TL;DR – A charmingly delightful film about murder filled with fantastic performances and a real heart.
Score – 4.5 out of 5 stars
Post-Credit Scene – There is no post-credit scene
For reasons that are far above my pay grade, there are film genres that come in and out of fashion all the time. One of these is the murder-mystery. I honestly can’t remember how long it has since I have seen a good old-fashioned murder-mystery up on the big screen. A film where you don’t know who done it because everyone is lying about something and there are many motives to go around. Well fear no more because today I get to talk about a film that takes this genre and not only produces a great version of it, but it also elevates the genre in the process.
So to set the scene, one-night wealthy murder-novel writer Harlan Thrombey (Christopher Plummer) is celebrating his 85th birthday with every member of his extended family in attendance. There is his daughter Linda (Jamie Lee Curtis) the real estate mogul and her husband Richard (Don Johnson), his son Walt (Michael Shannon) who runs his publishing agency, Joni (Toni Collette) the wife of his now-deceased son and her daughter Meg (Katherine Langford), and of course the black sheep of the family Hugh ‘Ransom’ Drysdale (Chris Evans). It is a fun evening of catching up and putting plans into place but the next morning as Fran (Edi Patterson) the housekeeper brings up his morning meal she discovers that Harlan has killed himself in the night. A week later everything has settled but then Marta (Ana de Armas), Harlan’s nurse, is called back to the house with the family by Detective Lieutenant Elliot (Lakeith Stanfield) because famed private eye Benoit Blanc (Daniel Craig) has been hired to look into the matter. Why is he there? Well because someone does not think Harlon’s death was suicide… they think it was murder. Now because of the nature of the film, it is hard to discuss it without getting into spoilers, so keep that in mind if you have not seen the film.
TL;DR – Visually stunning, and a wonderful follow up to a true Sci-fi classic.
Score – 4.5 out of 5 stars
Besides Star Wars later in the year, I don’t think there has been a film as anticipated in the sci-fi world more than Blade Runner 2049. As I mentioned in my retrospective of Blade Runner (see retrospective) the first time I watched the original was just the other day so I came into 2049 with that whole story being very fresh in my mind. Which turns out was a good thing, because Blade Runner 2049 is not just a sequel in name only. So without getting into spoilers here, you may want to go watch the first film in preparation of seeing it here, not that you should need an excuse to see one of the most transformative science fiction films of the last century. I do have to say from the start that I went see Blade Runner 2049 at a premium showing (Gold Class for those in Australia) which I paid for, and I went during the middle of the day when there is usually fewer people. However, still with all this, I was in a session with a couple that loud talked throughout the film, in the quiet contemplative moments, and even answered an unmuted phone at some point. So while I am professional, I can’t put aside the possibility that this might have impacted my perception of the film. Now overall I really liked Blade Runner 2049 but it is hard to talk about it without hitting spoilers, hell even the cast list is a spoiler at this point. So just for the sake of precautions be prepared for [SPOILERS] ahead if you have not seen the film, which you should.
TL;DR – It’s an interesting film, well-acted, and produced, but if you have seen any of the recent films in this genre, or on the same themes, namely greed, then you will probably guess how this one plays out.
Score – 3 out of 5 stars
War Dogs is many things, it’s a subversive film underscoring the incompetence of the Bush/Cheney government in both starting and managing the Iraq War, it’s a modern interpretation of the classic morality tale, it’s the proving ground for one of the most weirdly obnoxious laughs in movie history, and it’s the personification of the Ferengi Rules of Acquisition in movie form.