Author: films_sitcap

– what is remarkable about this otherwise bland period piece is the unrelenting optimism of its hero. He’s a positive, inspiring figure, as if penned by Miles Connolly, and this worthiness makes for a happily uplifting sports drama, albeit a mediocre work of art.

– while the cast and director deliver with aplomb, there’s little to excite or enthuse about in this curious drama exploring the allure and societal dependency on alcohol.

– entirely missold drama, pitched as sci-fi, but actually about mental illness, addiction and homelessness. Perhaps because I had no idea what I was in for, the gut punch this delivered was a little more potent that it ought to have been, but I still think there’s more depth to this than the glossy marketing and top tier goofy cast imply. Didn’t enjoy it, but it was genuinely interesting. I think. Maybe…

– two dimensional and generally mediocre, but still quite heartwarming redemption drama

– slow but engaging survival drama with a sterling performance from Mads Mikkelsen but a frustratingly abrupt ending.

– slightly ashamed to admit that despite being an obvious vanity project from Gaga and Cooper, this was an engaging and mostly enjoyable watch, though all dramas about a death spiral into alcoholism seem to follow the same inevitable trajectory.

– Sherlock Holmes’ feisty younger sister gets the spotlight in this sententious feminist mystery pitched squarely at the next generation. Probably more of a hit with kids, but as an adult, its pompous didacticism is irritating and inauthentic.

– heartbreaking and optimistic in turns, this drama is powerful and well acted, but feels like it replays the same beats a few too many times.

– a movie narrated by a dog (even one voiced by Kevin Costner) definitely risks illegitimacy, but somehow, this love letter to decency, dogs and racing cars makes it work. This star-studded drama is conventionally heart tugging and tear welling, and occasionally, unconventionally profound.

– there are many recent films about obsession, but this arguably maps most closely onto real life. PT Anderson delivers a meticulous and measured weave of love and hate, that if it wasn’t so endlessly acrimonious as to be unpleasant to watch, would be masterful. One to admire, not to enjoy.

– mercifully short, because it’s every bit as dry and bleak as the ‘shit job, toxic work culture’ synopsis suggests. Competent, but not for me.

– Thoroughly enjoyed this badly named Aussie sports drama. It charts the usual beats, but it’s novel to see a familiar formula applied to horse racing, and the cast unanimously give great performances.

– for a film about a dog, this is a surprisingly heart warming sermon on love and determination, with gentle, affecting performances from Dafoe and Nicholson.

– if there’s only one compelling reason to watch this, it’s Ben Affleck’s masterful performance. Affleck’s career has had such an impressive arc, with his recent roles showing serious talent and selective nous. The plot itself is quite disappointing, adhering to nearly every sports movie trope, but it’s less about the sport and more about the man and his battle with alcoholism. Worth a watch for the acting, if not the story.

– more dull romantic drama than survival thriller, this features strong performances from the central duo (it’s basically a two man cast), but the script is terrible, really insipid, and the romance is on the nose.

– harrowing Danish tragedy hits hard on pretty much every level. Maybe not ideal to watch post-bereavement. The direction is a little preoccupied with eyes for my liking, but it’s generally well shot and phenomenally well acted (by everyone, particularly Rolf Lassgård). An extremely affecting drama preoccupied with the theme of family.

– solid piece of cinema. If period drama is your genre, you’ll love this. Really strong performances throughout (particularly from Saoirse Ronan and Florence Pugh), a smart script with some cutting one liners, and an emotive story.

– Surreal, emotionally provocative biopic gets under the skin and stays there. Best watched alone and undistracted. It’s uncomfortable, for myriad reasons, but all the more powerful for it. Reminded me of the book, ‘Mr. Blue’, by Myles Connolly, but it’s actually based upon this article.

– smart dialogue, terrific acting and generally a pleasant surprise. What a cast. Could have done without the expositional breaking of the fourth wall, but at least it’s curtailed in comparison to The Big Short and Vice (neither of which impressed as much as this).

– Dialogue is thin, even condescending in places, the depiction of PTSD is a standard, unsubtle Hollywoodisation, and some of the direction is plain weird, like a sequence where Colvin has sex with a stranger while her voiceover describes dismembered bodies. All in all it’s an unimaginative, unflattering and strenuous biopic of war correspondent Marie Colvin.

