#sicario review
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Sicario
What a shitty movie, you need to wait 1h30 to see something happening and it’s just 10 minutes worth of it.
Some good quotes:
- “She’s fine.
- I didn’t ask you. (Reggie)
- And yet I answered.”
- “Alejandro works for anyone who will point him toward the people who made him.”
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Even more films I've watched recently that I haven't had time to post about... Yes, I know, I'm bad at this...
Sicario: Day Of The Soldado (2018): I would sum this up as "they had me going in the first half, not gonna lie". A scathing indictment of the American war machine.
4/5 stars.
The Raid 2 (2014): Obviously the fight choreography is amazing, but this sequel had more plot and character development than the last. Very fun and suspenseful. Loved it even more than the original.
5/5 stars.
Top Gun: Maverick (2022): It is exactly what you expect a Top Gun movie to be. Does exactly what it says on the tin.
3/5 stars.
13 Assassins (2010): I liked this a lot! I especially enjoyed the horror elements. I found myself very engrossed all the way through.
4/5 stars.
The Lego Movie (2014): This was surprisingly good. I really enjoyed it's anti-capitalist messaging and over all I just had a really fun time watching it.
3.5/5 stars.
Midsommar (2019): The imagery from this film has stuck with me for quite some time. It was quite a harrowing film, deeply unsettling, and had me gripped from start to finish.
5/5 stars.
John Wick: Chapter 3 – Parabellum (2019): I think this may be the most enjoyment I have ever felt from a John Wick film. I did like the others but this had an even greater sense of fun and playfulness. The film knows what it is and leans in.
4/5 stars.
#film#films#movie#movies#cinema#film reviews#film recommendation#movie review#cinephile#sicario#the raid#top gun movie#13 assassins#the lego movie#midsommar#john wick 3#john wick#imalloutofgin
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💝 KATIE’S FEBRUARY CHECK IN! 💝
A bit of a rough month for me, ha. I didn’t accomplish like any of the goals I set media-wise. But whatever. Onward and upward!
TOP FILMS
The Cell
Cocaine Bear
Infernal Affairs
Pamela: A Love Story
Planet of the Apes
Possessor
Puss in Boots: The Last Wish
Sicario
Skinamarink
The Third Man
TOP TV
Abbott Elementary
Family Karma
The Last of Us
Poker Face
Real Housewives of Miami
RuPaul’s Drag Race
FINISHED BOOKS
The Paris Apartment by Lucy Foley (2 out of 5 stars ⭐️)
#katie’s monthly check in#letterboxd#film discussion#the cell#cocaine bear#infernal affairs#pamela a love story#planet of the apes#possessor#puss in boots#the last wish#sicario#skinamarink#the third man#tvandfilm#reality tv#tv review#abbott elementary#family karma#tlou show#poker face#real housewives of miami#rpdr 15#booklr#book reviews#the paris apartment#lucy foley
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I finally saw Sicario (2015)
After doing so much Dune consideration, I decided to stay in the Vileneuve wheelhouse and watch Sicario (2015). From start to finish, I was locked into the world of drug cartels along the Mexican border, and it was rather riveting.
From Letterboxd:
The movie begins with Emily Blunt’s Kate and Daniel Kaluuya’s Reggie executing a raid in their local district. Two cops are killed in action in the…
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#Benicio Del Toro#Blogging#Daniel kaluuya#Emily Blunt#film#Josh Brolin#Movies!!!!#Review#sicario#writing
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Films and Shows I Watched in 2022 - The Rewatched List
Films and Shows I Watched in 2022 – The Rewatched List
The Matrix: Resurrections
I rewatched The Matrix: Resurrections because I was incredibly disappointed on the first viewing. I spent a week thinking about the film, wondering if I was mistaken and being harsh with my opinion. I read interviews with everyone involved, watched interviews with Lana Wachowski and I was moved by her statements concerning why she made this film. I felt like a bad…
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#Ali#Dune#film#Ghost in The Shell#Hellboy#Kong: Skull Island#Matrix: Resurrections#Movies#Peacemaker#Reminiscence#review#Sicario#Sicario: Day of The Soldado#Snatch#Tenet#The Batman#The Northman#writing
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My collection
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My ★★★½ review of Sicario on Letterboxd https://boxd.it/2Emohb
It's always flattering when a film refuses to insult the intelligence of its audience by over-explaining the plot. But I'm afraid there are some films, like Brick, Jackie Brown, and now Sicario, that no amount of rewinding or checking the Wikipedia plot summary will render coherent.
