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Title : Bitter Moon
Bitter Moon genre : Thriller, Drama, Romance
Bitter Moon crew : Vangelis, Mary Selway, Bonnie Timmermann, Françoise Menidrey, Gérard Viard, Gérard Brach, Tonino Delli Colli, Roman Polanski, Roman Polanski, Roman Polanski
Bitter Moon release date : 27 June 19 4 4
Bitter Moon runtime : 139 Minutes
Bitter Moon Crew : Vangelis, Mary Selway, Bonnie Timmermann, Françoise Menidrey, Gérard Viard, Gérard Brach, Tonino Delli Colli, Roman Polanski, Roman Polanski, Roman Polanski
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Kill the Messenger crew : Pamela Abdy, Jeremy Renner, Scott Stuber, Sean Bobbitt, Nathan Johnson, Naomi Despres, Michael Cuesta, Peter Landesman, Louis Phillips, Gary Webb
Kill the Messenger release date : 2 February 19 5 0
Kill the Messenger runtime : 112 Minutes
Kill the Messenger Crew : Pamela Abdy, Jeremy Renner, Scott Stuber, Sean Bobbitt, Nathan Johnson, Naomi Despres, Michael Cuesta, Peter Landesman, Louis Phillips, Gary Webb
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Sunday, June 24, 2018

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The Shawshank Redemption genre : Drama, Crime
The Shawshank Redemption crew : Thomas Newman, Thomas Newman, Roger Deakins, Peter Landsdown Smith, Stephen King, Stephen King, Deborah Aquila, Frank Darabont, Frank Darabont, Niki Marvin
The Shawshank Redemption release date : 5 February 19 6 4
The Shawshank Redemption runtime : 142 Minutes
The Shawshank Redemption Crew : Thomas Newman, Thomas Newman, Roger Deakins, Peter Landsdown Smith, Stephen King, Stephen King, Deborah Aquila, Frank Darabont, Frank Darabont, Niki Marvin
The Shawshank Redemption movie cast :
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Some birds aren't meant to be caged.

The Shawshank Redemption is written and directed by Frank Darabont. It is an adaptation of the Stephen King novella Rita Hayworth and Shawshank Redemption. Starring Tim Robbins and Morgan Freeman, the film portrays the story of Andy Dufresne (Robbins), a banker who is sentenced to two life sentences at Shawshank State Prison for apparently murdering his wife and her lover. Andy finds it tough going but finds solace in the friendship he forms with fellow inmate Ellis "Red" Redding (Freeman). While things start to pick up when the warden finds Andy a prison job more befitting his talents as a banker. However, the arrival of another inmate is going to vastly change things for all of them.

There was no fanfare or bunting put out for the release of the film back in 94, with a title that didn't give much inkling to anyone about what it was about, and with Columbia Pictures unsure how to market it, Shawshank Redemption barely registered at the box office. However, come Academy Award time the film received several nominations, and although it won none, it stirred up interest in the film for its home entertainment release. The rest, as they say, is history. For the film finally found an audience that saw the film propelled to almost mythical proportions as an endearing modern day classic. Something that has delighted its fans, whilst simultaneously baffling its detractors. One thing is for sure, though, is that which ever side of the Shawshank fence you sit on, the film continues to gather new fans and simply will never go away or loose that mythical status.

It's possibly the simplicity of it all that sends some haters of the film into cinematic spasms. The implausible plot and an apparent sentimental edge that makes a nonsense of prison life, are but two chief complaints from those that dislike the film with a passion. Yet when characters are this richly drawn, and so movingly performed, it strikes me as churlish to do down a human drama that's dealing in hope, friendship and faith. The sentimental aspect is indeed there, but that acts as a counterpoint to the suffering, degradation and shattering of the soul involving our protagonist. Cosy prison life you say? No chance. The need for human connection is never more needed than during incarceration, surely? And given the quite terrific performances of Robbins (never better) & Freeman (sublimely making it easy), it's the easiest thing in the world to warm to Andy and Red.

Those in support aren't faring too bad either. Bob Gunton is coiled spring smarm as Warden Norton, James Whitmore is heart achingly great as the "Birdman Of Shawshank," Clancy Brown is menacing as antagonist Capt. Byron Hadley, William Sadler amusing as Heywood & Mark Rolston is impressively vile as Bogs Diamond. Then there's Roger Deakins' lush cinematography as the camera gracefully glides in and out of the prison offering almost ethereal hope to our characters (yes, they are ours). The music pings in conjunction with the emotional flow of the movie too. Thomas Newman's score is mostly piano based, dovetailing neatly with Andy's state of mind, while the excellently selected soundtrack ranges from the likes of Hank Williams to the gorgeous Le Nozze di Figaro by Mozart.

