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Showing posts with label 2018. Show all posts
Showing posts with label 2018. Show all posts

Wednesday, October 14, 2020

Green Book (2018) Stream Movie Online 720p GoMoviesHD

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Green Book







Directed by : John Sloss, Octavia Spencer, Dan Moore, Peter Farrelly, Peter Farrelly, Peter Farrelly, Charles B. Wessler, J.B. Rogers, Betsy Heimann, Jonathan King


Produced by : John Sloss, Octavia Spencer, Dan Moore, Peter Farrelly, Peter Farrelly, Peter Farrelly, Charles B. Wessler, J.B. Rogers, Betsy Heimann, Jonathan King


Starring : Viggo Mortensen, Mahershala Ali, Linda Cardellini, Dimiter D. Marinov, Mike Hatton, Iqbal Theba, Sebastian Maniscalco, Von Lewis, P. J. Byrne, Montrel Miller


Company : Participant Media, Universal Pictures


Release date(s) : 2018-11-16


Running time :130 Minutes


Country  : United States


Language :English, Italiano


Budget :  $23,000,000


Storyline : Sadly, didn't end racism, but still very cute.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
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Living in Portugal has a ton of pros, but regarding movies, it lacks serious advantages. The price of admission is expensive, there is only one film theater in my city (every time I want to watch a movie on IMAX or Dolby Atmos, it's a financial effort and time-consuming) and the worst of all, a whole bunch of films aren't released in their original date, especially November/December Oscar-bait movies. Only now I had the opportunity to see Green Book, and I am so mad I wasn't able to write its review in 2018 because this is undoubtedly the best comedy-drama of last year and one of the best overall!

With the help of a terrific cast, Peter Farrelly and his writing crew (which counts with Vallelonga's son, Nick) deliver what I think is the best screenplay of 2018. I can't remember the last time I cried of so much laughter in a film. I can't remember the last time I did the latter and still got emotional with the dramatic arc. This comedy-drama sent me through a roller coaster of emotions I wasn't expecting, at all. I went in anticipating outstanding performances (check) and solely that. Since 2019 has already begun, I'm watching the Oscar-bait movies with no real hopes of being utterly amazed.

However, Green Book completely took me by surprise. I genuinely don't know why everyone was so shocked when it won Best Screenplay at the Golden Globe Awards. It possesses such a well-written story, filled with brilliant narratives about the most sensitive subjects. It takes the two main characters and elevates their individual arcs into subplots where you begin and end with two completely different personas. It's an extremely relevant film that shows how our world evolved and fought back racism and discrimination, without ever becoming too dark or even dull. It's not more of the same, it's not another movie produced exclusively to send a social message and catch some Oscar nominations. It's a truly captivating story of how two men can change their perspective of another race or even the entire world, by actually spending time with another culture and ignoring preconceived notions.

Nevertheless, this well-structured, beautifully-directed and cleverly-written film would be just "good" if not for the two incredible actors, who take this movie to a whole other level. Viggo Mortensen and Mahershala Ali have such compelling chemistry that I wouldn't mind watching them interact for two hours on a car trip. Every single car sequence either produces hilarious moments, filled with tearful laughter, or it drastically changes into a more dramatic and emotional tone, subtly touching delicate topics. I knew Mortensen had a humorous side to him, but I never saw this coming! His timing, his expressions, his Italian accent, his body movements, everything about his performance is perfect. He absolutely nailed his part, by giving me the best time I had at a film theater in a long time, and his Oscar nomination is more than fair. He made a 130-min feature movie feel like a short flick.

Ali doesn't come far behind. Obviously, since Viggo has a funnier role to portray, the audience members might feel that he's just there to help his co-star shine, but he does much more than that. Since he brings the drama element to the story, he has a more restrained performance during the first half of the film. However, once Shirley starts getting along with Tony Lip, Ali gradually offers more and more splendid acting moments. He's definitely a supporting actor, but God is he a phenomenal one! Linda Cardellini (Dolores Vallelonga), even though she's only on-screen for a few minutes spread throughout the runtime, also delivers a great performance.

Tony Lip and Dr. Don Shirley have quite distinct personalities, besides being from different races. Each character's arc is brilliantly illustrated by Peter Farrelly, who gradually shows how Tony and Don are changing their view of the world and of each other's culture. Either through the witty car sequences or through unfortunate and horrible experiences, these two characters carry the audience on a journey of growth. Change in behavior, mindset and preconceived ideas, by sharing their own culture with another. Even though they were born in different countries and lived through distinguished lifestyles, with contrasting quality of life, they eventually start realizing that what they think of the world and everything else might not be entirely right.

Technically, Farrelly controls the movie's pacing exceptionally well, by making a two-hour-ish film feel like half of it. Remarkably-balanced tone and some great cinematography is showed in a couple of scenes. Consistently-filmed and well-edited, even though the latter has small hiccups here and there. Nevertheless, this isn't a film with extraordinary technical attributes, nor it needs them. Farrelly only needed to do "ok" with the producing and filming of a standout screenplay to achieve a fantastic result, and that's exactly what he did.

Finally, regarding the controversy surrounding this movie ... See how easy it is to watch a film without being affected by outside matters which don't have a single thing to do with the movie itself? I don't care if someone who worked in the film tweeted something wrong today, let alone years ago. I don't care if someone misinterprets Viggo Mortensen's speech about racism. I don't care if the family of Don Shirley doesn't like how the movie approaches his way of being or his way of life. I don't care if the story isn't 100% true, as long as it succeeds in transmitting the vital message it wants to deliver, while actually being a good film. So, please, stop trying to listen to everything everyone says about a movie or the people working on it, especially nowadays, where chaos is easy to create.

