially when he shares scenes opposite the talented Pearce.
This movie is absolute junk that will die a quick death at the box office. Please, audiences: do your part to put “Bloodshot” out of its misery.
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First of all, no. I've never read the comic book, so I didn't know a single thing about the superhero Bloodshot going in. What I did know was that Jeff Wadlow was in command of the screenplay, and we all know how extremely horrible his latest movies are (Truth or Dare, Fantasy Island). Add Vin Diesel as the protagonist and a first-time director (David S. F. Wilson), it's impossible to have high expectations for such a film, no matter how good the source material is. Maybe it could surprise me and end up being a reasonably decent flick...
It didn't. Bloodshot is even worse than I expected. I genuinely thought that the action would be the movie's savior. I didn't watch any trailers, as usual, but I did see an image here and there of that red smoke, as well as a couple of glances at the regenerating CGI. Honestly, it's the most disappointing aspect of the whole film. Simply because it's the only thing I was expecting to be decent, at least. The "final battle" has some of the worst CGI of the century, and it goes on for way too long. There's an abundance of shaky-cam, the editing is truly awful at times, a lot of action sequences are barely understandable, and even the slow-motion is overused.
However, the reason why the movie ultimately fails is, once again, due to Wadlow's screenplay (which he co-wrote with Eric Heisserer, but Wadlow is the main one). As always, his narrative is a total mess. Confusing, lacks creativity, raises tons of logical questions, and the real past of Ray Garrison is empty of any explanation. The ending is not only predictable and formulaic, but it also generates even more questions, leaving the viewer frustrated with so many unanswered plot points. David Leitch and Chad Stahelski (both have Deadpool and John Wick in their filmography) left the project right after being hired as the directors... I wonder why?!
The first minutes are probably the best of the entire runtime. I mean, excluding a not-sexy-at-all scene featuring Vin Diesel and Talulah Riley (Gina Garrison). That was cringe-worthy. Nevertheless, the story's concept is really captivating, to say the least (or the comic book wouldn't have its remarkable success). It's one of those action flicks that could easily turn into a successful franchise if the people involved in the project are more talented. With this, I transition to another of my main issues: Vin Diesel.
Very rarely, I negatively criticize an actor's performance. I admit that I'm easily pleased by any cast. If you ask me "what's an actor/actress you don't like?", I would probably be stuck for an answer. Diesel's display is so emotionless that even someone like me can be affected by it. Besides being a rock throughout the whole film, Diesel has this weird habit of TALKING VERY LOUD AND CLEAR, only to instantly lower his volume so much that he's almost whispering. He does this consecutively and repeatedly in almost every dialogue.
There's no care for developing a single character, not even the protagonist. Everyone is just a stereotype of some secondary action character: the funny IT guy, the hot girl who develops feelings for the hero, the male teammate who gets jealous that his alpha territory gets invaded, and the "motivation-less bad guy who's made look like a good guy in the beginning, but we all know who he truly is"... Literally, the two most talented actors (Toby Kebbell and Talulah Riley) are the ones with the least amount of screentime.
In the end, Bloodshot is even worse than I expected. The messy, formulaic, and logically questionable screenplay by Jeff Wadlow and Eric Heisserer is the worst aspect of the movie, but the action is undoubtedly the most disappointing one. The "final fight" is one of the worst CGI sequences of the century, and the action throughout the runtime is filled with an uncontrollable shaky-cam, an excess of slow-motion, and some poor editing, making most of these scenes incredibly hard to follow. Vin Diesel delivers as much emotion as a rock, and while the rest of the cast is fine, the characters follow every single stereotype ever written for an action flick. It also doesn't help to put a first-time director in charge of the whole thing, but David S. F. Wilson is far from being the one to blame. Occasionally good action moments and a great concept just barely keep the film breathing. It's one of the worst movies of the year.