If you love Shawshank then it's a love that lasts a lifetime. Every viewing brings the same array of emotions - anger - revilement - happiness - sadness - inspiration and a warmth that can reduce the most hardened into misty eyed wonderment. Above all else, though, Shawshank offers hope - not just for characters in a movie - but for a better life and a better world for all of us. 10/10
Make way for the best film ever made people. **Make way.**
There is a reason why this movie is at the top of any popular list your will find.
Very strong performances from lead actors and a story line from the literary brilliance of Stephen King (and no, its not a horror).
Sufficient drama and depth to keep you interested and occupied without stupefying your brain. It is the movie that has something for everyone.
It's still puzzling to me why this movie exactly continues to appear in every single best-movies-of-all-time chart. There's a great story, perfect cast, and acting. It really moves me in times when I'm finding myself figuring out things with my annual tax routine reading this article, and accidentally catching myself wondering what my life should be if circumstances had changed so drastically. This movie worth a rewatch by all means, but yet, there's no unique vibe or something - there are thousands of other ones as good as this one.
I will not say that the film is predictable, because it is not quite so, due to the fact that we only know Andy’s intentions at the end, and during the film, it is important to understand that there was not a hint of it, but let's not forget our guys who so imprudently localized it. I will not be the first, but the word 'redemption' is translated as 'redemption'. I don’t know the reason why our localizers decided to spoil the impression to all Russian-speaking people.

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The Mule crew : Clint Eastwood, Clint Eastwood, Joel Cox, Deborah Hopper, Ronald R. Reiss, Kevin Ishioka, Bradley Thomas, Tim Moore, Nick Schenk, Dean A. Zupancic
The Mule release date : 4 July 19 8 5
The Mule runtime : 117 Minutes
The Mule Crew : Clint Eastwood, Clint Eastwood, Joel Cox, Deborah Hopper, Ronald R. Reiss, Kevin Ishioka, Bradley Thomas, Tim Moore, Nick Schenk, Dean A. Zupancic
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Earl Stone, a man in his eighties, is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive. Easy enough, but, unbeknownst to Earl, he's just signed on as a drug courier for a Mexican cartel. He does so well that his cargo increases exponentially, and Earl hit the radar of hard-charging DEA agent Colin Bates. The Mule 2018 review : **_Laconic, measured and easy to digest, although it could have done with more substance_**

> _How many addicts are out on the street simply because Mr. Sharp brought the cocaine here?_

- Sam Dolnick quoting AUSA Chris Graveline; "The Sinaloa Cartel's 90-Year-Old Drug Mule"; _New York Times_ (June 11, 2014)

63 years since he first appeared on-screen (an uncredited role in Jack Arnold's 1955 _Revenge of the Creature_), _The Mule_ is 88-year-old Clint Eastwood's first acting role since Robert Lorenz's _Trouble with the Curve_ in 2012, and his first film as a director since about a week ago. It is, however, the first time he's directed himself since the excellent _Gran Torino_ in 2008. Known for being incredibly efficient when it comes to filmmaking, Eastwood likes to get scripts into production before they've gone through too many rewrites, he rigidly shoots only what's on the page, he avoids multiple takes and on-set experimentation, and he keeps the editing process as simple as possible – so basically, he's the anti-Terrence Malick. With this in mind, he has maintained an extraordinary rate of turnover, with _The Mule_ the 37th feature he's directed since _Play Misty for Me_ in 1971.

Of course, when you work at that rate for as long as he has, you're going to put out a few duds, and although his directorial output has gone through ups and downs in the past, his most recent work has been arguably the most disappointing of his career, with pretty much everything he's directed since _Gran Torino_ being subpar. Whether it's the hokey sentimentality of _Hereafter_ (2010), the oversimplification (and awful makeup) of _J. Edgar_ (2011), the lifeless _Jersey Boys_ (2014), the unashamed and troubling jingoism of _American Sniper_ (2015), the unnecessary embellishments of _Sully_ (2016), or the spectacularly misjudged experiment in casting that was _15:17 to Paris_ (2018), the days when he could direct no less than seven masterpieces – _Unforgiven_ (1992), _A Perfect World_ (1993), _The Bridges of Madison County_ (1995), _Mystic River_ (2003), _Million Dollar Baby_ (2004), _Flags of Our Fathers_ (2006), and _Letters from Iwo Jima_ (2006) – in a 14-year period are long gone. Indeed, the most notable thing he's done in the last decade is ramble somewhat incoherently to an empty chair.

The bad news is that _The Mule_ is a strangely formless film, almost a collection of only vaguely connected scenes rather than an actual narrative with forward momentum; it has precious little depth or nuance; there's some troubling casual racism, most of which we're encouraged to laugh at; the tone is all over the place; Eastwood's character has not one, but _two_ threesomes with young women; and it wastes almost all of its excellent cast. The good news is that, somehow, it's extremely enjoyable, and is easily the best film he's directed since _Gran Torino_.

