Reviews

Whether you watch Inception as a heist movie, a redemption story, or a sci-fi action picture, Christopher Nolan's tour de force of dreams will absolutely work its magic over you. The fact that the film works on so many levels (literally) is an attest not only to the visual queues that make it easy for the audience to follow but to how much in control of all the intricacies its filmmaker had to be.

"There are no two words in the English language more harmful than good job". Whiplash follows are main character Andrew Neyman who is a young jazz drummer, single-minded in his pursuit to rise to the top of his elite east coast music conservatory. Plagued by the failed writing career of his father, Andrew hungers day and night to become one of the greats. Terence Fletcher, an instructor equally known for his teaching talents as for his terrifying methods, leads the top jazz ensemble in the school. Fletcher discovers Andrew and transfers the aspiring drummer into his band, forever changing the young man's life. OK let me just start off with this. You had no idea how much I was really looking forward to Whiplash. This was on my movies to check out list, because I heard nothing but positive things from this movie and I heard a lot of people described this film has the "Full Metal Jacket"...

When I sat down to watch this film, I didn't know what to expect. I am not usually a fan of films about musicians but this was a brilliant and tense masterpiece. The story is of a very ambitious boy named Andrew (played by Miles Teller) who is a music student in New York. He aspires to be noticed by a prestigious music teacher named Fletcher (played by J.K. Simmons). As his wish starts becoming a reality, he realises the brutality of this teacher who continually pushes him with questionable methods. Damien Chazelle's direction is almost of a tense boxing or war action drama in that it constantly uses the music of the drumming to build the tension whilst using violent and sharp editing whilst the jazz band play. Chazelle's screenplay is very well written. It is filled with humour, tension and heartbreak. The way in which Fletcher switches during Andrew's first lesson is expertly done....

J K Simmons won an Oscar for Best Supporting Actor for his mean, bullying monster. Jazz teacher Terence Fletcher who abhors the words 'good job.' Fletcher tells a tale about Charlie Parker and how doing a good job was not enough for him. Good job means mediocrity. Yet Fletcher is a mediocre educator and his college seems not to have noticed this. Instead of being an inspiration his students fear him. He is a nasty tyrant and an incident from his past comes back to haunt him. Miles Teller plays Andrew Neiman the put upon jazz drummer in the Shaffer Conservatory in New York. Neiman is eager to impress Fletcher but nothing he can do is good enough and withstands all the effluent Fletcher throws at him until one day he snaps. Damien Chazelle unleashed an unethical monster in Fletcher with Neiman providing the film's heart but I am not convinced that this is a good film. The rest of the...

Fantastic movie with a good cast with an impressive Miles Teller and a yet even more impressive J.K. Simmons. Decent script, great directing, selection of the repertoire and performances. Just sit down, get a good audio system and enjoy one of the best movies of the 2010s.

Some creative kills and a decent atmosphere fail to obscure a vapid nihilism, rather meandering plot with a twist that makes little sense, and some quite nasty misogyny. Basically two or three admittedly masterful performances away from being nothing more than a padded ultra-violent bad Law and Order episode. The Brakhage-inspired title sequence is orders of magnitude better than the film itself. The hodgepodge of contextless references to classic literature doesn't make this any cleverer, either. This is basically everything that people who don't watch "film bro movies" unfairly think all modern thrillers are like. Has aged horribly as well.

If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com I've never written or even thought about my favorite movies of all-time. I don't believe in having a definite Top10 or Top20 of every film I've ever seen. However, if I had to write this special list, I have no doubts that Se7en would be there. Obviously, this is a rewatch of the classic movie that impacted filmmaking and launched David Fincher's remarkable career (I also ignore the fact that Alien 3 is connected to Fincher due to the known production issues). With his next film, Mank, coming up on Netflix in a few weeks, I decided to go through part of his filmography. Se7en will be the first out of five Fincher's movies that I will be able to revisit throughout this week. I've seen this film countless times, but to be completely honest, I haven't seen it in so long that I didn't remember...

Se7en put David Fincher on the map with this uber-creepy mystery thriller. The crime scenes are so grisly Seven is often ranked with top horror movies. And the ending -- hoo boy. One of the best twists in modern movie history.

He's experienced about as much pain and suffering as anyone I've encountered, give or take, and he still has Hell to look forward to. "Warning: Spoilers" Seven is directed by David Fincher and written by Andrew Kevin Walker. It stars Morgan Freeman, Brad Pitt, Gwyneth Paltrow, Kevin Spacey and R. Lee Ermey. Music is scored by Howard Shore and cinematography by Darius Khondji. An unnamed US city and two cops are on the trail of a serial killer who kills his victims according to which one of the seven deadly sins they have committed. Having been stung by the studio interference and negative fall out regarding his directorial debut feature film, Alien 3, David Fincher waited three years before committing to a project that he had control over. The result was Seven, a dark masterpiece of unremitting creeping dread that showcased the work of a clinically excellent director. Seven is not...

I’m always amazed at how a single film can be fundamentally characterized in multiple ways, but that’s understandable when the picture combines an array of diverse elements, each of which has a validity all its own that can subsequently lead to different overarching interpretations. Such is the case with this 1963 film classic from famed Japanese auteur Akira Kurosawa, which provides the cinematic inspiration behind filmmaker Spike Lee’s current reimagination, “Highest 2 Lowest,” now playing theatrically. Like the current iteration, “High and Low” follows the story of a wealthy businessman, Kingo Gondô (Toshirô Mifune), who’s looking to take control of the shoe manufacturing company for which he works, a plan that requires him to leverage his entire personal fortune to make it possible. But, just as he’s about to close the deal, he’s distracted by the alleged kidnapping of his young son...