But emotion-wise it's fantastic! Jóhann Jóhannsson takes what could be bog-standard tense electronica and elevates it with orchestral elements that make the score both grandiose and eerily detached. You get the same effect from Villeneuve's drone shots that manage to be simultaneously epic and clinical.
#my post#film#movies#reviews#sicario#denis villeneuve#emily blunt#josh brolin#benicio del toro#daniel kaluuya#johan johansson
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Dune: Part Two (2024) review
I’m fully aware that the Dune sequel has been hit by acclaim from both critics and audiences, and I shall share my own thoughts in due course, but also whilst presenting itself as a serious and sophisticated piece of artsy science fiction tackling challenging themes of religion and politics, from a marketing standpoint this film has been a major farcical meme. From the popcorn buckets shaped like suggestive sand worms (or more so accurately as deformed buttholes) to the viral TikTok video of an unnamed man riding a makeshift sand worm around a cinema lobby on his way to Arrakis, or more likely to one of the gazillion screenings of Dune: Part Two. But yes, absolutely mad bonkers advertising techniques, and not at all reflective of how seriously and straight faced the actual film plays. Anyway, let’s talk Duuuuuuuuuuuuuuuneee…..
Plot: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.
Controversial opinion - I was not a fan of the first Dune. I thought it was all spectacle and no substance, and even then in regards to said spectacle, it was just sand. Lots of sand and bland dark visuals. I understand that the first movie acts as a massive exposition piece with lots of world building and introductions of all the characters and various political families and the spice trade and all that sweet jazz, but honestly it all felt so dragged out. Also a lot of narrative choices felt really immature and I did not buy it. In fact, the only memorable part for me was that female voice screaming on the music score every time something crazy happened, and my does that woman have some strong vocal pipe work! Like damn, her screams…. I really felt them!
Going into Dune: Part Two, I was very much of two mindsets. One was more so a feeling of obligation to watch it, as I wasted 3 hours of my life watching the first one that I felt I deserved some kind of closure for my efforts. The other being Denis Villeneuve. Aside from the first Dune, he’s a director that has constantly impressed me with his unique vision and style. Simply look at his past filmography! Prisoners. Enemy. Arrival. Sicario. All impressive pieces of genre filmmaking. Then there’s Blade Runner 2049, that took the classic Ridley Scott movie and managed to improve on it and become one of the most thrilling science fiction epics of the last decade. Also the trailers looked appropriately exciting, and it seemed like the second movie was actually gonna deal with some serious shit finally. Again, my problem with the first Dune wasn’t that it was slow. I mean, I can happily watch Paris, Texas any day of the week and be mesmerised by the empty yet beautiful takes of the American desert. It’s more-so that the first Dune felt aimless and messy. As for Dune: Part Two?
Well, if we’re going to use The Lord of the Rings terminology, and boy am I happy to refer to the dear-to-my-heart Middle Earth whenever I have the chance, then Dune: Part Two holds the scale of The Two Towers. I may not agree with all of it, and there are still some moments that drag, though The Two Towers is also guilty of that - I’m looking at you Treebeard! But overall this is one hell of a cinematic experience and achievement. Visually for one this is eye-candy. And yes, yet again there’s lots of sand, but this time around Villeneuve manages to find very creative ways to add/take away colour to make many sequences truly impressive. There’s an early scene where the Fremen are fighting Harkonnen goons in the desert and the entire thing is seeped in this blood orange palette, reminiscent of the Martian Chronicles, and then there’s the part where we are introduced to the Harkonnen home planet where the entire screen is drenched in hardcore intense black-and-white due to their sun only giving out white and black light, and instead of fireworks there are these watercolour stroked exploding in the sky, to of course the much talked about eye-dropping sand worm riding into battle scene that had the feel of the giant elephants appearing in The Return of the King, and yes that was another most delightful reference to Lord of the Rings! As I was saying though, the entire movie visually is certainly something to be in awe of.