Telling the story of Earl Stone (Eastwood), a 90-year-old horticulturist and Korean War veteran, the film begins in 2005 as Stone is honoured at a daylily festival. Clearly enjoying the adulation (and the attention from the ladies), he doesn't seem to care that he's supposed to be attending the wedding of his daughter Iris (Eastwood's real daughter, Alison Eastwood). As she frets about his failure to turn up, Mary (Dianne Wiest), Stone's ex-wife and Iris's mother, points out that it's not a shock, as he has a history of letting his family down. The film then jumps to 2017 – Iris hasn't spoken to him since her wedding, and he is estranged from the whole family, except Iris's daughter, Ginny (Taissa Farmiga), who is herself getting married. His daylily business has gone bust, unable to compete with online shopping, and his house is in foreclosure. After a very public dressing down from Mary, Stone is approached by a friend of Ginny's who tells him that he knows some people who will pay anyone with a perfect driving record to "_just drive_" for them. Arriving at a garage guarded by heavily armed Hispanics, Stone is told to drive some duffle bags from El Paso to Chicago, with the only rule that he isn't to look inside the bags. He happily agrees, apparently unaware he has just signed on to mule for the Sinaloa Cartel. When he does inevitably look in the bags, finding cocaine, he isn't especially bothered, and as his first few runs go well, the Cartel start to increase the amount of drugs he's muling. So much so that cartel boss, Laton (Andy García), asks to personally meet this new mule, who has been nicknamed "Tata" ("Grandfather") by his handlers. Meanwhile, the leader of a DEA task force (Laurence Fishburne) is under pressure to start getting results, and so he gives agents Bates (Bradley Cooper) and Trevino (Michael Peña) instructions to start making arrests sooner rather than later, which they promise to do, explaining that they are nearing in on a prime target – a prolific mule known only as Tata.

Written by Nick Schenk, who also wrote _Gran Torino_, _The Mule_ is, extraordinarily, based on a true story. Specifically, it's inspired by Sam Dolnick's 2014 _New York Times_ article, "The Sinaloa Cartel's 90-Year-Old Drug Mule", which tells the story of Leo Sharp, an award-winning horticulturist and World War II veteran who became the Sinaloa Cartel's most reliable mule. Despondent from financial problems and the loss of his daylily business, Sharp began transporting cocaine from Arizona to Michigan in 2005. With Sinaloa quickly realising how reliable he was, he was soon moving up to 300 kilograms per trip and transporting as much as $2million dollars in the opposite direction. In October 2011, while in possession of 90 kilograms, Sharp was arrested by Michigan state police operating as part of a DEA task force. He was sentenced to three years in prison, but was released in 2015 after a year behind bars, due to declining health. He died of natural causes in 2016 at the age of 92.

The first thing to be said about _The Mule_ is that the trailer is misleading. And then some. Suggesting a tense, nail-biting thriller in which Stone is appalled to find out what he has been transporting, but is unable to back out of his deal, and must try to keep the Cartel on-side whilst evading the attention of the DEA, the trailer has next-to-no relationship with the actual film. It's not tense, my nails were thoroughly unbitten, Stone isn't overly concerned when he learns what's in the bags, and the very narrative structure means it's inevitable that Bates will catch up to him sooner or later. It most certainly isn't the Michael Mann-esque crime thriller it's being advertised as. Instead, _The Mule_ is laconic and contemplative, laid-back and not especially dramatic (there's more fireworks in the arguments Stone has with his family than in his relationship with the Cartel, and the film as a whole is more _Last of the Summer Wine_ than _Miami Vice_). Indeed, as drama, _The Mule_ is fairly insubstantial, telling a threadbare story populated by underwritten characters, void of much of an emotional core, and with next-to-nothing in the way of an exciting _dénouement_.

As a director, Eastwood's last three films (_American Sniper_, _Sully_, and _The 15:17 to Paris_) have all told true stories of ordinary people who have come to be seen as heroes for one reason or another, whether they wanted to or not. Earl Stone is definitely not a hero (any more than Leo Sharp), but he is an everyman, a person down on his luck who finds a way to stick it to the system. And that makes him, at best, empathetic, and at worst, an anti-hero (yes, the fact that he's literally transporting misery and suffering is problematic, but we'll get to that). Stone is charming, funny, and intelligent, and his attempts to make up for his mistakes with Iris by being there for Ginny seem genuine. Eastwood plays Stone as full of regret, someone who knows he was a terrible husband and father, and the fact that his estranged daughter is played by his real daughter gives the film the impression of being personal (Eastwood, like Stone, has an, let's be diplomatic, "appreciation" for the ladies). From a physical standpoint, Eastwood looks noticeably older than he did in _Trouble with the Curve_; he walks hunched over, he looks frail enough for a strong wind to knock him down, there's next-to-no meat on his arms. Almost all of that Eastwood-ruggedness is gone, and this is easily the most physically vulnerable we've ever seen him on screen, even more so than that other titan of old-school American masculinity, John Wayne, who made _The Shootist_ (1976) when he was literally dying.