Green Book surprised the hell out of me and left me speechless in the end. One of the best comedy-dramas I've seen in a long time, one of the best films of 2017 and, by far, the best original screenplay of the last year. Peter Farrelly and his fellow co-writers delivered a seamlessly-written story, filled with wonderful character arcs and with a quite important message to the audiences around the world. Viggo Mortensen and Mahershala Ali deliver award-worthy performances, especially the former who shows his incredible comedic timing and dramatic range. Still, the most compelling and emotional scenes come from Ali, and he does not deserve to be forgotten. I thought 2018 was going to be the first year without me giving an A+, but guess what ...

Rating: A+
"Frequently, when someone tries to portray the overwhelming decade of the 1960s, they usually misuse the concept of discrimination towards African Americans, which is accurate to describe this social issue. Nevertheless, the way Peter Farrelly and staff go into detail about this social wretchedness embodying the psychological impact it has in the main character makes the film an outstanding one".

The year is 1962, and the film begins inside Copacabana restaurant where we get introduced the imposing personality of Tony Lip, an Italian descendant whose family came from a lower middle class coping with some financial difficulties. The way Viggo Mortensen performs the character is a proper model of then American racism; therefore he attempted to keep them out until the occasion arrived and Don Shirley appeared in his path, offering him a two-month lifetime opportunity. We all need to bear in mind the precise dates because, in real life, it was nearly a year they spent together. Despite his gifted pianist skills and his upper-class status, he was still a victim of the convulsed cultural impact. Both of them, during the film, learn from each other and fight against the unsettling behaviour of determined people.

Although it may seem simple, their interaction is one of the primary reasons why it succeeds. Believe it or not, it arouses curiosity, reaches the climax when they finally let them know as they are, and sometimes it results as a plot twister due to the radical temperament change of each actor. It has been ages since I watched such a pleasant film; afterwards, I felt refreshed as though it renewed me.

The contextualisation was imperative to build up each one's personality; moreover, it was visually dazzling owing to the costumes, the space and the background advertisement of the decade. Comedy is present as well so that you won't be missing from genuine laughs. Everything appears to be perfectly balanced, even the role of secondary personages such as Tony's wife and the cheeky cards experience. I'm chuffed to bits!

On the whole, the film "Green Book" is an exceptional example of the conception of a masterpiece without spending loads of money in production and without creating plenty of trifling scenarios.


[85/100]
***A white streetwise bouncer and an articulate black pianist tour the Deep South in 1962***

A tough, working class Italian New Yawker (Viggo Mortensen) is forced to take a gig driving a refined African-American concert pianist (Mahershala Ali) through the Midwest and Deep South in 1962. Linda Cardellini plays the wife of the Italian.

“Green Book” (2018) was inspired by the real-life story and written by the son of Tony Lip (Mortensen). Like all great dramas, it’s compelling from the get-go and the road movie approach provides an entertaining and revelatory string of episodes, not to mention occasionally amusing. While the movie’s been accused of reverse racism, it’s actually balanced, showing plenty of poor, inarticulate blacks and vice versa. The message is to base your perceptions on the individual rather than ignorant generalizations.

The film runs 2 hours, 10 minutes, and was shot in New York City and Louisiana.

GRADE: A

Sunday, October 11, 2020

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Hotel Transylvania 3: Summer Vacation







Directed by : Bram Stoker, Mark Mothersbaugh, Mary Hidalgo, Michael McCullers, Adam Sandler, Mary Shelley, Michelle Murdocca, Robert Smigel, Caitlin McKenna-Wilkinson, Joyce Arrastia


Produced by : Bram Stoker, Mark Mothersbaugh, Mary Hidalgo, Michael McCullers, Adam Sandler, Mary Shelley, Michelle Murdocca, Robert Smigel, Caitlin McKenna-Wilkinson, Joyce Arrastia


Starring : Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, David Spade, Steve Buscemi, Keegan-Michael Key, Molly Shannon, Fran Drescher, Kathryn Hahn


Company : Columbia Pictures, Sony Pictures Animation, Sony Pictures


Release date(s) : 2018-06-28


Running time :97 Minutes


Country  : United States


Language :English


Budget :  $80,000,000


Storyline :

Saturday, October 10, 2020

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Crazy Rich Asians







Directed by : Nelson Coates, Myron I. Kerstein, Brian Tyler, Mary E. Vogt, Brad Simpson, Heike Merker, John Penotti, Jon M. Chu, Ewen Leslie, Vanja Cernjul


Produced by : Nelson Coates, Myron I. Kerstein, Brian Tyler, Mary E. Vogt, Brad Simpson, Heike Merker, John Penotti, Jon M. Chu, Ewen Leslie, Vanja Cernjul


Starring : Constance Wu, Henry Golding, Michelle Yeoh, Gemma Chan, Lisa Lu, Awkwafina, Harry Shum Jr., Ken Jeong, Sonoya Mizuno, Chris Pang


Company : Color Force, Ivanhoe Pictures, Warner Bros. Pictures


Release date(s) : 2018-08-15


Running time :121 Minutes


Country  : United States


Language :广州话 / 廣州話, 普通话, English


Budget :  $30,000,000


Storyline : _Crazy Rich Asians_ is not really my type of movie, I don't go in much for romcoms, and I don't think I'm fully on board with some of the messages it's trying to put out there. But I can appreciate that it's very well made, culturally very important, and even kind of endearing.

_Final rating:★★½ - Not quite for me, but I definitely get the appeal._
Crazy Rich Asians expends its expensive mahjong skills to produce a hilarious heartfelt insight into a familial cultural clash. Romantic comedies. The amalgamation of two genres that exercise the very worst tendencies of Hollywood’s mechanical repetitions. Modern romcoms follow the same formulaic narrative structure and embed the same interpretive clichés. Y’know what I’m talking about. Boy and girl fall desperately in love, something/someone comes between them, they fight, break-up and embrace each other again, to the accompaniment of Coldplay or Ed Sheeran, when they realise that “they are the one”. All the same mundane clichés that fail to exert the writing capacity to take those mechanisms and overload them with ferocious energy.

