freddy54-211-469054 Reviews

Molly's Game (2017)

Unbelievably irritating and uber-slick

[3/10 · 7 September 2020]

I have only been compelled to add one previous review and that was for "Inception", which I felt insulted its audience by assuming most of us were so stupid that we couldn't grasp the science of the movie. I feel exactly the same about this movie which I watched for the first time last evening. There are a number of faults with this film that crop up in other American movies of the past few years:

1. An over-reliance on first-person narrative, which went on for far too long and could easily have been solved by having the cast simply "act it out". The dialogue would usually be classed as "cool and snappy" by those who appreciate this ind of thing but for me, the delivery was much too quick(thank goodness for subtitles!). Ms Chastain's performance was all delivered with nair a gradation of timbre and as odten happens nowadays, some lines were almost whispered........this is the new norm for "intense". 2. The gambling terms and oft-used metaphors in character's dialogue again assumed the audience would like it for being "clever" but it meant absolutely nothing to me. 3. Everything was too slick and smooth, hair styles, clothes and settings were made to look oh-so-perfect, with not even a hair or quiff out of place. The viewer felt he/she was actually watching a group of people "act out" scenes and situations, rather than coming over more natural. Indeed, the film may have succeeded better if the approach had been rougher.

I was expecting some kind of information at the film's conclusion about what happened to Molly Bloom later in life but I guess the director felt it might spoil the ultra-slicknes of the production.

Perhaps if Martin Scorcese had directed the movie, or conversely Paul Greengrass, the results may have been more to my liking.

Inception (2010)

Utterly incomprehensible garbage

[1/10 · 2 January 2012]

Inception is a film that thinks it's too clever by half and then sets about insulting its audience by presuming they have no brain. No amount of pseudo-intelligence, rubbish dialogue and overuse of special effects can redeem this pile of junk. An inferior video game masquerading as high art.

Christopher Nolan thinks he is a great director by basing his story on Freudian assumptions and psycho-babble but the dialogue is incomprehensible and the use of A-listers to carry the film shows that they are far more interested in making money than utilising their acting skills.

London Boulevard (2010)

Perplexing and poorly-conceived movie

[2/10 · 7 December 2011]

I really wanted to admire this film but the confusing plot, unintelligible dialogue(particularly from Ray Winstone) and ridiculously loud music soundtrack spoilt it for me. There were sudden plot twists and developments that made no sense, as if the continuity department had pasted scenes together in random order. The ending was tacked on to end the movie just for the sake of it. What I wanted to know is what motivated David Thewlis' character to commit murder? Who was the Bosnian guy? Why is Anna Friel's character so annoying? Why do I care? If you wish to see a first-rate British crime movie, watch "Harry Brown".

The Possession of David O'Reilly (2010)

Confusing but at times very chilling

[13 November 2011]

I have seen this film twice and after the second viewing, I came to the conclusion that although flawed, the film does contain several unsettling scenes. Overall, I think it is a study of the mental disintegration of the central character, David. How this is achieved is partly through the inclusion of some of the most gruesomely imagined monsters ever to appear on screen. The fact that we only see them briefly and often in half-light is a bonus. By the end of the film, I understood that all four characters are going through a groundhog day experience, from which there is no escape. This is what makes the film very disturbing, leaving a rather bitter aftertaste. We need more British horror movies like this, which show an imagination that no American director could hope to achieve without sacrificing credibility. I would also include "Salvage", "The Disappeared", "13 Hours" and "Outpost".