In a lot of ways, Stone is not unlike Walt Kowalski, the hateful racist character Eastwood played in _Gran Torino_. They are both Korean War veterans who find themselves alienated from the world they live in, and who believe the next generation lack fortitude (at one point, Stone complains, "_this generation can't open a fruit-box without calling the internet_"). However, Stone is much softer, and on the universal scale of racism, whereas Kowalski is Mel Gibson-racist, Stone is Prince Philip-racist; the type of racism we forgive because he's 837 years old, half-senile, and grew up "_in a different time_." Sure, he calls Hispanics "beaners" and jokes about them getting deported, but they don't seem to mind. Sure, he pulls over to help a black couple change a tire, proudly telling them he likes "_to help the negro folks out_", but they just politely inform him that people don't use the word "negro" anymore. And it isn't just ethnicities. Encountering a group of lesbian bikers, he refers to them as "_dykes on bikes_". All three of these examples are played for laughs, and whilst that might be fair enough in a film that depicts non-Caucasians with something resembling diversity, _The Mule_'s non-white characters are one-dimensional stereotypes; every Hispanic character, for example, is either a drug-running criminal (most of whom have neck tattoos) or an industrious labourer. If the film itself didn't come across as so racially reductive, Stone's racism would be easier to accept and defend.

Perhaps the film's most egregious failing, however, is that it never once addresses the fact that Stone's criminal enterprise is fuelling addiction and destroying lives; as far as the film is concerned, he may as well be transporting oranges. The darker implications of his drug-running are kept firmly behind the curtain, out of sight of the audience. Instead, _The Mule_ presents Stone as almost a modern-day Robin Hood, using his new-found cash to pay for Ginny's wedding and education, and to renovate the local VA hall. This _could_ be a sly comment on Obama-era economics, suggesting that the country is in such a mess that issues like the exorbitant price of education and the mistreatment of veterans can only be addressed with the proceeds of crime. But honestly, that's a serious stretch, and it seems far more likely it's the film's way of ensuring we continue to admire Stone despite what he's doing. In any case, even when the film has no option but to directly deal with his criminality, it's done in such a way as to minimise the darker aspects. For example, Laton may be the most jovial and least-threatening drug lord ever put on screen. García does what he can with the part, but given the fact that most of his screen time sees him fooling about with a solid gold shotgun, his options are limited (one legitimately funny moment sees Stone marvelling at Laton's mansion, asking "_who do I have to kill to get a place like this?_" to which Laton responds, "_many, many people_"). A much more effective character is Gustavo (Clifton Collins Jr.), Laton's henchman. Collins Jr. is a superb actor, and can do legitimately intimidating in his sleep, but even an actor of his calibre can do little with only three scenes, in two of which he doesn't even have any dialogue (in a film with a wasted cast, the underuse of Collins Jr. stands out).

Hand-in-hand with the film's non-threatening drug runners is its depiction of local law enforcement, who are, for the most part, presented sarcastically (at one point, Stone distracts a pesky cop with a tub of caramel popcorn). The DEA characters are presented a little more respectfully, however. Fishburne's unnamed character, for example, is depicted as a good agent shackled by a bureaucracy that only cares for short-term wins. Thus, they pressure him to pressure his field agents to get results before the case has matured, meaning any arrests will be strictly low-level. This aspect of the film reminded me of the first season of _The Wire_, where Deputy Ops. Ervin Burrell (Frankie Faison) is constantly pressuring Lt. Daniels (Lance Reddick) to get some "_dope on the table_" – small scale arrests that provide a photo op for Baltimore PD brass to proudly display the confiscated dope on the table, irrespective of the fact that such operations result in the arrests of street hoppers rather than anyone in management.

A key scene in relation to the film's depiction of both law-enforcement and minorities, but one which is disappointingly played for laughs, is when the cops pull over who they think is Tata only to quickly realise it's the wrong man (it's a young Hispanic) and they're guilty of racial profiling. The man is terrified, well aware of stats concerning police shootings of non-whites (there's something deeply unsettling about how well he knows the routine, and his line, "_statistically speaking, this is the most dangerous five minutes of my life_" speaks volumes about modern America). The scene should have given rise to a socio-political commentary – what is it like to be the victim of racial profiling, how does it feel to know that you've just committed racial profiling, what does it say about society in general when an innocent man knows enough about such instances as to fear for his life? Eastwood, however, is more interested in guffaws. We've seen racial profiling and resultant deaths examined in several recent films – Steve McQueen's _Widows_, George Tillman, Jr.'s _The Hate U Give_, and Reinaldo Marcus Green's _Monsters and Men_ (all 2018) – as well as slightly older titles such as Paul Haggis's _Crash_ (2004) and Ryan Coogler's _Fruitvale Station_ (2013), but the depiction here is, sadly, very shallow. The film is also silent on the inverse – that Stone is such a good mule because of his white privilege.