Well, Chu’s adaptation of the eponymous best-selling novel battles that. He consumes the cliché-ridden narrative structure of a romcom and transforms it into a cultural depiction of Asian traditions, juxtaposing the values of American immigrants, whilst still bashing the familiar beats of “boy meets girl”. And let me tell you now, this is without a doubt, the best romcom since ‘Bridesmaids’. I loved it! Rachel is invited by her new boyfriend Nick to Singapore to meet his family who are attending a wedding, but without realising Nick’s family is one of the wealthiest, infamous and superficial in the country.

Chu tackles several poignant themes and morals within this two hour romantic comedy, whilst retaining a sufficient amount of investable character development and hilarity. Yes, the underlying story between Rachel and Nick is a predictable ordeal, but much like any film within the genre, acts as the backbone for the additional qualities. One of them being the exploration into Asian culture, particularly the continent’s cuisine, highlighting the traditions that contrast with the typical audience member. I cautiously read somewhere, that Crazy Rich Asians was the “whitest romcom featuring a non-white cast”, which is an absolute barbaric statement to form. The predominant cast and crew were all of Asian descent. Just because the film was confounded within the Hollywood system, does not discredit the contents of its insight. Overtly politically correct viewers bumbling about a non-issue. I’m sure ‘Black Panther’ didn’t receive the same criticism from them. Anyway! I digress.

The point is, Chu allows the illustration of traditions and values to be accessible for everyone. However it’s not just a cultural clash. Wealth and public image are two contributing factors to the spiky relationship between Rachel and and Nick’s family. Yet neither one of them are viewed as the antagonistic force of the plot. Every character is treated as a delicate human, with sufficient back story and development, to warrant their choices and actions. A sub-plot involving an affair could’ve been a “how dare you!? We’re over!” situation, but Chu manages to present the reasoning of the immoral act and add that subtle layer of empathy. You understand. You feel. You reflect. And there are several poignant moments throughout, like this, that elevate the contextual values that are insightfully divulged.

Of course though, Awkwafina provides the majority of laughs, demonstrating the creative humour of writers Chiarelli and Lim whilst showcasing her own excellent comedic timing. Conversely, Wu and Yeoh focus on levelling the comedy with romance and drama respectively. They do so with blinding results. Expressing a variety of emotions, participating in tantalising chemistry and bringing their A-game (their...acting game...).

The lavish ‘Great Gatsby’ parties and genuinely beautiful weddings, that performed a rendition of my all-time favourite romantic song “Can’t Help Falling In Love With You” by Elvis “Hound Dog” Presley, nearly brought a tear to my eye with the astounding production design. Minor nuances such as the pop soundtrack, including Coldplay, sung in Mandarin, dumplings being everything and my eternal yearning for marriage, rounded off the rough edges of Crazy Rich Asians smoothly.

It is absolutely refreshing to see a high-ticketed American produced romcom have an entirely Asian cast and crew, granting several new opportunities for those involved. It is absurdly reassuring to witness a cliché-ridden and formulaic narrative of the genre be fully exploited in a wonderfully entertaining story that harnesses every angle available. Yet most importantly, it’s a colossal piece of entertainment that can legitimately be enjoyed by everyone. Crazy fun, rich in characters and quintessentially Asian. More please!

Monday, September 28, 2020

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Mamma Mia! Here We Go Again







Directed by : Tom Hanks, Anne Dudley, Nicky Kentish Barnes, Robert D. Yeoman, Richard Curtis, Richard Curtis, Rita Wilson, Alan MacDonald, Ol Parker, Ol Parker


Produced by : Tom Hanks, Anne Dudley, Nicky Kentish Barnes, Robert D. Yeoman, Richard Curtis, Richard Curtis, Rita Wilson, Alan MacDonald, Ol Parker, Ol Parker


Starring : Amanda Seyfried, Lily James, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Dominic Cooper, Meryl Streep, Andy García


Company : Legendary Entertainment, Playtone, Littlestar, Universal Pictures, DENTSU, Fuji Television Network, Croatian Audiovisual Centre


Release date(s) : 2018-07-09


Running time :113 Minutes


Country  : United States


Language :Français, ελληνικά, Italiano, English


Budget :  $75,000,000


Storyline :

Sunday, September 20, 2020

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Ant-Man and the Wasp







Directed by : Craig Wood, David Farmer, Tom Johnson, Louise Frogley, Sarah Halley Finn, Shepherd Frankel, Gene Serdena, Paul Rudd, Stan Lee, Stan Lee


Produced by : Craig Wood, David Farmer, Tom Johnson, Louise Frogley, Sarah Halley Finn, Shepherd Frankel, Gene Serdena, Paul Rudd, Stan Lee, Stan Lee


Starring : Paul Rudd, Evangeline Lilly, Michael Peña, Walton Goggins, Bobby Cannavale, Judy Greer, T.I., David Dastmalchian, Hannah John-Kamen, Abby Ryder Fortson


Company : Marvel Studios


Release date(s) : 2018-07-04


Running time :119 Minutes


Country  : United States


Language :English


Budget :  $140,000,000


Storyline : It's fun to see big stuff get real little and little stuff get real big, but _Ant-Man and the Wasp_ suffers the same problems of its predecessor, except this time with an added issue, one that effects many movies (and even more TV shows), the problem of "The entire movie didn't have to happen if people would just have had normal human conversations with one another".

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Actually quite good! It's like a less-weird, but more fun version of a Deadpool - in the sense that it is both filled with action but also with fun acting.

I recommend it for a Saturday evening. It is quite wholesome.
I did indeed enjoy this movie…somewhat. However I cannot say that I was overly impressed.

The story was okay. I would not expect a deep and thought provoking story from a super hero movie nor would I want it. It served as a decent enough vehicle for moving things forward.

Most of the actors did a good enough job of the role they were given which in some cases was pretty much mission impossible given some of the overly silly characters in the movie. In particular I got tired of Luis almost before the first scenes he was in had finished. He was just so silly that you started to wonder what age the target audience was. Jimmy Woo was not far behind.

