Tag Archives: movie review

Netflix Film Review: Victoria #100WordReview @thefilmreview @KermodeMovie #Victoria @VictoriaFilmUK @Netflix #Netflix

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Victoria (2015) is the latest film by German actor-cum-writer/director, Sebastian Schipper. It generated a lot of hype because, unlike Iñárritu’s Birdman, Kovcheg’s Russian Ark, or Hitchkock’s Rope, Victoria’s 138 minutes really are one tracking shot.

The technical mastery: undeniable. The effect: to suck you in with unparalleled realism to the single most believable drunken night out ever committed to film.

Unfortunately, the plot is thin. Loner girl meets dodgy guys, gets roped into their illegal hijinks. The first hour is completely pointless with no hint of direction or plot, though there is some foreshadowing. An all-time classic, scuppered.

3/5

© 2016-2017 Bryan A. J. Parry

Post originally appeared on https://doggerelizer.com/2016/10/20/netflixfilmreview-victoria2015/

featured image from http://www.firstshowing.net/2015/watch-first-trailer-for-award-winning-one-shot-german-film-victoria/

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Netflix Film Review: Nanny Cam [SPOILERS!!!] @thefilmreview @KermodeMovie #NannyCam @Laura_AllenLA @IndiaEisley1029 @MKnightShyamalan

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Nanny Cam is the tale of two parents, Linda and Mark Kessler (played by Laura Allen and Cam Gigandet), working impossible hours and struggling to raise their child. Downsize to just the two bedrooms, or find a nanny to raise their child for them? This is U-S-A!, buddy; you know what the answer’s gotta be!

Unfortunately, super-nannies are hard to come by. But just as our young capitalists might have to consider no longer over-reaching themselves, in steps the too-good-to-be-true Heather (India Eisley) who is snapped right up. This being a film, and not real life, it turns out — oh plot twist of plot twists! — that the new nanny is too-good-to-be-true! In fact, she’s a possessive nutter hell-bent on wrecking the Kesslers’ perfect family.

Her evil behaviour, such as encouraging the daughter to funnel her creative energies into literature instead of the mother’s treasured violin (seriously), lead our couple to do what any couple would do: badly hide CCTV cameras all over the house and secretly watch literally nothing evil happen. This of course prompts the nanny to do what every jealous nanny would do in retaliation: drug the husband, in full view of camera, and ride him like a bull at the rodeo.

The plot twists come thick and fast. And the reason for Heather’s behaviour is the type of twisted genius that would make 2015 M. Knight Shyamalan cry with awe and envy, but 1999 M. Knight Shyamalan just cry.

The movie has a workable if not very original idea. It merely isn’t very well-made. I’m not sure if the actors are third-rate or whether they are just embarrassed to be taking part (which is my suspicion); either way, unconvincing lines are unconvincingly performed. Everything that’s wrong with the film can be summed up by its twist ending.

Femme fatale nanny on the coach after having made her daring (impossible?) get-away. Doddery old codger toodles up to her and says, ‘Excuse me, I hope I’m not bothering you. But he is so beautiful.’ Reveal: small new-born baby next to femme fatale. ‘Thank you. He’s called Mark. He’s named after his father’.

Why spoon-feed the audience? We’re not idiots. Just have her sat on the coach, quietly content, and then reveal the baby. We’ll put two and two together. And if you really must have the old codger dialogue (for whatever reason), just have our tempress say, ‘He’s called Mark’. Again, we’ll know that the husband is called Mark and this is likely his child. Don’t take a sledgehammer to the walnut and finish it with, ‘He’s named after his father’.

Dodgy acting, some unnatural and flabby film-school writing, this film is a mediocre realisation of an okay idea. At least Laura Allen is beautiful to look at — who would be tempted by the puppy fat of India Eisley, anyway!?

2/5

© 2015-2017 Bryan A. J. Parry

featured image from rottentomatoes.com

review originally appeared at my other blog https://doggerelizer.com/2016/02/15/film-review-nanny-cam/

Netflix Film Review: P.S. I Love You (2007) #100WordReview @Netflix @thefilmreview

P.S. I Love You is a rom-com based on a quirky and compelling idea. A terminally ill husband arranges ten surprise packages to be delivered to his wife in the months after his death. Think: posthumous and vicarious Bucket List.

Great idea, some genuinely moving sequences — all utterly undermined by the fundamental unbelievability of the acting and set-pieces. The husband’s better-than-Ed-Sheeran serenade is a stand-out moment of absurdity. And the kooky humour’s far less charming and funny than it thinks.

An odd film: I cried, and reached for the zapper. Coulda been great, but unbelievability and misplaced zaniness ruin it.

