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Reviews
Irish Wish (2024)
Better in one Big Regard
Yep. This movie is predictable, and corny, and really a lot of nonsense! But I liked it.
Despite the checkered public life Lindsay Lohan has lived, or should I say endured, she's still a very pleasing presence, and actually kind of luminous on screen (I'd love to see a producer let her act in really serious role). And it's hard not to pull for someone with the sort of background she's had to have a complete reversal in their life. Anyway, she's kept her natural good looks still looking great, not in a glam way, but in a down-to-earth way with lots of charm. That's quite admiral in my book.
So, getting back to the film itself, the story behind it is so unbelievably kooky that I just went for the fantasy of it all. It took my mind off all the dreary sad news of these times, giving me the feeling that things could all just turn out all right. Now, that's not reality, but I do believe in magic and I feel like my life is better off rooting for better times for all, no matter how sappy that may seem. So, if you're not some jaded soul, cut yourself a break, watch this and get lost for an hour and a half. You might just feel better about things when it's over.
Oppenheimer (2023)
Too long, too talky, yet interesting
I just saw this late this afternoon in Astoria Queens, NY. Here are some observations:
1) It goes into incredible detail about Oppenheimer's leadership and engagement with the group creating the atomic bomb, his troubled relationship with a woman named Jackie, and then after it was discovered that a Russian spy had infiltrated the project, the subsequent way in which he was mistreated as a communist sympathizer, which he wasn't.
2) The acting by both Celian Murphy and Emily Blunt (not to mention others) was top notch.
3) The film had way too much dialogue, especially of cerebral and technical natures, for the average moviegoer to follow. This slowed the pace down quite a bit, making the first hour, in particular, interminable! There could have been much less of it and put across in layman's terms.
4) The soundtrack seemed to overpower what was going on on the screen at times.
5) I believe the entire story could have been paired down and told in two hours, making it a more enjoyable experience for the audience.
6) And the whole film seemed overly slick, almost as if the way it was made was meant to overshadow the story.
Everything Everywhere All at Once (2022)
Total Chaos and Outrageousness
I don't see what people see in this movie. I was in an audience that was mostly 20 year-olds. What I found gross and offensive, a lot of the audience found to be funny. To use violence and sick humor to make points about how to treat others correctly and compassionately just doesn't do it for me. It's trying to please viewers' in a sensorial way which is totally contrary to the feeling, gracious way of creating a lasting worthwhile message in a film. There's just too much emphasis on sick, sensorial thrills in this. Let's make better movies, filmmakers that really touch and audience in a genuine way!
Third Person (2013)
Got to let this one sink in
I had to see this because Paul Haggis made it. After writing several excellent scripts (Million Dollar Baby, In the Valley of Elah, Letters from Iwo Jima and Crash), how could I not take this one in.
However, after seeing Third Person tonight, I can't say that I left feeling inspired as usual. Instead, the complexity of it left me perplexed and not sure what it all meant. So, I've decided to just keep an open mind, consider it awhile and maybe see it again later on video. Perhaps it will jell for me at some point. So, take note that the "5 rating" really only reflects my current state of flummox.
Mr. Haggis said in a recent interview that the answer tying the film together is right there on the screen. Based on his past record, I can only assume it is. It just sure ain't obvious!
As an aside: a previous, interesting review by "nikubo" on this website based a large part of his conclusions on Liam Neeson's character mourning his son's death. However, if I remember correctly, it was the character played by Adrien Brody whose son died, not Liam Neeson's. Otherwise, nikuto's take is pretty unique, although I'm not sure I totally buy it.
The Call (2013)
Why?
Has today's movie audiences become a culture that expects revenge as the most satisfying conclusion to a taut drama? I don't get it. Why are filmmakers catering to this absurd notion? Okay, when a human being becomes angry, revenge often comes to mind. But in a civilized society which welcomes religions of all kinds and other non- religious spiritual pursuits based on love and caring for our fellow human beings, why instill this despicable act into the heads of young people (who are most likely to see a film like this) and make it seem like it is an acceptable thing to do?!
This movie had good acting, a lot of compassion and edge of your seat tension going for it. The end totally annihilates all that. No wonder we have so many troubled young adults today!
Katherine (1975)
Katherine still relevant especially for today
Though a low budget TV movie of the 1970's, Katherine hits a nerve today because it sends a message to a complacent society that has gotten caught up in pop culture and comfort food that injustices are committed everyday by our government with most of us barely noticing. It's a good film for young people who are beginning to grapple with the world around them to learn that things aren't as good as they always seemed in their cocoon of upbringing and schooling. And it is a wake-up call, like a lot of today's new indie films (Syriana, Goodnight and Good Luck and The Constant Gardner) for the rest of us who live for the next episode of The Sopranos or Desperate Housewives between days at work. Despite some drawbacks of the production, Sissy Spacek's impassioned performance effectively sends the movie's message home.