I think this leads to my main gripe with the movie. I expected a super hero movie but what I got was a fairly lame comedy with super heroes in it. It was just too much comic elements in it for me. I could probably have liked it if the jokes were somewhat intelligent but, for me, they were not. They alternated between overly silly and stupid characters, slap-stick and simple fall-on-your ass jokes.

What about the bad guy? Well, first off, there was not really a distinct bad guy but a hole bunch of them. Unfortunately none of them had any real bad guy charisma. I assume that Sonny was supposed to be the main bad guy and he certainly had enough evil lunatic air about him to fit that but again…too silly. Then we have the lame Jimmy Woo who was just annoying. The Ghost was probably the best one but then she was not really a bad guy was she?

I did like most of the action and the special effects though. The playing around with shrinking and returning to normal size, or greater, was both cool and funny. This shrinking business is of course a difficult theme to work with from a science and logic point of view. For instance, if you shrink a car to the size of a toy car it still weighs like a full size one and you cannot just pick it up. And what about the lab popping up and down all the time? Why weren’t everything shaken to bits inside when they started to run around with it? And don’t get me started about electricity and plumbing. But then, in this kind of movie I would say just just have to turn off that part of your brain. It made for some cool scenes after all.

I also did like that the story was more of a down to Earth story. No overall galactic plot, no snapping of fingers to make…well you know what. Okay, there was the post credit scenes which was a bit of an annoying tie in. Perhaps best of all though, I could not really feel much SJW or other form of politically correct preaching being showed down my throat. Today that is a great plus for any movie.

So, to sum up, I did enjoy it but it was not great and I was indeed a little bit disappointed at the end.
For fans of the first one, which includes me, Ant-Man and the Wasp is more of what you like. More heisting. More car chases. More Giant Man. More of the three wombats. More humour. More mediocre villains. More romance between Scott and Hope. More family bonding. And of course, more quantum realm. It's fun. It's light hearted. It works.

That post credit scene though .... 😲
“Ant-Man and the Wasp” is a really weird Marvel movie.

Like its pint-sized superhero, the film doesn’t quite fit in with the typical MCU big screen canon and is a laid back yet thoroughly forgettable entry into the fatigued superhero genre. The story doesn’t try to tie too much together (save for a mid-credits scene), there’s not an over-dependence on rambunctious CGI effects, and the attempts at humor feel oddly forced (I’d estimate only 30% of the jokes land successfully). Despite the lame title characters and the ever-likeable Paul Rudd‘s offhand charisma, this film gives the impression that it’s an average C student trying desperately to overcome underdog status and achieve a place on the honor roll.

The best part of the film besides Rudd (he makes this one, just like every movie he’s cast in, impossible not to enjoy at least a little), are the special effects. Sure, they’re all computer generated, but they’re some of the most creative since 2016’s “Doctor Strange.” The worst part of the film is its contrived humor. It’s stiff, often cringe-worthy, and sticks out like a sore thumb as it grows increasingly desperate. The film’s multiple writers couldn’t have helped things, and the barrage of thoughtless, lazy jokes quickly wore me down.

Also lacking is suspense and a viable antagonist. There’s the oddly disturbing Ghost (Hannah John-Kamen), a woman who is living in unbearable pain and appears to be a formidable foe for Ant-Man (Rudd), The Wasp (Evangeline Lilly), and Hank Pym (Michael Douglas). But then she suddenly finds her heart and the evil disappears. The same goes for Dr. Foster (Laurence Fishburne), a professor who also has a near immediate change of heart. The thin rescue mission premise of extracting Hank’s wife Janet (Michelle Pfeiffer) from the Quantum Realm after being trapped there for the last 30 years also means there’s not too much else to root for.

The quantum rules change on a whim to fit the action sequences, with a sometimes shrinking and sometimes growing super suit. And cars. And buildings. The exposition dialogue is long-winded and repetitive, and the ill-advised “comic” relief from Michael Peña is not snarky enough to feel fresh or new (see “Thor: Ragnarok“).

This is a shallow, pointless film that becomes an exhausting bore.

Friday, September 18, 2020

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Instant Family







Directed by : Michael Andrews, Sheila Jaffe, Helen Pollak, Helen Pollak, Mark Wahlberg, Brad E. Wilhite, Clayton Hartley, Marc D. Evans, Sean Anders, Sean Anders


Produced by : Michael Andrews, Sheila Jaffe, Helen Pollak, Helen Pollak, Mark Wahlberg, Brad E. Wilhite, Clayton Hartley, Marc D. Evans, Sean Anders, Sean Anders


Starring : Mark Wahlberg, Rose Byrne, Isabela Merced, Margo Martindale, Julie Hagerty, Tig Notaro, Octavia Spencer, Gustavo Quiroz Jr., Julianna Gamiz, Allyn Rachel


Company : Closest to the Hole Productions, Paramount, Leverage Entertainment


Release date(s) : 2018-11-16


Running time :118 Minutes


Country  : United States


Language :English


Budget :  $48,000,000


Storyline : First of all, the acting in this film just perfect. In every scene, you can see and tell that all the actors and actresses were giving it their one hundred and ten percent. Mark Wahlberg and Rose Byrne played compelling characters that seemed like real people. I think any parent will be able to relate to them in one way or another. The kid actors did great, especially Isabela Moner who plays Lizzy. Just like how Mark and Rose played characters parents can relate to Isabela played a character that a majority of teens can relate to. I know I could easily relate to her. The pacing in the film was surprisingly great. I thought for a film like this they would want to rush some scenes but no. All the scenes seemed to have the perfect pacing in them and only a few of them were cut a bit too short but that didn’t bother me too much. The humour in this film was placed in the right places and didn’t seem forced. This film will take you on an emotional rollercoaster. At some parts, you’ll be happy and laughing while in others trying to hold back tears. I also really enjoyed how the film felt like you were a fly on the wall during all the scenes. I think my only big problem with this film is when they tried to throw more conflict into the film. I won’t say what they did but it was unnecessary and could have just been cut out of the film altogether. Also, the few scenes that should have been longer but weren’t also kind of bugged me but didn’t ruin my enjoyment of the film. In the end, this film is an excellent film for the whole family to go and see. I give Instant Family a 9.5/10.