Also Hans Zimmer’s score!! Of course the man’s a genius, having composed so many of cinema’s greatest musical compositions. I can recommend his Live in Prague performance! Hit after hit, and I find myself spinning it on my record player a good few times. Hans Zimmer’s Dune: Part Two soundtrack feels like a thunderously bombastic continuation and expansion of the first film’s more quiet and moody opener, and that shift in tone allows for some truly spectacular weaving of the composer’s thematic tapestry for Dune – with the finest new thread being the absolutely gorgeous love theme for Paul and Chani. A truly beautiful piece that echoes the heartbreaking tragic nature of the central romance of the film. Needless to say I’ve already pre-ordered the limited edition coloured vinyl of Dune 2’s soundtrack from Mutant (the new Mondo).
As for the narrative, as that is where I felt the first film faltered the most in my humble opinion (which I share so publicly online). I really do feel like the sequel is a major set up, for since the first one focused more on the endless word building and set-ups, this movie is all about the character developments. The scope is still big with the various political and religious elements that are tackled and explored throughout, however at the same time Dune: Part Two manages to feel more intimate compared to its predecessor, with the unravelling of the romance between Paul and Chani, but more so the inner struggles of Paul Atreides, as he tries to balance his emotions of revenge with the feeling of wanting to belong somewhere, as well as his denial of being called the so-called Messiah to the Fremen people. Look, the idea of the chosen one has been a concept that has been done over and over again, however I felt here they managed to really make it feel unique and different, with Paul choosing not to take this major responsibility due to visions of the future where he sees this choice result in darkness and dread, yet at the same time realising he has no choice but to follow his destiny and calling. It’s powerful stuff.
The cast list is stacked in this one. Timothee Chalamet is a rising star, having previously excelled his dramatic chops in Call Me by Your Name and his charismatic whimsy in last year’s Wonka, but this is by far his most impressive acting feat. You truly feel his character turning from boy to man, and it’s a real and raw performance. Zendaya shares great chemistry with him, but also in her own right gives a strong turn as a warrior Fremen conflicted with what she sees and thinks. Javier Bardem’s Stilgar adds a slice of surprising humour to the mix, being so obsessed with Paul being part of the prophecy that anything he’d do, Stilgar would find that to be part of what has been foretold. Paul Atreides could literally fart and Stilgar would observe in wonder proclaiming “as it was written”. There’s also a tiny No Country for Old Men reunion with Bardem being joined by Josh Brolin, who’s alright by the way, though it’s a typical Brolin brute role. Charlotte Rampling as the Reverend Mother continues being truly despicable and honestly that wench deserves to be put in her place - the movie’s ending is very satisfying in this regard. There’s also some newcomers to the Dune world too. Florence Pugh as the Princess reminded me a lot of Padme from Star Wars, and Christopher Walken I felt was tad miscast as the Emperor. Don’t get me wrong, Walken is a great actor, but his way of speech has been impersonated and overdone so many times that it is difficult to take him seriously in a role like this. Minus a couple of strong deliveries Walken felt really lazy here. You know who wasn’t lazy though? Austin Butler! This guy understood the assignment, playing the psychotic nutter Feyd-Rautha and he’s truly unrecognisable. Even his voice is different. Gone is Elvis and in cometh his Skarsgard impression! He’s brutal and maniacal and was honestly superb, and I wish there was more of him in this movie.