Another issue is that the film's structure is bizarre – there's no real sense of narrative cohesion, as one scene jumps to another without a huge amount connecting them. You could take the various driving scenes, cut them in a completely different manner, and you would still have the same film; Stone picks up the drugs, drives for a while, drops off the drugs and gets paid, drives some more, has a scene with his family, we check in on the DEA, Stone picks up the drugs, drives for a while etc. The whole thing feels void of urgency, and after a while you realise that the threadbare outline of a story is all the story you're going to get. Additionally, there's an utter lack of tension (for which Eastwood tries to compensate with silly scenes such as when Bates follows Stone into a parking lot and shouts "Hey." Is he going to arrest our hero? Nah, Stone just left his flask behind). On top of this, the way Eastwood's camera leers at the bare asses of a bunch of women at a party in Laton's house is disconcerting, and pretty much a textbook example of the male gaze. Also, with the single exception of Stone, the characters are one-dimensional at best (Fishburne's character doesn't even get a name; Peña is nothing but the comic relief to Cooper's straight man).

If all that sounds negative, it should, because I focused on what I felt was wrong with the film. However, irrespective of these failings, I thoroughly enjoyed _The Mule_. It could and should have been a lot better. It could have been a socially conscious thriller looking at racial profiling, drug-dealing, American masculinity, generational conflict, socio-economic issues. But, in fairness, that isn't the film Eastwood set out to make. He has made many interesting political films in his career. _The Mule_ is not one of them. Instead, he's turned the material into a jaunty, congenial, inoffensive, and easy-to-watch meditation on age and family, set in a _milieu_ where the one-time trappings of male success are now considered character failings, and focused on a character unable to wrap his brain around this shift in ideology. Despite myself, I can forgive the casual racism, the structural problems, the wasted cast, the use of serious social issues to get cheap laughs, and I can do so because the film is simply enjoyable. _The Mule_ isn't going to change your life, nor is it going to win Eastwood a legion of new fans. But it was never supposed to. Instead, it accomplishes exactly what it set out to do. And it's immensely entertaining to boot.
I wonder if Clint Eastwood is one of the few directors who could have gotten this movie made. It took me a while to get around to watching it, partly due to some of the negative buzz I heard out there in the Interworld.

I suspect I liked this movie for the same reason a lot of the bad buzzy folks hated it. How many respected directors have the star power to get a movie made that, even with a violent Mexican drug cartel involved in the plot, turns out to be a thoughtful, mostly gentle character study of an old man awakening fully to regrets of how he treated his family in his younger years. This type of story even goes against the grain of the violent movies that made Eastwood a star in the first place.

It is not a movie I will likely watch again - there is just too much out there still to see for this movie to draw me in a second time. But it was entertaining, a fine addition to the library of diverse films directed by the Man with No Name.

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Tuesday, June 19, 2018

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X-Men: Apocalypse runtime : 144 Minutes
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After the re-emergence of the world's first mutant, world-destroyer Apocalypse, the X-Men must unite to defeat his extinction level plan. X-Men: Apocalypse 2016 review : Not really a step forward in the X-Men franchise. Read my full review here.

http://www.hweird1reviews.com/allreviews/x-men-apocalypse-review
Though far from the worst _X-Men_ film, _Apocalypse_ was still a disappointment, because until this entry, every Bryan Singer _X-Men_ film had been excellent. _Apocalypse_ is a far cry from terrible, but it is underwhelming given Singer's history, as well as in and of itself.

Certain actors, who shall remain Jennifer Lawrence, were completely checked out in this instalment. The CGI was often so bad it was confronting, even in the climax of the film. Apocalypse's plan was plot-hole-y and underdeveloped, and not all of the new characters hit it out of the park.

There was still a lot to like here though. Some of the newer costumes were neat, and a lot of the side-plots had me very intrigued. Fassbender and McAvoy are excellent as always. It's certainly not a failure amongst the likes of, for example, _X-Men: The Last Stand_. Which was a good callout in _Apocalypse_. Another thing I enjoyed.

_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
**Another ancient power was awoken and blah blah blah.**

I have seen almost all the superhero films of the recent time, but this is the franchise I never liked. I'm sorry to say that, but that's the truth. The 'X-Men' series never made me sense, particularly to say it from the Marvel comics is a disappointment. When it comes to 'Wolverine', my opinion is different, because I loved those films. Hugh Jackman as Logan is the only 'X-Men' I love, so like usual this is another waste of time from its series to me.

I even enjoyed the recently rebooted 'Fantastic Four', but not this one. There's nothing new in the story, it's the same plot stolen from the different films. Like an ancient force is awoken who tries to rule the world by destroying everything created so far by the humans. So the mutants join hands to bring him down and we know what happens at the end. Apart from the vfx, this is very boring film and 150 minutes runtime was another lengthy joke that you never laugh.

Not just me, many people, even 'X-Men' fans showed displeasure over this film. That means, Bryan Singer's stint with the franchise is pretty much over. So they will going to bring a new one and that's another disappointment, because I don't know how long they're going to drag this series. End it already. Anyway, like I said I never was or will be this universe fan, so I don't care much, rather I just give them a try when they get released and obviously I'm to end in regret watching. Instead, I'm looking forward to the final 'Wolverine' film with Hugh Jackman.