Wednesday, September 9, 2020

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The Favourite







Directed by : Sandy Powell, Andrew Lowe, Ed Guiney, Sam Sneade, Robbie Ryan, Yorgos Mavropsaridis, Christopher Atkinson, Tony McNamara, Yorgos Lanthimos, Yorgos Lanthimos


Produced by : Sandy Powell, Andrew Lowe, Ed Guiney, Sam Sneade, Robbie Ryan, Yorgos Mavropsaridis, Christopher Atkinson, Tony McNamara, Yorgos Lanthimos, Yorgos Lanthimos


Starring : Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn, Mark Gatiss, James Smith, Jenny Rainsford, Emma Delves, Faye Daveney


Company : Waypoint Entertainment, Element Pictures, Scarlet Films, Film4 Productions, Fox Searchlight Pictures


Release date(s) : 2018-11-23


Running time :120 Minutes


Country  : United States


Language :English


Budget :  $15,000,000


Storyline : Overrated? Most assuredly, but utterly engaging from beginning to end. Not Yorgos' most humorous piece, but technically sound and brilliantly acted.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
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The Favourite is one of the most acclaimed movies of last year, receiving multiple nominations at dozens of awards shows and winning a whole bunch of them (2nd most awarded film of 2018, behind Roma). Being a fan of Yorgos Lanthimos’ style, I couldn’t be happier for him, and I was now even more excited to watch what he produced and directed. This movie is a classic example of an Oscars’ tradition of sorts. A lot of audience members make their mission to watch every Best Picture nominee before the big night, and there’s always one film that people fail to grasp on why did it get so much praise? Why are critics all around the world absolutely loving what audiences perceive as an “okay” time at the theater, but which contains a long, weird and maybe even dull (for some) story?

Well, first of all, this is technically a masterpiece. I mean, every single technical aspect is worthy of recognition. The production and set design are gorgeously eyegasmic. The score is unusual for a period piece like this, but it weirdly works, as it continuously elevates the tension between the three main characters and helps the story flow with an always conspicuous, treacherous feeling. Even the cinematography and the plays with candlelight offer some pretty neat scenes. However, and prepare to be surprised, the costume design steals the show from all the other achievements. This is coming from a guy who has utterly no interest in this particular matter and who rarely talks about it, so I’m as surprised as you are.

It’s not due to the costumes being pretty or appropriate to the time period. Almost every movie that tackles these times nail the costume design, but only a few can tell a character arc through it. Even less are capable of embodying the whole screenplay like this Oscar-bait does. Our protagonists have distinct journeys, but their ends all have similarities. One way of understanding the story is through what they wear, which seamlessly represent the arc that each character takes to get where they eventually end up. These layers of storytelling keep the film intriguing, but Lanthimos’ uncommon methods plus McNamara and Davis’ script will displease some audience members.

The Favourite is that movie that audiences are going to be perplexed about why do critics adore it. There’s no secret, really. Audience members don’t care about the technical part of films. They couldn’t care less about costume design, cinematography, score or how the screenplay is written. They want to be entertained and have a good time at the theater, so I find reasonable if people leave a bit disappointed with one of the most critically acclaimed movies of 2018. Lanthimos doesn’t deliver formulaic stories, and he certainly doesn’t film them in a regular fashion, so I firmly believe the general public isn’t really going to enjoy this one. His unique style brings a very different tone, pace and filming techniques that people aren’t used to experiencing. Fortunately, there’s more than just technical attributes to this film. Three magnificent and powerful performances from Olivia Colman, Emma Stone, and Rachel Weisz, carry the whole thing to safe harbor.

These three actresses deserve every single nomination they got so far. Colman delivers both a hilarious and emotionally heavy display, as Anne. An incredibly fragile Queen with a shockingly traumatic past, whose love and affection is being fought for between Abigail and Sarah. Most of the laughs this movie gives are through Anne and her petty behavior towards her servants. Colman delivers her body and soul to her role, adding yet another fantastic performance to her splendid career. Weisz is just flawless. Sarah‘s arc is Abigail‘s opposite in almost every way, and Rachel is remarkably sharp. She doesn’t really have a definite shining moment like Stone or Colman have, but it’s a consistent and robust display from an actress who needed a return to the spotlight.

Nevertheless, it’s Emma Stone who shines through with an unbelievable range of emotions and expressions. Her performance in La La Land is great, but as Abigail she is outstanding! She handles her character’s personality change with an impeccable transition regarding her acting and the only reason why she’s probably not getting the Oscar win, is due to the campaign supporting Regina King (If Beale Street Could Talk). Abigail is the character that moves the plot forward by trying to steal Sarah‘s place near the Queen. Her intelligent and manipulative moves are extremely captivating, as well as her will to gain Anne‘s love.

Yorgos Lanthimos knows his craft and his weird yet unparalleled style is something that will surely deliver even more divisive and confusing films in the future. From the camera angles to his methods of storytelling, he’s one hell of a director-writer-producer! Technically, The Favourite is undoubtedly one of the best movies of the last year. The impressive production and set design plus the addictive score definitely raise the film, but the costume design tells a whole story through what the characters dress during the whole runtime. The screenplay is remarkably-written, filled with complex dialogues and several twists and turns, which lead our characters through eventful arcs.

Olivia Colman and Rachel Weisz deliver compelling performances, but Emma Stone is in another level. Her range is mind-boggling, and she carries a big responsibility by portraying the character who changes the whole story. Nevertheless, the movie feels a bit too long, and the story drops its interest levels during the transition from the second to the third act. Basically, I’ll put it like this: if you’re just a regular audience member who only goes to the theater to eat popcorn while being entertained, The Favourite isn’t going to make you eat your whole bucket; if you watch films through a more in-depth look, then you’ll be as marveled as I was by the end of it.