2/5

© 2017 Bryan A. J. Parry

featured image from http://www.waitsel.com/actors/gerard_butler/ps_i_love_you-1.jpg

Netflix Film RE-view: Fire in the Sky (1993) #FireInTheSky #TravisWalton @THEFILMREVIEW @KERMODEMOVIE

Fire in the Sky is the 1993 screen depiction of the 1975 alleged alien abduction of lumberjack Travis Walton while out working with his crew. A slowburn, the film is notable for its focus. Rather than gratuitious shots of ETs, the drama revolves around how the disappearance of a local man affects a small town. His crew are villified as murderers, and mob tyranny ruins their lives as the towns tears itself apart.

This film seared itself into my memory as a kid. The petrol station scene (I won’t ruin it) genuinely disturbed me. And the tension throughout builds to that sequence: the single most believable portrayal of an alien abduction I have ever seen. As utterly convincing, visually impressive, and skin-crawlingly disturbing as it was when I saw it some twenty-odd years ago.

But was he abducted? Some have criticised the ambiguity of the film: it never gives us a clear yes-no answer. But I think this is the feature’s strength. The picture’s concern is how people cope with traumatic situations.

Still so fresh. Please give it a watch on Netflix.

4/5

© 2017 Bryan A. J. Parry

featured image from https://lh6.googleusercontent.com/-wJ_UpP7EG1s/TYJ5F0FcTXI/AAAAAAAAA3E/rJCapE-uPC0/s1600/fire-in-the-sky-original.jpg

Netflix logo from http://contestpatti.com/wp-content/uploads/2014/07/Netflix-logo.png

 

Film Review: Arrival @ARRIVALMOVIE @THEFILMREVIEW @KERMODEMOVIE #AMYADAMS #ERICHEISSERER #DENISVILLENEUVE

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Arrival, based on Ted Chiang’s 1998 Nebula award-winning novella Story of Your Life, can only be described as this generation’s Contact or 2001: A Space Odyssey. There are even shades of 1998’s Sphere. It’s not derivative of those great works, but has the same epic feel — and by “epic”, I don’t mean bloated and poorly plotted, which is what so often passes for epic nowadays (see Superman v Batman, Pirates of the Caribbean: At World’s End, and a 300 page book being turned into a three film, eight hour monstrosity, The Hobbit).

Aliens have landed, but they keep quiet, safely ensconced in their ships. What’s their intention: Close Encounters of the Third Kind, or more War of the Worlds? The film sees linguist Dr Louise Banks, so well-played by Amy Adams that I forgot I was watching a well-known A-lister, tasked with deciphering the alien’s language and making first contact. Her job cannot be underestimated: these aliens are no humans-with-rubber-ears.

Truly alien aliens, a sense of tension and uneasy terror that surely would acccompany first contact, a disturbing sense of realism. And it achieves this without wobbly camcorder shtick. With a nod to 2001 and Sphere, it even has its own monoliths — gigantic, featureless, silent, dark spaceships which float mere feet from the ground.

And just like its illustrious spiritual forebears, Arrival is beautifully understated, deceptively straightforward in its plot, and deals with deep themes with no hint of pretension or pomp. It even raised a few laughs from the audience. Perfectly pitched mind-candy. The only minor criticism is that the film might have benefited from upping the personal and global peril in places.

It really is the anti-Independence Day. If you are one of those people who described Contact as snooze-inducing where nothing happens and “in the end it turns out her dad was an alien” (quote from South Park, not actually what happens!), then give Arrival a miss. However for me, as a fully qualified linguist, I hope this is the start of a glut of films where knowledge of valency changing operations and morphosyntactic alignment in obscure New Guinea languages saves the world. Grammar has never been this exciting, or important. An instant classic.

4/5

(see the 100 word review here)

© 2016 Bryan A. J. Parry

featured image from http://www.space.com/34783-stephen-wolfram-arrival-interview.html

Film Review: Arrival #100WordReview @ArrivalMovie @TheFilmReview @KermodeMovie #AmyAdams #ericheisserer #DenisVilleneuve

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Arrival sees a linguist tasked with making first contact with extraterrestrials. Based on an award-winning short story, the film can only be described as this generation’s Contact or 2001: A Space Odyssey. Same epic feel, familiar dark featureless monoliths (spacecraft). Yet it’s no rip-off.

Truly alien aliens, a tension and uneasy terror that surely would acccompany first contact, a disturbing sense of realism. All achieved without wobbly camcorder shtick.

Just like its illustrious spiritual forebears, Arrival is beautifully understated, deceptively straightforward plot-wise, and handles deep themes without pretension or pomp.

The anti-Independence Day. Found Contact snooze-inducing? Miss it. I say: instant classic.

4/5

(see the full-length review here)

© 2016-2017 Bryan A. J. Parry

featured image from http://www.space.com/34783-stephen-wolfram-arrival-interview.html