Again, it’s far from a perfect movie. There are parts still that drag, and certain times where things feel surprisingly rushed, but overall this is an experience through and through, and unlike my feelings after the first film, here I find myself really looking forward to the inevitable third part. In fact f*ck it, who am I kidding - this movie is bloody incredible!! Like I can’t even - it’s abso-fricking-lutely spectacular!! And by the way I read a bit about the Frank Herbert Dune books now and the future sequels are gonna be mad, just saying. Paul’s son becomes this half-man half-worm known as the God Emperor! Things are gonna get weird! Anyway, Dune: Part Two - go see it if you haven’t already. And in Austin Butler’s voice: “may thy knife chip and shatter”.
Overall score: 9/10
#dune part 2#dune#dune part two#dune movie#denis villeneuve#timothée chalamet#zendaya#movie#movie reviews#film#film reviews#drama#science fiction#cinema#2024#javier bardem#frank herbert#dune part two review#hans zimmer#josh brolin#christopher walken#austin butler#florence pugh#rebecca ferguson#stellan skarsgard#charlotte rampling#sand worm
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Sicario (2015)
This is a Movie Health Community evaluation. It is intended to inform people of potential health hazards in movies and does not reflect the quality of the film itself. The information presented here has not been reviewed by any medical professionals.
Sicario has multiple scenes of police strobe lights at night, and a few instances of bright muzzle flashes from machine guns in dark environments.
There is some mild handheld camera work. Some shots mounted on cars and aircraft may be mildly disorienting.
Flashing Lights: 8/10. Motion Sickness: 2/10.
TRIGGER WARNING: Children are victims of severe violence. In one of the opening scenes, multiple people vomit as a reaction to witnessing the aftermath of violence, which includes decomposing bodies. A sexual encounter turns violent.
Image ID: a promotional poster for Sicario
#Movie Health Community#Health Warning#Actually Epileptic#Photosensitive Epilepsy#Seizures#Migraines#Motion Sickness#Lionsgate#Sicario#September#2015#Emily Blunt#Benicio del Toro#Josh Brolin#Denis Villeneuve#Rated R
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Review Double Feature: Dune (2021) and Dune: Part Two (2024)
Dune (2021) and Dune: Part Two (2024)
Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material (Part One)
Rated PG-13 for sequences of strong violence, some suggestive material and brief strong language (Part Two)
<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2024/03/review-double-feature-dune-2021-and.html>
Score: 4 out of 5
Yep, we're doing the Kill Bill thing again and grading two movies together as one singular whole. And that's because, much like Kill Bill, this is no ordinary pair of movies. Rather, they're a two-part adaptation of the absolute monster of a novel that is Frank Herbert's Dune. A landmark of science fiction, it is no pulpy airport paperback, clocking in at 896 pages and covering everything from the ecology of a desert world to the use of religion as a tool of control to the fall of empires to the nature of power to a deconstruction of "chosen one" mythologies and everything in between. It's a novel that typically comes up on shortlists of the greatest science fiction novels of all time, one that's been compared to J. R. R. Tolkien's The Lord of the Rings trilogy in fantasy in the canon of modern speculative fiction. (Ironically, Tolkien disliked Dune, though he didn't really say why in the interest of remaining diplomatic.)
It's not a book you take lightly, is what I'm saying.
What's more, the very things that have made it so tempting to adapt to the screen are the same things that have long given it a reputation as "unfilmable". Attempts to make a movie out of it have bedeviled nearly every filmmaker who's tried, including some of the greatest of the modern age. David Lean was offered the film, but turned it down. Alejandro Jodorowsky tried to adapt it in the '70s and failed. David Lynch actually managed to get his movie made back in 1984, producing a film that's widely remembered, not least of all by Lynch himself, as a psychedelic mess. The Sci Fi Channel produced a miniseries in 2000 that faithfully adapted the text of the book and, despite a very large budget for a TV show at the time and a huge marketing push, proved to be just as divisive among sci-fi fans. Its influence wound up coming less through its own adaptations and more from other authors and filmmakers inspired by it to make their own, less categorically weird stories, including a number of films that emerged directly from the ashes of Jodorowsky's abortive production. (You might've heard of a few of them, like Alien, The Fifth Element, Warhammer 40,000, and even Star Wars.)