Rating: A-
Hugely entertaining film from start to finish, with amazing performances from the three lead women. Emma Stone proves that once again she's not just a pretty face as the conniving and troubled Abigail, Rachel Weisz is always on form as the controlling and vindictive Sarah and Olivia Coleman deserved the Oscar as the childish and sickly Queen Anne. Nicholas Hoult's foppish rogue Harley steals every scene he is in.

Yorgos Lanthimos once again has made a beautifully shot film using mostly natural light. I can't overstate that this film looks gorgeous. Many times over I thought of Barry Lyndon, but with tonnes of humour, foul language, and no Ryan O'Neal to destroy the soul of the film.

I originally gave this 9/10 because I didn't like the use of fish-eye lens, but I couldn't stop thinking of how much I enjoyed it so I bumped it up to 10.

Best film I have seen in a very long time.
**_Fans of Yorgos Lanthimos will love it_**

> _A setback for women? How can it set women back to prove that women fart and vomit and hate and love and do all the things men do? All human beings are the same. We're all multifaceted, many-layered, disgusting and gorgeous and powerful and weak and filthy and brilliant. That's what's nice. It doesn't make women an old-fashioned thing of delicacy._

- Olivia Colman; "_The Favourite_ Blows Up Gender Politics With the Year's Most Outrageous Love Triangle" (Tatiana Siegel); _The Hollywood Reporter_ (November 14, 2018)

_The Favourite_, the seventh feature from Greek auteur Yorgos Lanthimos, is a film that eschews both convention and expectation. On the other hand, it's also Lanthimos's most accessible by a country mile. Imagine, if you will, a narrative combining Joseph L. Mankiewicz's _All About Eve_ (1950), Ingmar Bergman's _Viskningar och rop_ (1975), and Mark Waters's _Mean Girls_ (2004) filtered through the aesthetic sensibilities of Stanley Kubrick's _Barry Lyndon_ (1975), Peter Greenaway's _The Draughtsman's Contract_ (1992), and Stephen Frears's _Dangerous Liaisons_ (1988), topped off with a dash of Luis Buñuel at his most socially satirical, and you'll be some way towards imagining this bizarre and uncategorisable film from a director with as unique and distinctive a voice as you're likely to find in world cinema. A savage morality play, a camp comedy of manners, a Baroque tragedy, an allegorical study of the corruptive nature of power – it's all of these and yet none of them. I haven't seen Lanthimos's first two films, _O kalyteros mou filos_ (2001) and _Kinetta_ (2005), but I adored _Kynodontas_ (2009), as difficult as it was to watch. I was a little indifferent to _Alpeis_ (2011), but I loved _The Lobster_ (2015), his blackest comedy thus far. His last film, however, _The Killing of a Sacred Deer_ (2017) did very little for me, as I felt it offered nothing we hadn't seen in his previous work. So I came to _The Favourite_ wanting to like it, but ready to dislike it. And I find myself somewhere in the middle. On the one hand, it's too long, the plot too threadbare, and the metaphors and allegories too ill-defined. On the other, the acting is flawless, it looks amazing, the first half is very, very funny, and the end is very, very dark, with the last shot one of the most haunting/disturbing images I've seen in a long time.

England, 1708. Queen Anne (an absolutely mesmerising Olivia Colman) has been on the throne for six years, with Great Britain finding itself enmeshed in the War of the Spanish Succession. In poor health, Anne has little interest in politics, with the real power lying with her friend, adviser, and secret lover Sarah Churchill, Duchess of Marlborough (an icy Rachel Weisz). Sarah and Prime Minister Sidney Godolphin (James Smith) plan to finance the war effort by doubling property taxes, but are opposed by the leader of the opposition – Robert Harley, Earl of Oxford (Nicholas Hoult). Meanwhile, Sarah's impoverished younger cousin, Abigail Hill (Emma Stone, charting a course from doe-eyed _ingénue_ to vicious Machiavellian _intrigant_), arrives at Court looking for work. Sarah secures her a position as a scullery maid, but when Abigail learns that Anne is suffering from gout, she uses a herbal remedy on the sleeping Queen without asking permission. Sarah has her whipped for her presumption, but Anne sees a noticeable improvement in her condition, and by way of apology, Sarah gives Abigail a position closer to the Queen. With Harley hoping to use Abigail as a spy to find out what Sarah is planning, and Samuel Masham (Joe Alwyn), a foppish courtier, attempting to woo her, Abigail must quickly adapt to courtly life. Learning of the lesbian relationship between Anne and Sarah, Abigail begins to ingratiate herself with the Queen, leading to a bitter contest between herself and Sarah, as each attempt to establish themselves as Anne's favourite.

_The Favourite_ is the first film Lanthimos has directed which neither he nor Efthymis Filippou wrote. Although it deals with real historical personages and events, historians probably won't be too thrilled to learn that Lanthimos and his screenwriters Deborah Davis and Tony McNamara are relatively uninterested in either historical actuality or socio-political contextualisation (to say nothing of the slam dancing and frequently anachronistic dialogue). For example, there's no reference to the Glorious Revolution (1688), which saw James II, the last Catholic monarch of England, overthrown; or to the Treaty of Union (1707), which formally brought the state of Great Britain into existence. Similarly, it is never mentioned that Anne was the last Stuart monarch or that Abigail was appointed Keeper of the Privy Purse in 1711. The nature of the political antagonism between the Tories and the Whigs, although often referred to and occasionally witnessed, is kept vague, with little in the way of an historical frame of reference. For example, the film never addresses the fact that Godolphin and Harley were both Tories, with Godolphin heading an administration dominated by leading Whigs (the Whig Junto), and Harley leading a coalition of Country Whigs and Tories in opposition.

