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scottkieffer
Reviews
The Mandalorian: Chapter 19: The Convert (2023)
It's not Mando... but not that bad either
First, the bad - this episode is 90% about a side character (some Imperial scientist) that has basically nothing to do with Mando or Grogu.
If you loved Reva scenes in Obi-Wan, you get a whole episode of that. If you loved Reva scenes in Obi-Wan though, you have other issues.
The ugly - this is clearly Disney trying to cross-polinate again & force viewers to become invested in less interesting side characters by mixing episodes. They put 3 important Mando episodes into Boba Fett to force us to keep watching that garbage...
Now they make a core Mando episode be almost entirely unrelated to Mando, following some former Imperial people that I can only assume will have their own subpar show 18 months from now.
The sales/marketing is so juvenile & so frustrating - let's mix a little Mando in with all the bad so they'll eat it, & a little of the bad in with Mando so they'll get used to it.
The good - all that said, the stuff with the scientist isn't actually bad. It's not great (and it's worse than a typical Mando episode) but it's certainly interesting & still worth a watch if you have the time.
The dialogue gets cringy but the writing is decent. The exploration of many sides of Coruscant we've never seen before is actually pretty interesting. I especially enjoyed some scenes of normalcy in the world that felt grounding compared to recent Star Wars movies. And the mountain reference was part of some great lesser-known lore that got mixed in nicely.
There's a bit of a twist that I enjoyed, though it raises the question of whether this hour detour is going to matter much beyond just annoying fans.
Verdict -
If you're pressed for time or only want Mando & Grogu, watch the first 10 (until the Mando opening credits) & last 10 (not really 10 with credits, but until your scroll bar shows about 10-11 minutes left). The Mando bits (albeit short) are top-notch.
If you've got the time for a Bladerunner-inspired side story, or want some interesting Star Wars world-building, watch it all.
The Card Counter (2021)
Tiffany Haddish is AWFUL, the kid is bad, Isaac is amazing, movie is dull
What could have been... a movie with a good idea but bad execution. With a great lead acting performance, but possibly the worst supporting performances I have ever seen.
Oscar Isaac is excellent, displaying all the depth, emotion and nuance you'd expect from one of the best. His gravitas carries large sections of the film, and maybe could have made the movie good... if not for the issues.
From the moment Haddish is on screen, she sticks out as a horrible sore thumb. She doesn't fit in any part of this world or movie. In a serious movie, she can't stop her stupid goofy smiles (even when people are rude or mean, she just has the same vacant smile as if they just said something really suggestive).
In a realistic movie, she is constantly bombastic & unbelievable. In a movie about interior dialogue & Isaac's face telling us volumes, she just bluntly says the most annoyingly obvious thing. Huge parts of this were the writing, obviously, as every line she said made me cringe. But the lines that weren't half bad she still gives with wooden delivery & the wrong tone every time.
I honestly cannot think of a worse performance by an actress that I have ever seen... and I'm really trying to think of one worse.
How they cast her, or wrote such a horrible part (even the costuming is awful & clashes horribly with everything about the film)... I can't say. And the chemistry she has with Isaac (and his character) is even worse. Their supposed love story is the most not believable storyline I've tried to watch in a very long time, it was so cringe worthy that I actually started looking away every time they were on screen together.
The choice of actor for the kid also seems suspect, as he was pretty terrible every time he spoke too. He seemed bored, disinterested with every line he delivered (including those relating to his supposed anger toward the man he wanted to kill). And the character design didn't do him any favors.
The entire plot about the kid never made much sense. What exactly did Isaac see in this bratty, moody, unlikable soul? He calls him "a good kid" multiple times despite no evidence of this. The kid doesn't even seem to like HIM, or even say thank you, even after he gives him hundreds of dollars in every city they visit.
Also... this kid just drops everything to ride around & do nothing all year with him? Huh?
Aside from these huge character & actor issues... the movie is dull. The pacing is way too slow, we don't find out the true heart of what's wrong with Isaac until about 30-40 minutes in... there's not a tense or interesting scene until the final half hour.
An interesting idea & great performance by Isaac that could have been at least a decent movie.