– bad tempered, unlikeable characters go back and forth and over and over in the ego impelled rivalry between Westinghouse, Edison and Tesla. It’s dry and not particularly entertaining, but competent.

– PT Anderson directed musical short with Thom Yorke is fairly captivating, but given it’s only 15 minutes long, it ought really to be utterly captivating. The first track especially is excellent, the remainder less so. For fans of Thom’s music and modern dance though, this is definitely worth watching.

– rose-tinted but feel-good race drama with thoroughly entertaining performances from both Viggo Mortensen and Mahershala Ali.

– one of the scariest, most uncomfortable and cringeworthy dramas. I watched it through splayed fingers and felt as anxious as Kayla. So hard hitting it’s like an anti-children advert, because no parent could ever want their child to endure what Kayla does while being impotent to change their situation. Great soundtrack too.

– Road trip drama with a snarky script, clunky exposition, and ridiculous contrivances. Though well meaning, the relentless Hollywood cheese is so blatantly emotionally manipulative it’s more likely to provoke eye rolls than tears.

– brilliant performances but the story feels inevitable and unsurprising, even up to its concluding scenes. Very solid drama overall though.

– brilliantly well acted but not particularly enjoyable.

– there’s something affecting about this unorthodox drama when it eventually reaches its payoff, but the route there is so torturously dour and grisly, it’s hard to make the argument it’s worth it.

– The love for this black and white drama is incomprehensible. Some impressive shots and a smart visual style, but beyond that, there’s really little to it. I think this is a case of the Emperor’s New Clothes.

– sometimes knowing nothing about a movie before you go to the cinema leads you to experience unexpected gems. Othertimes it leads you to batshit crazy stuff like this bizarre Swedish fantasy drama about two trolls living in human society. If slow and weird is your bag, try it.

– Saccharine drama that pushes all the right buttons. If you like that feeling of being manipulated, it scores high marks. Not one for me though.

– more morbid than I recall from my first viewing, but this is still pretty zen on a second take.

– trashy propaganda biopic with some good performances but a pretentious script and even more pretentious style of direction. Like watching someone pat themselves on the back for 2 hours. ‘Fact’.

– sad and slow moving drama with a minimal script and minimal story. It’s like an extended, stretched, short rather than a full feature. Fortunately, an immensely powerful payoff rewards those with the patience to stick it out.

– plodding drama; unexciting, unintriguing, underwhelming.

– Slow philosophical drama juggling the twin issues of religion and environment. The points it makes are good ones, and the style is neither too preachy nor too patronising (although it walks close to the line on both counts), but the real issue is simply that it is boring. It is not entertaining, or even compelling, to watch a man struggle with existential questions, and despite strong performances, the story isn’t surprising or intriguing enough to keep the viewer gripped, particularly as it chickens out of its core conceit.

– engrossing drama about the forbidden friendships formed on the 42nd parallel between North and South Korea. Heart warming.

– like dehydrating in a desert, gnawing your own flesh to taste water, only for it to be poured boiling over your face when it finally comes. Much like this review, one gets the feeling this dreary revenge drama is over-encumbered by metaphor.

– Not sure I understand the overwhelming acclaim for this dramatic story of a revenge gone wrong. It’s intriguing and sometimes powerful, but the pacing was inconsistent and the real drama too thin on the ground.

– Intended as a character study, this is a slow paced and moderately irritating drama, entirely unnecessary given the masterwork it describes. Read ‘In Cold Blood’ and ignore this.

– One of those dramas critics love and most normal people find boring. Observational cinema that seems like human tourism.

– Another reinvention of history, this is still a good film, if only for its fantastic performances. The more I read out about Tonya Harding the less sympathy I have for her, but her story is certainly an engaging one to watch unfold onscreen.

– Oldman delivers an impressive turn in otherwise pretty dour love letter to Churchill. Cherry picked and rose tinted history never really does it for me and this film overlooks, even candy coats, all of Churchill’s problems bar moderate rudeness, which is easily forgivable in a man haunted by a country at war. Misleading and romanticised.

– the character of Tommy is so unbearable the film irrevocably suffers, but like a car crash, it’s hard to look away. Just keep wincing and the end will surely come.

– A waste of everybody’s time. The interesting premise is clumsily executed in this tediously slow and sombre psychological drama. It’s agonisingly boring, with a large portion taking place via text messaging, complete with enraging repetitive notifications. Infuriating from beginning to end.