On the other hand, there's no evidence whatsoever that Anne and Sarah were lovers. On the contrary, Sarah is known to have found lesbianism abhorrent, commissioning the politician Arthur Maynwaring to write scurrilous poems about Abigail which intimated that she might be gay. Additionally, Anne was devoted to her husband, Prince George of Denmark, who doesn't even warrant a mention, let alone an appearance, despite being alive and well at the time of Abigail's arrival at Court. However, it's also important to note that the film makes no claim to be a history lecture. This is a story about a love triangle, with everything else just the background noise against which that triangle plays out.

But although it may not be historically accurate, it is most definitely a Yorgos Lanthimos film, with his peculiar _Weltanschauung_ omnipresent. The emotionless and monotone delivery of dialogue has been scaled back considerably from _The Lobster_ and _Sacred Deer_, but everything else you'd expect is here – the pseudo-omniscient judgemental glare; the dark absurdist sense of humour; the formal rigidity; the emotional isolation of the characters; the surrealism; the games of psychological one-upmanship; the alienation of the audience; the thematic centrality of shifting power relations; the lack of distinction between poignancy and joviality; the use of self-contained and closed off pocket universes where characters must play by rules differing from those of the outside world; intimate familial conflict (except in bigger rooms than in his previous films); and a disorienting score, which mixes pieces by Purcell, Vivaldi, Handel, and Bach with more contemporary work from the likes of Olivier Messiaen, Luc Ferrari, and Anna Meredith, whilst the closing credits feature Elton John's "Skyline Pigeon" (really). Similarly, whilst _The Lobster_ was a savage dystopian-set allegory for discipline and conformity, _The Favourite_ is a merciless satire of decadence and pettiness, taking in such additional themes as class, gender, love, lust, duty, loyalty, partisan politics, patriarchal hegemony, and women behaving just as appallingly as men.

As one would expect from Lanthimos, the film is aesthetically flawless, with many of the compositions having the appearance of a _fête galante_ painting, so meticulously integrated are the costume design by Sandy Powell (_Interview with the Vampire_; _Shakespeare in Love_; _Carol_), the production design by Fiona Crombie (_Snowtown_; _Truth_; _Mary Magdalene_), and the cinematography by Robbie Ryan (_Fish Tank_; _Philomena_; _American Honey_). Powell's costumes are historically inaccurate, but thematically revealing, with the situation of the characters at any given moment directly influencing the design. For example, speaking to _Entertainment Weekly_, Powell says of Abigail and her rise to a position of influence,

> _I wanted to give her that vulgarity of the_ nouveau riche_, and her dresses get a little bolder and showier. There's more pattern involved and there are black-and-white stripes. I wanted her to stand out from everybody else as trying too hard._

In a more general sense, the black-and-white colour scheme of much of the wardrobe contrasts magnificently with Crombie's predominantly brown production design, with the actors effortlessly standing out from the backgrounds. The occasional use of black-and-white stripes is also worth mentioning, as it subliminally intimates that the characters are imprisoned, not so much by their physical _milieu_, but rather within the hypocrisy, pettiness, and forced politeness of the Royal Court.

Of Ryan's photography, perhaps the most impressive feat is that, despite the many scenes tracking characters through rooms, up stairs, and out doorways, there's not a single Steadicam shot anywhere in the film. He also makes copious use of 6mm fish-eye lenses, which distort the spaces the characters occupy whilst also showing much more of the environment than a normal lens, creating the sense of characters lost within an overload of background visual detail. Combined with the whip pans seen throughout the film, the cumulative effect is a world rendered strange, a place of distortion and unnatural compositions. As Ryan explains to _Deadline_,

> _by the nature of being able to see everything in front of you, you then get a sense that the characters are almost imprisoned in the location. Even though they have all this luxury and power, they are a little bit isolated in this world. By showing you the whole room and also isolating the character in a small space you get a feeling of no escape._

As with most of Lanthimos' work, the film also uses natural light, which makes for some stunning candle-lit night-time compositions, partially recalling the paintings of someone like Jean-Antoine Watteau or, even moreso, Georges de La Tour.

In terms of acting, there really are no words to describe just how good Colman is. Utterly inhabiting the character, she is able to elicit empathy mere moments after behaving thoroughly shamefully, communicating a sense of both tragic inevitability and a childlike refusal to accept reality. The character could easily have been a grotesque villain or a pitiful broken shell, but Colman finds a nobler middle ground, straddling both interpretations without fully committing to either, moving from one to the other seamlessly throughout the film. Yes, she can be a horrible person with appalling manners and questionable hygiene, but she is also deeply lonely, a survivor who has lost 17 children in childbirth, a woman whose health has made her old before her time, a deeply tragic figure too naïve to see how badly she is being manipulated by Sarah and Abigail, something encapsulated brilliantly in the haunting last shot. Rather than trying to downplay the contradictory facets of the character, Colman leans into them, illuminating Anne's humanity amongst her least appealing characteristics, and finding both wit and pathos in a character whose mercurial nature and excessive neediness could easily have rendered her the film's antagonist. It truly is one of the finest on-screen performances in a long time.

Weisz and Stone are also both excellent. Weisz plays Sarah as a clinical manipulator, highly intelligent and relatively emotionless, whereas Stone's Abigail grows from a guileless chambermaid to a vindictive Janus-faced usurper. However, even at her most outrageous, there remains always something of the innocent girl we met earlier in the film.

