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COLME AARON
  • Movie Reviews
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  • About
  • Movie Reviews
  • Yearly Top 10
    • Top Movies of 2021
    • Top Movies of 2020
    • Top Movies of 2019
    • Top Movies 2018
  • About

Movies In RevIew

The Gentlemen - Review

1/24/2020

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Release Date: ​January 24, 202
An Absolute Blast

​​I have developed a fondness for Guy Ritchie's films. Even when the general public and critics dismiss one of his projects, I've still found them to be addictive. So picture my excitement when I learned he was doing another film and an original idea at that. I knew that even if his latest movie didn't tickle critics or audiences, I would still have a great time. But it looks like everyone wins as The Gentlemen is not only fantastic, it's the most enjoyable time I've had at the theater in months. 

When I think of a Guy Ritchie movie, I can see the editing, the humor, and the storytelling all wrapped together. The Gentlemen is somehow an outsider from the group as it maintains all of the markings while still being a standout. The grace in which it presents itself is familiar but seems to be a cut above the rest. I am happy to say that this might be Ritchie's best work, as the results are electric. All of the pieces that bring this picture together move in harmony as they meld into a euphoric crescendo. This means that everything from the acting to the editing just works. 
Since I brought up acting, the cast is a phenomenal ensemble of familiar faces that delight. Standouts include Hugh Grant—cause of course, Charlie Hunnan, and Colin Farrel. They bring life to the film as they all play their parts to a tee. Grant appropriately chews the scenery opposite Hunnam, who plays the straight man as they lead the audience through the plot while being inner cut by everyone else. It's when Farrel pops up and elevates the mood with his relaxed demeanor, a feat only aptly described as an oxymoron, when everything is working at it's best.

There isn't anything special about the cinematography or score, but they don't hinder the quality of the overall picture. There is a small story beat that ends oddly, but nothing else comes to mind when I think of egregious problems. In no way am I suggesting that The Gentlemen is without faults, but the enjoyment to be had far outweigh any slight transgressions that it may embody. 

I would consider The Gentlemen one of the best of the year. I know it's early, although I'll be surprised if I don't see it on my top 10 list at the end. It might just be a taste thing as the film doesn't seem to have universal praise; it indulges in very British vocabulary and mannerisms, which are aspects I adore. Though, it could also be that it's a Guy Ritchie movie, and his style isn't for everyone. All of these considerations aside, I cannot deny how much fun and charm this picture has.
7.5/10
I promise its incredible
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Bad Boys for Life - Review

1/16/2020

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Release Date: ​January 17, 202
Another 'Modern' 90s Movie

​When promoting the latest installment in the Bad Boys franchise, Will Smith talked about how he wanted to bring it back since 'every franchise was getting a reboot'. He then proceeded to promise that it would be worth it. That alone made me suspicious of Bad Boys for Life, and for good reason. While it did end up surprising me, you've seen what this movie has to offer. So unless you're bored or need the nostalgia trip, there isn't a need to see this in theaters. 

I thought we moved past the 'old guys are being replaced by people that have tEcNoLoGy' as a trope, but I was mistaken. The element doesn't play as big of a part as I suspected it did, but it needs to stop. There are a couple more dated tropes that the movie utilized, and they're all as effective as that first one. What caught me off guard was how they were utilized. There seemed to be restraint, whereas other pictures have gone overboard with it. That helps to make the movie more palatable, bringing it up from trash to just shy of mediocre.
While Bad Boys for Life won't offend anyone, at least I hope so, it doesn't inspire confidence in me. With this reboot shooting for the stars as it tries to become a regular series, it doesn't do a good enough job easing back in. Martin Lawrence was always the heart in the middle, grounding the movies in a ridiculous fake reality; by sidelining him, the movie slots into the emerging low-big budget category. This is where the John Wick series and many others reside as tentpole films have left studios with under $100 million budgets to share. The good thing is when Lawrence is on screen he does a great job being the comedic relief.relief.

I can't whole-heartedly recommend this movie. While it does do away with Michael Bay's signature shaky cam and depicts action more clearly, there just isn't enough here. If you've already seen the award season movies, then this actually might be the slight fun you need if you're bored out of your mind. It's another old franchise that started in the 90s trying to modernize, what did you expect?