Rating: D
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Sunday, April 14, 2019
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Title : The King's DaughterThe King's Daughter genre : Fantasy, Action, Adventure
The King's Daughter crew : James Schamus, Ronald Bass, Laura Harrington, Conrad W. Hall, Bill Mechanic, Sean McNamara, Barry Berman, Wei Han, Mathieu Turi, Vonda N. McIntyre
The King's Daughter release date : 1 January 19 7 8
The King's Daughter runtime :
The King's Daughter Crew : James Schamus, Ronald Bass, Laura Harrington, Conrad W. Hall, Bill Mechanic, Sean McNamara, Barry Berman, Wei Han, Mathieu Turi, Vonda N. McIntyre
The King's Daughter movie cast :
Pierce Brosnan, William Hurt, Benjamin Walker, Kaya Scodelario, Fan Bingbing, Ben Lloyd-Hughes, Paul Ireland, Pablo Schreiber, Crystal Clarke, Rachel Griffiths
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Tuesday, October 16, 2018
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The Outlaw Johnny Black release date : 4 March 19 9 3
The Outlaw Johnny Black runtime : 97 Minutes
The Outlaw Johnny Black Crew : Michael Jai White, Michael Jai White, Scott Sanders, Byron Minns, Byron Minns, Michael Bearden, A.J. Rickert-Epstein, Bob Goldman, Eric Upshur, Donovan De Boer
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Friday, June 1, 2018
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Enter the Fat Dragon crew : Donnie Yen, Wong Jing, Wong Jing, Kenji Tanigaki
Enter the Fat Dragon release date : 14 February 19 4 8
Enter the Fat Dragon runtime : 96 Minutes
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Donnie Yen, Teresa Mo, Wong Jing, Niki Chow, Naoto Takenaka, Tetsu Watanabe, Hiro Hayama, Louis Cheung, Sandra Ng Kwun-Yu, Lin Qiu-Nan
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Saturday, May 26, 2018
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Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) crew : K.K. Barrett, K.K. Barrett, Matthew Libatique, Jay Cassidy, David Ayer, Walter Hamada, Jonathan Eusebio, Kelley Smith-Wait, Mark DeSimone, Paula Fairfield
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) release date : 12 February 19 0 0
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) runtime : 109 Minutes
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) Crew : K.K. Barrett, K.K. Barrett, Matthew Libatique, Jay Cassidy, David Ayer, Walter Hamada, Jonathan Eusebio, Kelley Smith-Wait, Mark DeSimone, Paula Fairfield
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) movie cast :
Margot Robbie, Ewan McGregor, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Matthew Willig, Dana Lee
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Since Wonder Woman that the DCEU has not missed a beat. Even though the latter is still my favorite of the universe, I have mostly a positive opinion about Justice League, Aquaman, and Shazam! Yes, these are not the greatest comic-book movies of all-time, but I would be lying if I denied that I was entertained. Birds of Prey follows the same path: it's fun, action-heavy, and it boasts a phenomenal cast. It has some issues regarding the actual plot and a few characters, but I'll get there.
First of all, let me get the mandatory compliments to Margot Robbie's performance out of the way. If there's a DC character better than Harley Quinn for Robbie to portray, please let me know, because I think she's absolutely perfect as a lunatic, over-the-top psychiatrist-turned-psychopath. Suicide Squad might be a total mess, but I doubt anyone denies how Robbie fits seamlessly into the Harley persona. From her looks to the way she speaks and from her physical movement to her facial expressions, there's just no better casting.
She embodies the whole film's chaotic vibe and even contributes to the (very) colorful set design. However, she's not the only one who delivers a spectacular performance. Jurnee Smollett-Bell offers a surprisingly captivating display as Dinah Lance / Black Canary. Even though Harley Quinn is the main character, I found myself caring a lot about Dinah. Her way of living suits the character's personality like a glove, and she's undoubtedly the best-written secondary character of the movie. Unfortunately, I can't say the same about the others, and this is one of my biggest issues.