The film's most salient theme, one could argue its very _raison d'être_, is the dynamic of gender politics. For starters, it's headlined by three actresses (something which is still rare enough as to be notable), whilst the only two male characters of any significance (Godolphin and Harley) are both portrayed as petty, vainglorious idiots. Indeed, men in general are background players, existing only to be mocked, exploited, and duped – with their ridiculous wigs and heavy makeup, they exist only to support the women. Speaking to _Entertainment Weekly_, Powell explains that Lanthimos wanted the women to have natural hair and light makeup, and the men to wear gaudy makeup and ridiculous wigs;

> _normally films are filled with men, and the women are the decoration in the background, and I've done many of those, so it was quite nice for it to be reversed this time where the women are the centre of the film and the men are the decoration in the background._

Similarly, speaking to the _Hollywood Reporter_, Weisz explains,

> _what's interesting to me is that the men in_ The Favourite _are wearing lots of makeup and blusher and lipstick and high heels. That they're peripheral characters who are slightly ridiculous. They're an afterthought. That may not be unusual in life, but it's unusual to see in films._

However, what's especially interesting about the film's depiction of gender is that the world of women is anything but a utopia. Yes, it's relatively free of toxic masculinity and the male gaze, but in most other aspects, there's no real difference between the matriarchy and the patriarchy. Sure, the women are much smarter than the men who surround them, but they are no less greedy or cruel. At the film's post-première press conference at the Venice Film Festival, Lanthimos explained,

> _what we tried to do is portray women as human beings. Because of the prevalent male gaze in cinema, women are portrayed as housewives, girlfriends...Our small contribution is we're just trying to show them as complex and wonderful and horrific as they are, like other human beings._

The preening and pettiness of the men, of course, is purposely overdone (Harley proclaims at one point that "_a man must look pretty_"), creating a _milieu_ where it is men, not women, who tend to be judged by their appearance, objectified, and used. Just look at the hilarious scene where Abigail coldly gives Masham a hand-job as she ruminates about more important matters – once she has gotten what she wants from him (his hand in marriage), she is no longer interested in him whatsoever, a direct reversal of traditional filmic gender roles, where it is usually men who use women. Men, in _The Favourite_, are utterly disposable.

As regards criticisms, although I personally wouldn't class them as flaws, some people will probably dislike the same things that many have disliked in Lanthimos's previous work – cold formal rigidity, perverse sense of humour, and irredeemable characters being irredeemably horrible to one another. There will be those who find the obviously intentional anachronisms too much, whilst others will take umbrage with the disregard for historical authenticity. For me, whilst I admire Lanthimos for trying to bring something new to his _oeuvre_, especially when compared to _Sacred Deer_, I felt the film was oftentimes trying to work its way through an identity crisis, unsure of exactly what kind of tone to settle on. I had similar feelings about the allegories that run throughout, but are never what you would call fully fleshed out. Obviously, it's a treatise on power and the ridiculous opulence of royalty, but that's not exactly an untapped issue in cinema. Additionally, one of my biggest problems with _Sacred Deer_ was how utterly pointless it felt, and although I got a lot more out of _The Favourite_, I had something of the same reaction to it. It could also be argued that the characters are a little two dimensional, and filmgoers who need a protagonist to latch onto, someone to root for, will be left rudderless.

_The Favourite_ will probably attract a sizable unprepared audience because of awards buzz, positive reviews, and excellent trailer. Undoubtedly, for a lot of people, this will be their first exposure to Lanthimos, and I can only imagine what people expecting a Merchant-Ivory costume drama will make of it all. Neither morally enlightening nor historically respectful, _The Favourite_ offers a bleak assessment of humanity's core drives; not Lanthimos's bleakest, but a hell of a lot more nihilistic than an average multiplex goer will be used to. The characters within the film live in a _milieu_ of egotism, narcissism, sexual cruelty, psychological bullying, greed, and hunger for power. There's barely a hint of sentimentality, and very little that could be called morally righteous. I would have liked it to have more meat on its bones, but at the same time, one cannot deny that it presents something of a faithful looking-glass, as Lanthimos continues to corner the market in pointing out not just humanity's worst foibles, but its most egregious eccentricities and lamentable character defects.
Some wounds do not close; I have many such. One just walks around with them and sometimes one can feel them filling with blood.

The Favourite is directed by Yorgos Lanthimos and written by Deborah Davis and Tony McNamara. It stars Olivia Colman, Rachael Weisz, Emma Stone, Faye Daveney, James Smith, Mark Gatiss, Willem Dalby and Nicholas Hoult.

In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend, Lady Sarah (Weisz), governs the country in her stead. When a new servant, Abigail (Stone), arrives, her charm endears her to Sarah.

A critical darling with awards and nominations to match, The Favourite, to me at least, is something of an acquired taste. Firstly it should be noted that as a history lesson it's pure bunkum, so much so I wondered if Lanthimos is actually Mel Gibson. Though to be fair to Lanthimos, he never hid from the fact he and his writers were pretty much making it up for entertainment purpose.

The craft on show is top level, with three high quality lead lady performances giving their all for the director. Lanthimos also has some nifty camera tricks up his sleeve, it's clear that this is a talent to follow for those so inclined to his off kilter type of film making. Helps, too, that the costuming and set designs are also from the top draw. It's hard to fault from a production standpoint.

Narratively the pic is pulsing with parliamentary politics that blends with royal shenanigans. Yet ultimately the prime concern is about the battle for Queen Anne's soul between Sarah and Abigail. This consistently remains fascinating, even as Lanthimos continues to sex things up and pitches black comedy alongside the tragic thrum at the core.

It's an odd mix of a film that I personally don't think works as a whole, and with the finale a crushing disappointment, it leaves one in awe and yet also unsatisfied. 7/10

Monday, September 7, 2020

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To All the Boys I've Loved Before







Directed by : Tamara Notcutt, Paul Joyal, Vicki Sotheran, Michael Fimognari, Joe Klotz, Lewis Goldstein, Lewis Goldstein, Susan Johnson, Kelley Cauthen, Sean Kennedy


Produced by : Tamara Notcutt, Paul Joyal, Vicki Sotheran, Michael Fimognari, Joe Klotz, Lewis Goldstein, Lewis Goldstein, Susan Johnson, Kelley Cauthen, Sean Kennedy


Starring : Lana Condor, Noah Centineo, Janel Parrish, Anna Cathcart, Madeleine Arthur, John Corbett, Israel Broussard, Emilija Baranac, Trezzo Mahoro, Andrew Bachelor


Company : Awesomeness Films, Overbrook Entertainment


Release date(s) : 2018-08-16


Running time :100 Minutes


Country  : United States


Language :English


Budget : 


Storyline :
 
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