4/10
There was a shot where they forgot to set the muzzle flashes to screen and it was hilarious

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Underwater - Review

1/10/2020

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Release Date: ​January 10, 202
You've Seen This Before

January is known to release a lot of small budget horror movies. They usually aren't that good but are still relatively popular. One of this year's entries is Underwater, a sci-fi horror movie that takes place... well, you know where. The surprising thing is that this is not a budget picture. With a production budget of around $80 million, this is not your typical January release. So I was definitely intrigued by how it would all come together.

I can appreciate the fact that Underwater wastes no time by jumping right into the action. Immediately the central conflict is put in play as the characters struggle to navigate their hazardous environment. The tone of impending doom is set and doesn't let up till the credits roll. What really helps to sell the ticking clock is the feeling of claustrophobia, which is achieved by sticking cameras in actors' faces. The effect is driven home by having the characters confined to small spaces for a lot of the runtime. They move from area to area, all by the skin of their teeth.
It all comes together with the production design. You can see a lot of the money on screen as the different locations feel adequately dressed. Even the suits had an air of realism to them, something that usually doesn't happen in sci-fi movies. For some of these types of pictures, the CGI can be the weakest part with some low-quality stuff. But the VFX and all of that never looked bad. A large part of that success can be attributed to the dark setting, but that's an advantage. 

Not everything was perfect as editing and story suffered multiple times, whether that included cuts that obfuscated characters doing actions, or glossing over details. That compounded with characters not having motivations other than trying not to die. Usually, there are subplots to give people depth, which causes you to hope for their survival, something that is absent here. The cherry on top was the decision to kill the black guy first. That is a little bit of a spoiler, but it's such a crazy decision that I had to point it out.

Overall, Underwater was watchable. If you find yourself needing something to see in theaters, then this could be it. I think that Kristen Stewart carries the film as the most interesting person involved. With its fairly derivative story, it's familiar but still rallies at the end. It's undoubtedly the best January horror movie I've seen.

5/10
I want the jacket that Kristen Stewart wears from the trailer
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1917 - Review

1/10/2020

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Release Date:  December 25, 2019​​​​​​​​​​​​​
War, War Never Changes

I think everyone was a bit startled when 1917 won Best Picture at the Golden Globes. Even the director, Sam Mendes, was awestruck as he went up to accept the award. It seemed like he knew most people didn't care about his film, going as far to state that he hoped the win would drive interest and that people would see it in the theater. I was definitely surprised as I had not heard much about the picture before the awards show. So at that point, I had to find out what the Hollywood Foreign Press Association saw in 1917 and how it could be declared the best of the year.

I learned of 1917's signature gimmick very recently. I think most don't know about it, but I'm forced to address it, or the readability of the review will go out the window. The trick I am talking about is the entire movie is made to look like it was filmed in one shot. Everyone else will tell you that it works exceptionally well, and other than one evident giant cut which immensely bothered me, they are correct. The undertaking to achieve this effect is not lost on me as I understand the production work required for it to be successful. 
While it might have been Mendes' idea to make the movie in this way, it was Roger Deakins who actually achieved it. 1917 has Deakin's fingerprints all over it as his signature style is on display in every image. His choice to film with natural light sources leads to mesmerizing sequences that have been spoiled in the trailer. If you decide to watch this in the theater, it will be to see his work on a big screen. I say that because other than the incredibly high production value, there isn't much else to look forward to.

1917 fails to capture the human element of war. It does a great job keeping the audience on their toes as the one-shot presentation keeps the tension high. There are moments of fear, exhaustion, and hope, all of which blend thematically with the setting, but none give you the anchor into its characters. I need more than just a goal and a coherent plot to keep me interested. When I said it had tension and all those other things, I lied. It only had those elements for some of the time, as it mostly fell flat for me. 

The driving force of the story is for two soldiers to deliver an order that would save many lives. The importance of their mission is blatant but seems to fall on deaf ears as almost everyone they meet doesn't care. That message of indifference seeped through and became the stance I took. While the script tries to give these characters humanizing moments, not much of it stuck. This disconnect comes down to how they were delivered. I could see the gears turning in the background as scenes of tension would be invalidated moments later. When plot points were being set up and then never referenced again, it felt like they were just cheap tricks.

​It all comes down to what you appreciate about the art form. I like movies because they tell interesting stories about engaging characters. 1917 doesn't have that but instead offers a project that excels in production. The fancy camera sweeps, tracking shots, and set pieces offer visually stunning sequences that are enviable. While I didn't enjoy the film that much, I can recognize great work when I see it.
6.5/10
​Without Roger Deakins, the movie would have been nothing special
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