So when Canadian filmmaker Denis Villeneuve decided that he wanted to adapt Dune, many critics, film journalists, and fans predicted it would be his Waterloo. Sure, he's a modern wunderkind who's never made a bad movie, up there with Christopher Nolan as a darling of today's film buffs (and, in my opinion, one who has a better track record). Sure, he'd already done the impossible by making a sequel to Blade Runner, one of the greatest science fiction films of all time, that was just as good as the original. But if Jodorowsky and Lynch couldn't do it, then how in the world was Villeneuve, somebody whose background was chiefly in gritty, spectacle-light thrillers like Prisoners and Sicario, going to pull off adapting a novel as famously trippy as Dune?
What Villeneuve did was largely stick to the text of Herbert's novel as the miniseries did, cut a lot of the backstory and many of the psychedelic elements, and instead focus heavily on both the ecological themes of the story and the events of its present, especially its political subtext and its commentary on "chosen one" narratives. What emerges is a film duology that feels like a dark retelling of Star Wars (or at least A New Hope) in which the story of Luke Skywalker, instead of a tale of a straightforward hero saving the day, is instead a tale of the rise of the Antichrist -- and, incidentally, a far better take on the idea of "what if the chosen one turned out to be the bad guy?" than the Star Wars prequel trilogy. It's not a perfect adaptation, and honestly, I'm still not sure if a "perfect" adaptation of a novel like Dune is even possible outside of a miniseries. (Jodorowsky's version would've been ten to fourteen hours long.) But whether I was watching it at home on a big-screen TV (as I did with Part One to get caught up) or in a packed movie theater (as I did with Part Two), I got a gorgeous, compelling, slow-burn sci-fi epic filled with a rich cast of complicated characters that sets up even bigger things to come but still ends in just the right way, without a doubt the best adaptation of Herbert's novel so far and one that I expect to endure in the canon of science fiction classics just like the novel.
Our story starts over eight thousand years into the future, with humanity ruled by the Imperium, an empire in classic medieval fashion where power is divided between the Emperor and the various Great Houses of the nobility. Arrakis, a harsh desert planet that is strategically vital for its supply of spice, a drug that is necessary for faster-than-light travel to be possible, has just been transferred by the Emperor from the control of House Harkonnen, which ruled it for decades, to House Atreides. The Atreides patriarch Duke Leto knows that this is a power play by the Emperor to thwart the growing power of his family, as control of Arrakis paints a giant target on their backs for other families to go after, not least of all a bitter House Harkonnen, but he also knows that he can't openly defy the Emperor's wishes and turn down this white elephant of a gift. Sure enough, exactly what he feared comes to pass. However, when House Harkonnen took back the planet, they didn't count on one man: Paul Atreides, Leto's teenage son, who survives the initial attack with his mother Lady Jessica and runs off into the desert to live with the Fremen, the tribal native people of Arrakis who have always resented the power of outsiders over their world, and plots revenge. Unbeknownst to Paul, however, a secretive religious order called the Bene Gesserit, one that includes his mother, has plans for him, and has set in motion events that will lead to his rise as a mythical savior of humankind called the Kwisatz Haderach... but unbeknownst to the Bene Gesserit, Paul, who's been having visions of himself causing a galaxy-scale spree of death and destruction, has his own ideas as to what kind of man and leader he's going to be.