_5/10_
X-Men Apocalypse is typical of what you would expect from a Marvel X-Men movie. Light on story and depth and heavy on special effects and action. In short it is exactly what I, as a Science Fiction and Fantasy geek, would expect as well as hope for.

The X-Men faces a new threat in the form of the worlds first mutant. Naturally said mutant is really a Übermutant vastly more powerful than any “normal” mutant. Equally naturally this Übermutant is set on a path of world destruction and domination. I quite liked this villain. He is a good all evil and powerful bad guy and a worthy adversary. No nonsense about trying to make the villain likable or trying to explain why he turned evil or such like. This guy is evil, he is the bad guy, he needs to be taken down…full stop.

As I wrote the story is not the most elaborate one around but it is a good one within the confines of a Marvel super hero movie. It gets the job done without being overly stupid or silly. It is set in the “prequel” universe created by X-Men First Class. The movie adds a few new X-Men to the ranks of Professor Xaviers team. Some of them thanks to the manipulations of Apocalypse although they start out on the bad side at first.

The movie moves along at a decent enough pace and, as was mentioned, there are quite a few action sequences and special effects thrown at the viewer throughout the movie. Personally I found the special effects to be quite good. Even stunning at times. I am quite a bit of a special effects nerd so of course this pleased me a lot.

The movies ending certainly opens the door to future X-Men movies and I for sure would like to see the franchise continue. I very much enjoyed these almost two and a half hours in front of my TV set.
*** This review may contain spoilers ***

After immensely enjoying the turn the X-Men franchise took after the disappointment of X-Men: The Last Stand, I was pretty excited to see this movie. I love comics, but I never got into the X-Men, so I can excuse some of the inaccuracies that seemed to upset hardcore fans. I just enjoyed the movies.

X-Men Apocalypse is the weakest film since duds like Last Stand and Wolverine Origins. It just didn't have a whole lot going on. One of the biggest critiques of Marvel (yes, I know X-Men films aren't produced by Marvel Studios, but I'm speaking of the publisher of the original medium) is that their villains are lackluster. The big baddie through the whole franchise has been Magneto, easily the most charismatic and entertaining Marvel villain on film. Though we've had brushes with Stryker and Trask and his sentinels, this is the first movie in which the X-Men had taken on a true super villain who wasn't Magneto-- Wolverine vs. The Silver Samurai aside.

But it's almost like director Bryan Singer painted himself into a corner with Apocalypse. The villain was too powerful and could have easily achieved his goals without the help of his "four horsemen." He could have ended the world, in mere minutes, all by himself. But, of course, that would make a boring movie, so Singer and Co. had to figure out what to do with the world's most powerful and dangerous mutant for two hours before the final climax was to begin.

There were scenes where the villains were literally sitting around the desert talking about how they were going to lay waste to a city on the horizon. There were scenes where the most powerful of the villains went out recruiting much less powerful villains to join him. Really, Singer just didn't know what to do with this character. How do you create conflict and drama when the bad guy is just too powerful? Well, you can't.

Of course, after two hours of watching the most powerful mutant ever talk about what he is going to do (instead of simply doing it) he finally unleashes his fury. Except that, the X- Men actually have the most powerful mutant in the world on their side in Jean Grey.

So, again, why is Jean not simply destroying Apocalypse in the first 10 minutes of the movie? Because, running time needs filler.

And that's basically what this movie is: Filler. They came up with a concept that would make the storytelling aspect problematic. And rather than tweaking the concept or fleshing out the story with subplots, they just assumed explosions and superhero fights would be enough to carry the film.
What a let down after Days of Future Past (the best X-Men movie ever, in my opinion). Bryan Singer has usually directed some of the best films of the franchise but this one is a real clunker. Too many characters with not enough development and a very lackluster villain. Oscar Isaac is a talented actor, but even he can't make Apocalypse interesting under all that silly blue make up. Characters like Angel and Psylocke, as Apocalypse's horsemen, are very thinly written and barely have a personality. Also, it is absolutely ridiculous that the villain Mystique is transformed into a role model and leader for the X-Men in this movie. Jennifer Lawrence looks bored throughout and barely appears as Mystique's true blue self even though she's supposed to be an out and proud mutant. A real disappointment.
***Ranks with the best in the X-Men franchise***

Released in 2016 and directed/co-written by Bryan Singer, "X-Men: Apocalypse" has the team go up against the first mutant, Apocalypse (Oscar Isaac), whose origins date back to ancient Egypt. After thousands of years in stasis, Apocalypse is immediately disillusioned by the state of the world and so recruits a team of worthy mutants, including a dispirited Magneto (Michael Fassbender), to purge humanity and craft a new world order over which he will reign. Professor X (James McAvoy), with the assistance of Raven (Jennifer Lawrence), leads a team of young X-Men to stop their greatest nemesis and save mankind from complete destruction. Josh Helman is on hand as Col. Stryker.