It's a film packed with cliches and attempts of making the characters aware of those cliches, which is also, well, something pretty overused. What's more generic? Having the bad guy telling the hero their masterplan or having the hero stating how the bad guy is incredibly dumb by thinking of doing that? At first, I laughed, and I thought it was funny the way Christina Hodson was avoiding to write straight-up cliche characters by making everyone else aware of the way these talk or move.
But the whole "I know you're cliche, so you can get away with saying or doing cliche things" only works for a couple of scenes, not an entire movie. This is why I wasn't able to connect with Renee Montoya or care about her narrative at all. Mary Elizabeth Winstead is one of my favorite actresses, but she has the least screentime of the entire cast. I never criticize a film for not giving an actor/actress I like a more important role (unlike other people, I believe it would be unfair to do so). Still, I do complain if I think a particular character should have been given more screentime, which is the case of Huntress.
I find her backstory way more exciting and emotionally investing than Rosie Perez's character, but sadly Huntress' personal story serves only as a not-that-surprising third act twist. There are several past-present transitions in the storytelling, most work, but some feel extremely abrupt. Nevertheless, Winstead is outstanding every single time she's on camera! Ewan Mcgregor offers a good performance as the villain, but he leads me to my other major issue: the central plot. Trivia time: a MacGuffin is an object, device, or event necessary to the narrative and the motivation of the characters, but insignificant, unimportant, or irrelevant in itself.
The thread that connects every single character is based on one of the most overused MacGuffins ever. Now, don't get me wrong: a MacGuffin is NOT a synonym of bad writing or of a bad plot! It's merely something that leads to nothing. Having in mind that Birds of Prey is a character-driven movie, a plot centered around a MacGuffin is not unusual. As long as every character works, the primary story can simply be a passenger (Quentin Tarantino's Once Upon a Time in Hollywood applies this method). However, in Birds of Prey, not every character has an interesting story...
Basically, Christina Hodson's screenplay isn't exactly bad, but it isn't great too. Just like the film, it has its ups and downs, and I saved some of the ups for last because I do want to end this review on a positive note. Finally, a DCEU movie where the action isn't overwhelmed with CGI, but with detailed choreography and long takes instead! Thank you, Cathy Yan, for bringing some of the best action sequences in this universe. Even if the third act gets a little sloppy due to the amount of characters, it's still a very satisfying ending. The score beautifully accompanies the action, and the visuals are truly gorgeous to look at. The comedy bits are on-point, I laughed quite often, but my final remark goes to a topic I rarely address...
Birds of Prey is a filmmaking lesson on how to produce an incredibly diverse movie without it feeling forced or unnatural. Only AFTER leaving the theater, I acknowledged the fact that the cast and characters are from various races, cultures, and have different sexual preferences. Why? Because this film doesn't waste its runtime by having its characters mention how black, white, Latinas, Chinese, gay, or whatever they are. They simply are what they are, and we all have eyes to see them. Congrats to Yan, Hodson, and everyone else who decided to treat the characters as if they're humans like every one of us.
In the end, Birds of Prey (and the ridiculously long subtitle) continues DCEU's streak of (at least) good movies since Wonder Woman came out. With a phenomenal cast led by an outstanding Margot Robbie as Harley Quinn, Cathy Yan delivers some of the best action of the entire universe in a genuinely entertaining superhero flick. A colorful, chaotic, and fun vibe is present throughout the whole runtime, as well as a pretty neat score. However, Christina Hodson's screenplay lacks creativity. The main plot revolves around the most overused MacGuffin ever, and some characters are straight-up taken from the book of cliches. It's a generic comic-book film with a formulaic narrative, but one that possesses enough fun and entertainment to overlook the typical story.
Rating: B-
Pretty good Movie, I did not expect Harvey Quinn can kick ass like that. I can see some guy can be turn off this movie because all women hero team. I find it very entertaining and well made.
Garbage.
Nothing, and I REALLY MEAN NOTHING good to say about this.