The first film opens with Chani giving a vivid description of the beauty of the desert ecosystem of Arrakis, and it's clear that the environmental themes of the story were where a lot of Villeneuve's attention lay. He keeps the exposition indirect in order to fit as much of the book into five-plus hours as he can, instead preferring to show us how the world functions: a mouse-like alien creature wiping the sweat off its ear and drinking it again, the fact that nearly all of Arrakis' human development is either underground or otherwise shielded from the brutal sun, the human population being consequently nocturnal, the status of mountains and large rocks as islands of safety amidst the sea of dunes and its terrifying sandworms, fresh water being a resource as precious as gold. This short of "show, don't tell" exposition extends throughout the story. We don't need to be told that the proliferation of personal protective force fields that only slow-moving objects can get through has made guns obsolete in industrial warfare and led to a revival of melee infantry weapons like swords, pikes, and daggers, nor do we need to be told that, against the Fremen who don't have those fancy shields, guns are still very useful. We can figure that much out just by watching how these devices function and figuring out the implications, and then doing the same with all the other neat stuff about the worldbuilding. In the book, Herbert explained the setting's retrofuturism and lack of computer technology with a lengthy backstory about a war between humans and AI called the Butlerian Jihad in which humanity's victory was followed by a thorough backlash against "thinking machines". None of that makes it into the movies, but it didn't really need to, not when the films do an expert job of crafting a society that thinks it's too good for computers, and not when it's resting on the visual shorthand of countless past space opera flicks like Star Wars. A rare case where the fact that the source material has inspired countless great movies actually works in the favor of its own adaptation, letting it spend less time on the parts of the worldbuilding that we've all seen before and instead focusing on the parts that stand out from the pack.
And the part here that stands out is a big one. Over a decade before George Lucas played a "chosen one" sci-fi story pretty much straight (and over three decades before he made the prequels as a deconstruction of such), Herbert wrote a story that portrayed prophecies, Great Man narratives, and organized religion as tools that could be easily exploited by a tyrant. Paul Atreides may have meant well, hoping to liberate the Fremen from tyranny, but by inserting himself into their struggle (with help from shadowy figures who had their own agenda in paving the way for his reign), he built something terrible, and the psychic visions he has throughout the story make it clear that his accomplishments will end in tragedy. Timothée Chalamet plays Paul initially as a rich kid struggling with the pressure placed on his shoulders, one who takes to Arrakis astoundingly well to the point that, when he's forced to leave his safe and secure life at the palace, he winds up comfortably integrating right into the Fremen's society. Throughout the films, we get hints of darkness within him, especially in Part Two once he starts delivering bombastic speeches to enraptured crowds that at some point start to sound uncomfortably like the speeches that the villains normally give in these sorts of movies. Even more than the psychic visions he has of the death and destruction to come, it was in these moments when I was both captivated by Paul's power and, more importantly, scared of the kind of leader he was growing into: a harsh, unforgiving warlord who's willing to resort to extreme measures to secure the independence of the Fremen. He's an easy guy to root for, but there's always a pit in your stomach as he slowly but surely pushes the boundaries right up to the breaking point. It's here where Chani, her role considerably expanded from the books, emerges as the film's voice of reason, serving as Paul's lover but also somebody who realizes that the Fremen are trading slavery at the hands of a colonial overlord for slavery at the hands of a cult leader, even without knowing the behind-the-scenes machinations that put Paul in his position.
That said, if it wanted to completely stick the landing here, there was one final shoe that needed to drop but didn't. Paul's psychic visions merely show him ominously as a leader with Hitler-esque undertones, as well as him in battle. The book went a lot further when it came to having Paul's visions showing him with far more than just undertones, sketching vivid displays of the misery that he is fated to cause: famine, genocide, the apocalypse on a galactic scale. What the films show us is designed to make us uneasy about Paul, while letting Chalamet's performance do the rest in making him look like a budding villain, but there's a point where "show, don't tell" can be taken too far, and that's when you're talking about prophecies of disasters to come that you can't linger on for too long in the film itself and can only tell us will happen. I was only a bit freaked out by Paul, when I should've been picturing myself in Germany in 1933. I was getting all the cool and badass parts of a great villain, but the things that actually make him a villain are still to come, and that, I think, undercut some of the menace and unease I was supposed to get from Paul. It wasn't a huge problem, but it was still a not-insignificant blotch on what's otherwise a great pair of films.