This sixth film in the franchise (not including the several spin off films) easily ranks as one of the best. It includes many of the best elements of the X-Men and everything I would want in a great X-Men flick:

Professor X's ongoing goal for an educational sanctuary for interesting mutants from all over the world; his love for Moira (Rose Byrne); Magneto's increasing mastery of his great powers and his struggle to go on the offensive against prejudiced humanity; a greater focus on Cyclops (Tye Sheridan) and his potent power, both of which were neglected in the original trilogy; an outstanding actress to play Jean Grey (Sophie Turner), who is far better than the bland Famke Janssen; Olivia Munn's ultra-hotness as Psylocke; a worthy subplot on Weapon X with the corresponding guest appearance of Wolverine (Hugh Jackman); an excellent collection of young mutants, like Storm (Alexandra Shipp), Beast (Nicholas Hoult), Quicksilver (Evan Peters), Nightcrawler (Kodi Smit-McPhee), Havok (Lucas Till), Angel (Ben Hardy), etc.; a worthy main villain in the mold of Dr. Doom and Thanatos; an epic, apocalyptic final act (sorry); I could go on and on.

This isn't to say the movie doesn't have faults, however; the cartoony overblown prologue in ancient Egypt is Exhibit A.

The film runs 144 minutes and was shot in Quebec, Canada (Greenfield Park, Montreal and Oka).

GRADE: A-
Plenty of action with good acting, however, Apocalypse (the villain) lacks originality. X-Men: Apocalypse is a mediocre film in the respected franchise that is "X-Men"

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Sunday, June 17, 2018

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Title : Fighting with My Family
Fighting with My Family genre : Comedy, Drama
Fighting with My Family crew : Remi Adefarasin, Shaheen Baig, Dwayne Johnson, Stephen Merchant, Stephen Merchant, Stephen Merchant, Kevin Misher, Nancy Richardson, Matthew Price, Andy Berman
Fighting with My Family release date : 18 October 19 8 2
Fighting with My Family runtime : 108 Minutes
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Born into a tight-knit wrestling family, Paige and her brother Zak are ecstatic when they get the once-in-a-lifetime opportunity to try out for the WWE. But when only Paige earns a spot in the competitive training program, she must leave her loved ones behind and face this new cutthroat world alone. Paige's journey pushes her to dig deep and ultimately prove to the world that what makes her different is the very thing that can make her a star. Fighting with My Family 2019 review :

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Sunday, June 10, 2018

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Title : Star Wars
Star Wars genre : Adventure, Action, Science Fiction
Star Wars crew : George Lucas, George Lucas, George Lucas, Gary Kurtz, Rick McCallum, John Williams, Gilbert Taylor, Vic Ramos, Irene Lamb, Norman Reynolds
Star Wars release date : 16 November 19 8 7
Star Wars runtime : 121 Minutes
Star Wars Crew : George Lucas, George Lucas, George Lucas, Gary Kurtz, Rick McCallum, John Williams, Gilbert Taylor, Vic Ramos, Irene Lamb, Norman Reynolds
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Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Anthony Daniels, Kenny Baker, Peter Mayhew, David Prowse, James Earl Jones
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Princess Leia is captured and held hostage by the evil Imperial forces in their effort to take over the galactic Empire. Venturesome Luke Skywalker and dashing captain Han Solo team together with the loveable robot duo R2-D2 and C-3PO to rescue the beautiful princess and restore peace and justice in the Empire. Star Wars 1977 review : (As I'm writing this review, Darth Vader's theme music begins to build in my mind...)

Well, it actually has a title, what the Darth Vader theme. And that title is "The Imperial March", composed by the great John Williams, whom, as many of you may already know, also composed the theme music for "Jaws" - that legendary score simply titled, "Main Title (Theme From Jaws)".

Now, with that lil' bit of trivia aside, let us procede with the fabled film currently under review: Star Wars. It had been at a drive-in theater in some small Illinois town or other where my mother, my older brother, and I had spent our weekly "Movie Date Night" watching this George Lucas directed cult masterpiece from our car in the parking lot. On the huge outdoor screen, the film appeared to be a silent one, but thanks to an old wire-attached speaker, we were able to hear both the character dialogue and soundtrack loud and clear. We even had ourselves a carful of vittles and snacks - walked back to our vehicle, of course, from the wide-opened cinema's briefly distant concession stand. Indeed, it had been a lovely summer evening that July.

From the time the film started, with my brother and I following along as our mother sped-read the opening crawl, I began to feel rather antsy, thinking that this movie, the first in a franchise that would soon be world-renowned, was going to be boring, due to its genre being Science Fiction: A respectably likable, but not a passionately lovable genre of mine DURING THAT TIME. I just didn't believe I was going to like Star Wars all that much ... But I soon found myself intrigued ... And awed.