But it isn't. It isn't decent & you should not watch it, take our word for it.
The Green Knight (2021)
A very unique, rewarding, & moody myth
Like others, I will avoid any spoilers for this wholly original & engaging journey through a mythic, dreamlike world.
This is not an action movie or a period piece, it is about the idea of "the hero's journey" - not just following a journey, but exploring what those themes even mean.
The setting might be medieval, but it's not like any other "knights" movie - the closest comparison I can think of is a blend of influences from Nomadland, Pan's Labyrinth, & a Ghibli/Miyazaki film (like Princess Mononoke).
If it seems odd how those can mix... just watch it (especially if you like even one of the movies I mentioned).
Some notes on its quality (before I get into its theme/purpose):
- Amazing cinematography & visuals, it was a true delight to watch & the camerawork was varied, inventive & really brought a lot to it. I don't normally notice cinematography in modern films unless it's really good or really bad - this one is great!
- Soundtrack is also very unique & really builds the atmosphere, see it in a theater if you can to get the full ambience & you won't be disappointed.
- Acting is very good, if a bit understated. The role parts have limited screen time but make the most of it. Harris, Edgerton, Vikander & Barry Keoghan all lit up their scenes & were memorable in the best way. Dev Patel is good as well, carrying the weight of the movie.
- Plot/pacing were quite good, I could see this maybe getting a screenplay nod, considering how unique & engaging it is. Directing work was top-notch as well.
On the theme... Green Knight is really about a journey through or into the soul. Not just the character's journey, but the film really pulls you in to ask questions about your own journey too.
In that way, it really reminded me of what was so powerful about Nomadland. Both films are less about giving you answers, than about getting you to ask the right questions. Both made me feel & think about things in a way that no other movies really have... they set up scenes that let you feel things of your own, not simply feeling what you're supposed to feel, or feeling for fake characters (like the shallow sympathy or "warm fuzzy" of a Hallmark movie).
Nomadland was all about the past, reflecting on pain, regrets, past joys, & little victories. The Green Knight is about moving forward, questioning the ideas of purpose, of values, of legacy.
The film embraces feelings of failure, of loneliness, & of being lost or trapped in much the same way that the best Miyazaki films do (& some of the plot/characters/etc. Reminded me of his works like Nausica & Princess Mononoke). Like Miyazaki, it doesn't shy away from uncomfortable feelings, but wants to confront them & help us to see them in a little clearer light. Also, both are deft at using landscape/setting to really visualize & heighten those feelings.
Finally... if you're wondering the tone or vibe of it, Pan's Labyrinth is probably the closest. Visually they are similar, the dreamlike or mythic quality is similar too. If you like Guillermo Del Toro's best works, give this a try.
I won't say this movie is for everyone, as it's certainly far from a generic popcorn flick - but in the best way possible.
If any of those themes, comparisons, or ideas sound even remotely intriguing, you owe it to yourself to experience this (and in a distraction free setting, ideally an actual theater for the best effect).
Rope (1948)
Stunning achievement as a tense thriller & as a technical marvel
If you forget for a moment (or somehow didn't notice) the unique spectacle of HOW this film was made... it is still an absolute masterpiece of character study & a suspenseful thriller.
Brandon plays as cold & diabolical a villain as I've seen in a movie, his chilling role heightened by his easy schmoozing & the way he continues to push it just a little bit further in every scene.
The tension as he continues to move them closer & closer to the edge is unlike anything I've seen in cinema. You know in the opening 30 seconds of the movie what the tension will resolve around... yet you feel it anyway, or perhaps that much more acutely because its in plain sight from the beginning (literally & figuratively).
Phillip's part as the degenerating man-with-a-conscience is brilliant as well, he completely falls apart on screen in the most tragic & convincing ways.
But the star of the show is still Jimmy Stewart as Rupert, the only man who truly changes in this relatively short (80 some minute) thriller. His aristocratic superiority is on display at first, but as the movie unfolds, we see the "master" torn down by his "apprentice." Being confronted with the monsters he helped to create gives us the juiciest moments in the film. As he begins to realize the gravity of his careless, cold philosophy we finally get some heart & humanity exposed from beneath the horror.