A well worked, high stake crime thriller. The stakes are deeply personal to our main characters and puts them in an impossible situation. The performances and direction are very solid, the story is engaging and ultimately, it's a simple yet enjoyable film. Kurosawa comments on modern corporate greed and poverty in post-war Japan, and he does it very well.

I didn't take to this initially. The scenario reminded me a little of an episode of "Columbo" - a rather sterile, studio-set environment that came across as quite limiting. Once it gets going, though, it's one of the best crime thrillers I've seen in ages. It all centres around the kidnapping of a small boy for whom the anger-prone, shoe millionaire "Gondo" (a strong contribution from Toshirô Mifune) is supposed to pay a ransom of ¥30 million - a colossal sum. It turns out, though, that it's not his son who has been snatched - it's the child of his chauffeur. Why ought he to pay? Will he just get on with his impending company takeover or will he risk bankruptcy for the young "Shinichi"? This is a film split into three sections. The first deals with the decision making process around will he/won't he/why should he. Next, the police must try to apprehend this individual. This process is...

Huh. The female John Rambo. Tough, but unfortunately also very shallow. It lacks pizzazz, and the potential hasn’t been realised, unfortunately.

The casting for this is not particularly noteworthy, with the exception of the main protagonist, and some of the camera work and writing is a bit underdeveloped. Some of the effects leave a bit to be desired as well, but I don't think that takes away from the enjoyment of this movie. This thing is still on point and the directing is more than adequate for what this wants to convey. It's sort of like Taken and Rambo in a weird mix, and I think that works well enough to be worth the investment of your time.

Certainly my favourite Miyazaki film. The animations are a touch angular, but colourfully and stylishly depict this story of a beautiful young girl who is cursed by an evil witch. In despair, she sets off, directionless, from home and comes across "Howl" and his moving castle - and the sprite "Calcifer". She begins a journey of discovery - about herself as much as anything. "Howl" - the ultimate free spirit is also facing down demons of his own that he is struggling to reconcile with. "Calcifer" provides the conduit for them to get to better understand each other and also much of the humour as they seek to break the spells that bind them. This works on many different levels and each time I see it, I seem get something different from it.

Really good movie staging in a fictional center European country. The drawings are great and the story is as delicate as any other from Miyazaki.

Fun, imaginative, iconic space adventure with a kick-axx cast "Star Wars V: The Empire Strikes Back" (1980) was the anticipated follow-up to the initial mega-hit blockbuster from 1977. It’s an epic, but simplistic space fantasy about an evil empire and the noble souls who dare to fight it. The main cast features Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia), Billy Dee Williams (Lando Calrissian), Alec Guinness (Obi-Wan Kenobi) and the voice work of James Earl Jones (Darth Vader), Frank Oz (Yoda) and Clive Revill (Emperor). This is an amusing, inventive, iconic space adventure with a stellar cast. While I prefer the adult-oriented space science-fiction of Star Trek, I can’t deny that this space fantasy grants you an entertaining two hours with lots of sci-fi action, space ships, a snowy planet, asteroid caves and mysterious swamps. I also...

It's a dark time for the rebellion; and us the audience as well. Luke, Leia and Han are fighting with the rebels in the hope of defeating the Imperial forces. But Luke gets a calling to the planet Dagobah, where under the tutelage of Jedi Master, Yoda, he hopes to become a Jedi himself, but that also brings him closer to his, and Leia's, destiny. Lets tell it as it is, The Empire Strikes Back is a better film than Star Wars, not as impacting of course, but most definitely better. Technically, in story telling and in tone, it holds up well today and certainly warrants the amount of times it crops up in best sequels debates. That it's not actually a sequel is irrelevant, it is of course the filler in a wonderful sci-fi sandwich, because as second instalments go, Empire has few peers. With Empire Strikes Back we get all the whizz bang adventure strewn heart of Star Wars, but George Lucas...

A masterpiece of cinema. The film transcends the franchise, seamlessly combining elements of myth, science fiction, fantasy, war film, romance, bildungsroman, epic and tragedy in a way that its sequels have been unable to replicate. It is a move without a moment of fluff. Cut anything and the film would suffer. Story, character, effects, cinematography, music, screenplay, acting, editing and action are all superb. One of the most artistically poignant films ever made. And because its style cannot be replicated, it will continue to appreciate with age. This was a time when George Lucas still had integrity, as evidenced in this 1980 Rolling Stone interview (he has since contradicted much of what he espouses in both word and deed): https://www.rollingstone.com/movies/news/the-empire-strikes-back-and-so-does-george-lucas-19800612 Here's a blog article shows Empire's cinematic chiasmus, or...

Overrated An enjoyable film - just not as engaging as parts IV and VI. The argument that Jedi was ruined by little furry creatures is laughable as this instalment features a little green muppet. I was expecting Kermit and Miss Piggy to show up. Once we get the impressive Hoth battle over with the film meanders and crawls along - padding out its running time with predictable romantic sparring and an extended and dull sequence on Degobah. Things finally pick up again at Cloud City but not enough to justify the worship this film receives. I much prefer Return of the Jedi to this one - at least Return of the Jedi gets the emotional juices flowing. This one leaves me as cold as the snow on Hoth. - Ian Beale