George Lucas is a man with a phenomenal, and I do mean phenomenal imagination. Apart from his human characters (Han, Luke, Leia, and Obi-Wan Kenobi, among others), the droids: C-3P0, R2-D2, R2-series, and IG-88, not to mention those unusual characters like Jabba the Hutt, Yoda, and Chewbacca, just to name a few, are all creations of Lucas's phenomenal imagination. And I was completely in awe of each one of these strange beings. Then there was Vader ... And the evil Emperor ... And the Stormtroopers ... And the Spacecraft ... And the galaxies (I'll admit that I am a huge lover of the Universe in all its Celestial glory) ... And the magnificent planets ... The Lightsabers ... And so on. Star Wars is a gorgeously shot space opera; it is truly an epic masterpiece. We enjoyed this film tremendously. And my brother was a die-hard fan from that night onward. He, my brother, had even received for Christmas that year, nearly every Star Wars action figure that my mother could find, including two of the spacecraft: The Millennium Falcon and Star Destroyer. The Death Star space station had too been wrapped beneath our Christmas tree - tagged with his name. It was totally crazy, what the new Star Wars era. Frenzied! But it was great ... Even still, to this day.

I don't personally know anyone whom has yet to see Star Wars, but that certainly doesn't suggest there are still a few people out there who haven't. And if you're one of the latter, then you should know that this classic space opera comes highly recommended. The entire series is told backwards, so you'll definitely want to see Star Wars first, followed by its two sequels: The Empire Strikes Back and Return of the Jedi ... In that order. I trust that you'll too discover yourself to be a lifelong cult fan in the wake. 😊
A long time ago in a childhood not too far away...

Princess Leia is captured and held hostage by the Imperial Army as it seeks to rule the Galactic Empire. An old Jedi Knight by the name of Ben "Obi-Wan" Kenobi may just be hers, and the rebels only hope. Teaming up with farm boy Luke Skywalker, scoundrel Captain Han Solo, and a couple of quirky droids, Kenobi sets off on a mission that could well shape the destiny of the Galaxy, and all who dwell within it.

Back in 1977 I was but a wee 11 year old boy, weened on films from all genres by my movie loving parents, I had no idea that Star Wars was to have the same impact on me as Jaws had two summers previously, where yet again I found myself queueing around the block for two whole hours to see a film in a one screen theatre. My love of cinema firmly cemented, Star Wars was the start of a love affair that lasts to this very day.

As the years have rolled by and my love of cinema has taken on more in-depth and serious tones, I have come to realise that Star Wars proves to be a far from flawless picture. Certainly its detractors do point to some frayed acting and call the plot structure a jazzed up good versus evil axis, while the charge of George Lucas referencing many prior pictures most assuredly stands, but really do those things matter? No they do not, because Star Wars opened up a new world of cinema, something of a portal to youngsters such as I, it got people talking and debating about the merits of model work in films (which is of an extraordinary high standard here), it nudged film makers to explore being bigger and bolder in their approach, and crucially, above all else, it got film goers hungry again, a hankering for more please if you may. Now it has to be said that all that followed 20th Century Fox's historic blockbuster didn't run with the baton, in fact most pale into comparison on impact value, but for better or worse (depending on the discerning viewers peccadilloes), Star Wars stands as a bastion of adventure laden entertainment.

It is by definition one of the most successful films in history, George Lucas perhaps didn't know it at the time, but in what was to become an almost operatic anthology, he didn't just make a movie, he created a whole new world seeping with style and rich texture. Almost as amazing as the success of the series, is how it has become part of modern day pop culture, anything from religion to everyday speak has at some time or another referenced Lucas' baby. Ultimately, though, it's one single thing that made (and still does make) Star Wars so great, it's that it has the ability to lift the audience into a rousing united feel good cheer; and that is something that few films can ever lay claim too. In 1977 it was an awe inspiring event to watch in the theatre, now here in my middle age it's an event that is like hugging a dear old friend, a friend that I know will never ever let me down no matter how many times I turn to it. 10/10
Star Wars (1977) is a true masterpiece of cinema, and is
definitely one of the best films ever made.

For me Star Wars (1977) is the best movie of all time,tied with The Lord of the Rings trilogy. Star Wars (1977) it is for sure the most iconic film of all time everything in it is iconic. The direction, the script, the performances in this film are brilliant, all the characters are captivating and well developed.

Anyway, this is a totally perfect film, I only have praise for it, it is certainly a masterpiece of cinema, and my grade for it is 10\10.

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Friday, June 8, 2018

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Title : Missing Link
Missing Link genre : Animation, Comedy, Adventure, Fantasy, Family
Missing Link crew : Carter Burwell, Nelson Lowry, Allison Jones, Chris Butler, Chris Butler, Travis Knight, Arianne Sutner, Stephen Perkins, Deborah Cook, Jocelyn Pascall
Missing Link release date : 19 February 19 6 7
Missing Link runtime : 95 Minutes
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