Similar psychopathic monsters have been on screen since - American Psycho & Silence of the Lambs come to mind as great examples - but never does a monster face its maker in such an intimate & intense moment.
Nor do any of the "killing for fun" contemporaries find a way to bring out humanist ideals in the end like Rope. Which means Rope alone seems to expose & condemn the actual evil in these villains - while movies like "Silence of the Lambs" & "American Psycho" seem to celebrate & idealize their blood-lusters. Those movies (which I hold in high esteem) now feel like cheap "ambulance chasing" thrills in comparison to the final confrontation here. Even the final seconds of Rope, the quiet, still moment in the apartment, is full of weighty implications. I can think of very few scenes in any movie that do so little, yet say so much.
But on top of all of this, the film is shot in "real time" as if one cut, a technical marvel for the time & a huge acting challenge for any time. If this movie were half as good, it would still be a miracle that they could pull it off in such a cinematic style... the fact that it IS excellent regardless makes it all that much more impressive that it was shot that way. 1917 recently garnered a lot of attention for its one-cut style, like Birdman a few years ago. Neither of those movies (again, both of which I loved) would be nearly as good without that filming/editing flair. But I think Rope could be nearly as good without it - which makes me that much more impressed that Hitchcock managed this in 1948. A style that is still wowing audiences & winning Oscars 70 years later.
I'm not sure how I rank this compared to Hitchcock's other top masterpieces (which I'd consider Vertigo and Rear Window). But it might have just become my favorite pure thriller.
If you haven't seen it, watch it. Set aside the mere 80 minutes & truly watch it. You won't be disappointed.
Le petit prince (2015)
One of best animated movies ever made!
This movie is positively brimming with heart, warmth, and emotional moments, all layered over some pretty deep, thought-provoking concepts.
It's rare to find a movie that can make your eyes glisten (from both sadness & joy at different points), but also inspire some good, deep conversations afterward from its rather big & adult themes.
We had some great conversations after the film about what it means to grow up, about our societal views on work & play, and ultimately about how we define our own (and others') worth. There aren't much bigger themes than that, and the fact that the Little Prince deals with them all in such a charming, engaging, colorful way is a real treat.
Kids will love the cute animation, the fox & the old man, the music, sure... but this is a movie made to delight & to challenge adults. Meaning its not just tolerable or "enjoyable enough" for all ages like a basic Pixar movie, its actually MADE for all ages.
The film expertly intertwines the 4 main characters (all at different stages of life) to accomplish this. The Prince representing the naivety of youth & how that changes over time. The little girl representing the "coming of age" period, struggling with what it means to grow up or be more mature as she prepares to deal with a very adult life. The mother representing the challenges of parenting, of a busy work life, and of dealing with loss. And finally the old man in his twilight years, struggling with his relevancy; his ability to stay independent and do the things he loves; and trying to understand the context or worth of his past stories and lessons.
The concepts are great, the characters are great, the voice acting behind them is top notch too. The music is stellar, and the animation isnt just great, its 2 kinds of great (2 separate styles used for different parts of the story, both captivating).
The story is absolutely wonderful, full of surprises, twists, heart-wrenching moments and genuine laughs.
To those complaining about connections with the book, I think you're missing 2 things:
1st, this was never meant to be a retelling of the book or a reimagining of it, its clearly a new story, but built around the telling/reading of the book. Its not a remake, a reboot or a reimagining.
2nd, in many ways this new story is meant to be for readers of the book, as a followup of sorts. The little girl represents us as readers of the book, struggling to connect with its message or believe in its relevancy in the modern world. The later parts of the movie with the Prince shows this as well, that often those who even give the messages of hope can lose sight of that message themselves.
Its only in the connection between the two that the message of hope can survive or thrive in our modern world. Its takes the strength or courage of our current selves (represented by the girl), combined with accepting & embracing the hope of our youth (the Prince), to overcome the challenges of today & find that peace & joy.
Its a beautiful, layered story that will sit with you long after you watch it, in a good way.
I watch a lot of movies & review a ton (not on IMDB, but have a database of about 1000 I've watched & reviewed), & this was 1 of only about 25 true 10s that I have ever seen.