Fortunately, once you're past the plot, as a sci-fi epic this duology is gorgeous to behold. Villeneuve has always been a guy who, like Christopher Nolan, has an affection for gritty realism even when he's working with big blockbuster epics, and he made the most of the desert environments that give the story its name. He does a great job in particular imagining what big melee fantasy battles would look like augmented with futuristic technology, in which the pikemen and knights charging their enemies in the field are supported with artillery lasers. The cast is absolutely stacked and excellent all around, with Chalamet shining in the central role but everybody around him also doing great work, from Zendaya as the skeptic Chani to Rebecca Ferguson as Paul's mother with her own agenda to Austin Butler stealing the show in a surprisingly brief amount of screen time as the Emperor's depraved nephew who gets sent in in Part Two to stop Paul. It was perhaps a bit overstuffed; Florence Pugh wound up getting lost in the shuffle, not an easy feat with an actor of her caliber. I understand why Villeneuve decided to split this movie in half, because there is no real way this story could've been effectively told otherwise.
The Bottom Line
Villeneuve accomplished an impossible task here, crafting with two movies an adaptation of a legendarily dense novel that does it justice. This one has its faults, and there are things that the otherwise inferior Lynch version does better (especially with regards to its psychedelic elements), but even so, it is gonna go down in the ranks of all-time sci-fi classics. I give it a solid recommendation if you have even the slightest interest in science fiction.
#dune#dune part one#dune part two#2021#2021 movies#2024#2024 movies#science fiction#sci fi#denis villeneuve#timothée chalamet#zendaya#rebecca ferguson#oscar isaac#josh brolin#stellan skarsgard#dave bautista#jason momoa#javier bardem#austin butler#florence pugh#christopher walken#lea seydoux
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My Week(s) in Reviews: March 9, 2024
My brain is already on the Oscars, so these may be even quicker than usual...
Dune: Part Two (Denis Villeneuve, 2024)
I too would immediately forget Zendaya exists the second Florence Pugh walked in the room.
Aside from some issues with the pacing that are probably rather nit-picky (some scenes felt rushed while others seemed to draaaaaag), this was a technical beast.
Once again, the casting is just stellar, and the cinematography and VFX are straight-up stunning.
Crazy cult-leader-villain Rebecca Ferguson is always the best Rebecca Ferguson. (I'd follow Rose the Hat to the depths of hell.)
This is a much more action-heavy piece compared to the first, and it's significantly better for it. The chosen-one stuff is interesting, but not as interesting as the struggle for control over Arrakis.
Really, the only things I really didn't love were those pacing issues and the fact that Florence Pugh & Christopher Walken didn't have more screen-time.
Yeah, not much else to say, specifically. - 9/10
Nimona (Nick Bruno & Troy Quane, 2023)
Had a bunch of fun with it, but the changes made from the graphic novel really weren't for the better, and the movie Nimona is significantly more annoying. - 7/10
Hypnotic (Robert Rodriguez, 2023)
Awful. Terrible. Truly embarrassing on every single level. What's even worse, is that the entire cast seems to know this, and watching them try to make sense of their garbage decisions and dialogue is so, so painful. - 1/10
Wonka (Paul King, 2023)
I had a few minor issues with some of the songs and several decisions Chalamet made, but overall this was pretty damn delightful. In general, the cast is having a blast in the most entertaining and interesting way possible, and King knows how to deliver a visually exciting family film. I really wish we didn't lose him for Paddington 3. - 8/10
I also revisited some other Villeneuve films. Dune: Part One in prep for the second one... which I enjoyed significantly more this time around. Then the night after seeing Part Two, I did a double feature of Sicario and Blade Runner 2049. Sicario is every bit as good as it was the several previous times I'd seen it. It's truly a masterful piece of cinema. Blade Runny 2049 wasn't quite as good. It's still pretty damn amazing, but there were some pacing issues that were significantly more apparent this time around. I also revisited David Fincher's Se7en as a palate cleanser after Hypnotic. So damn good, every single time. Then I followed Wonka with the masterpiece that is Willy Wonka & the Chocolate Factory. Thankfully, this decision didn't make me enjoy Wonka less like I'd worried it might.
Also, I'll be posting my Official Academy Award Predictions either sometime later tonight or tomorrow afternoon. Stay Tuned!
Enjoy!