I really dug “Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)” because it is unlike any movie I’ve seen before. There are the conventional-minded and flashy action scenes that accompany most superhero characters, but this is a violent, R-rated, naughty-joke, potty-mouthed comic book tour de force made for women over 25. It’s a boisterous good time for feminists and girl nerds everywhere.
The film is told from the twisted and deliciously sarcastic point of view of Harley Quinn (Margot Robbie), ex-girlfriend of the Joker. When the evil Roman Sionis (Ewan McGregor) puts out a hit on a young petty thief (Ella Jay Basco), the most nefarious villains turn Gotham City upside down looking for her. When Harley crosses paths with Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell), and cop Renee Montoya (Rosie Perez), the women learn they have no choice but to team up in order to take Sionis down once and for all.
The heartbeat of the film lies in Robbie’s iconic character interpretation of Harley Quinn. She is terrific in making her naughty character with a mean streak easy to love. Harley isn’t exactly a woman you want to emulate, but it sure would be fun to hang out and be friends with her.
All of the supporting performances here really are first-rate too. McGregor chews scenery with audacious glee, and his villain is truly terrifying. With the addition of a diverse, kick-ass female supporting cast playing equally bad-ass superheros, the film takes a multicultural feminist slant that thankfully doesn’t seem forced by committee.
“Birds of Prey” is the type of scrappy mayhem that gives a sparkle of excitement to the mostly bland and boring DCEU. It’s colorful and chaotic, reckless and energetic, and I am surprised that I enjoyed this movie as much as I did. This is a really, really fun spectacle that could bring new fans to the genre.
'Birds of Prey' its absolute thrill ride. It's unapologetically fun and crude and violent. To quote Saoirse Ronan from 'Little Woman'... "Women."
- Chris dos Santos
Read Chris' full article...
https://www.maketheswitch.com.au/article/review-birds-of-prey-im-here-to-report-a-terrible-crime-dc-has-saved-cinema
I am afraid to say,, but after watching Suicide Squad which was pretty good.
This is a let down and I was looking forward to watching it.
After watching this I think if there was a plot/story behind the movie, I couldn't see it it was all over the place and nothing seemed to follow.
All I can say about this movie is the Actors/Actresses were paid to be stupid and not funny, I hoped for better things and got trash.
**Very refreshing and funny**, The movie is very different from like any team-up movie I've ever seen, it will make you forget that it's a superhero movie entirely it feels like it's just a crazy movie with criminal minds all over the city moving quite freely in fancy dress until one scene of Black Canary where you realise yeah you're watching a super-hero movie they gota show their powers. **It's violent and humorous and Margot Robbie's Harley Quinn is Fantastic and I really loved the Crossbow Killer**,
DCEU has come up with really great works since the Justice League (ignoring the Aquaman) and if you're counting the upcoming DCEU movies then you'll see a very great future for DC with Batman, Shazam 2 and Wonder Woman sequel.
If COVID-19 ushered cinemas off this mortal coil, I'm kind of strangely okay with telling people this was the last thing I ever got to see on the big screen.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
Margot Robbie's Harley Quinn was one of the few highlights of Suicide Squad but once this one was announced, I felt indifferent and the trailers didn't do much to change that to the point I skipped this in theaters. Watching it now, I came away shrugging my shoulders. Some of the action scenes, supervised by Chad Stahelski, were okay but the pacing was all off and the actual BIRDS OF PREY, were sidelined and don't really get any memorable moments. Similarly, Ewan McGregor was alright but a weak villain.
As a fan of the Batman comic book, outside of HQ, none of these resemble their counterparts, most notably Cassandra Cain who was a great character (trained as an assassin as a little girl by her father, David Cain, before being taken in by Bruce Wayne).
IDK, in the end this was a misfire and don't think it was the fault of an inexperienced director (using the same script, not sure anyone else would've made all that much better). Could be a case of being too much of a vanity project for Robbie. **2.75/5**
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Monday, May 14, 2018
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The King's Man release date : 26 August 19 9 9
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