-Timothy Patrick Boyer.
#movies#dune: part two#wonka#nimona#hypnotic#film#my week in reviews#movie#cinema#film review#movie reviews#etc.
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Sicario 2: Day of the soldado
It’s even worser than the first movie.
At least it was less slower this time.
Hope we will not endure a third movie. For my part I will not.
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Re: ____Punk Genres, Cyberpunk's message feels harder to lose to the white noise of people who don't get the point. Comnputers and Capitalism are pretty obvious themes, and even when people are soyfacing over PMCs as the point flies cleanly over their heads, they're still espousing the main themes even as they use the genre for windowdressing because it's just sort of baked in, even for people who have all the wrong takeaways.
I watched a video today of an ex cop reviewing Sicario, and above remarks on the tactics and equipment of the drug war he himself had served in, the most interesting thing about the video is how his interpretation of Emily Blunt's character (horrified witness to the American civil rights violations of the drug war) as simply a square "FBI Nerd" who "Can't hang" rather than someone who understands how messed up the extrajurisdictional and illegal actions the CIA took within the film really are. For a meathead cop this makes sense, but his take on the film did very little to mask the true point of the movie simply because he still managed to communicate to us the themes just from the wrong side of the moral border.
Cyberpunk tends to be a lot like this. Other punk genres less so. I've spent less time on Dieselpunk, but from what I've seen most people who are into it don't really get into the whole antiwar criticism unless they're just very deep into one of those Full Metal Jacket paradoxes where their interpretation of antiwar stories dances between pro and antiwar messaging depending on how hard you squint.
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I posted 563 times in 2022
57 posts created (10%)
506 posts reblogged (90%)
Blogs I reblogged the most:
@bubblesthemonsterartist
@sabraeal
@peritwotone
@alethiaii
@ccprovolomies
I tagged 561 of my posts in 2022
#kuroko no basket - 91 posts
#akashi seijuro - 86 posts
#jjk - 70 posts
#gojo satoru - 57 posts
#spy x family - 45 posts
#obiyuki - 24 posts
#damianya - 20 posts
#noragami - 20 posts
#ans - 18 posts
#sicario - 15 posts
Longest Tag: 128 characters
#i started doing it when i lived in scotland and i was too afraid to go out and make friends so i'd put netflix on while i cooked
My Top Posts in 2022:
#5
40 notes - Posted February 26, 2022
#4
So, it is time to rank my most favourite Ikesen routes, because I have too many screenshots not to share.
1. Masamune
This was my first route and it is the sexiest and funniest for me. Also, I tend to find Masamune hot and cute in whatever route I'm playing. Plus, I find that with Masamune, what you see is what you get. Idk, his baggage seems the most relatable.
2. Nobunaga
See the full post
48 notes - Posted February 13, 2022
#3
Well, good morning to the fact that we know what he's wearing underneath all that...
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52 notes - Posted November 18, 2022
#2
I don't care what anyone says, the ending to Night of the Mini Dead was flawless.
61 notes - Posted May 21, 2022
My #1 post of 2022
BUT!!!
CONSIDER!!!
345 notes - Posted October 29, 2022
Get your Tumblr 2022 Year in Review →
#tumblr2022#year in review#my 2022 tumblr year in review#your tumblr year in review#Ahahahahhahahahahahha#So people are more into monster fucking then we think eh????#Romantic killer
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The Kitchen Review- A Good Debut For Daniel Kaluuya And Company
Daniel Kaluuya has been a prolific actor for a while now. I first saw his talents on 15 Million Merits, in an episode of Black Mirror season 1 on Netflix. Ever since he’s been in Get Out the breakout hit horror film by Jordan Peele, Sicario by the great director Denis Villueve, and won an Academy Award for his role as Fred Hampton, the leader of the Black Panthers, in Judas and the Black Messiah.…
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#Daniel Kaluuya#Demmy Ladipo#Hope Ikpoku#Jedaiah Bannerman#Joe Murtagh#Kano#Kibwe Tavares#Netflix#The Kitchen
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