Film review – Mondovino Le Film http://mondovino-lefilm.com/ Wed, 21 Sep 2022 07:42:17 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://mondovino-lefilm.com/wp-content/uploads/2021/07/lefilm-150x150.png Film review – Mondovino Le Film http://mondovino-lefilm.com/ 32 32 Yamabuki (2022) by Juichiro Yamasaki https://mondovino-lefilm.com/yamabuki-2022-by-juichiro-yamasaki/ Wed, 21 Sep 2022 07:42:17 +0000 https://mondovino-lefilm.com/yamabuki-2022-by-juichiro-yamasaki/ “If you want to change the world, get rich” There are two very obvious characteristics when dealing with Japanese cinema. The first is cleverness in the way the story is composed and presented, which often extends to the style of humor. The second is that too many local filmmakers don’t know where and when to […]]]>

“If you want to change the world, get rich”

There are two very obvious characteristics when dealing with Japanese cinema. The first is cleverness in the way the story is composed and presented, which often extends to the style of humor. The second is that too many local filmmakers don’t know where and when to finish their films. Juichiro Yamasaki’s “Yamabuki” definitely features both.

“Yamabuki” Screens at Inland Dimensions

The storyline revolves around a series of characters, whose stories end up being interconnected. Chang-su is a former Olympic jockey for the South Korean national team, whose father’s bankruptcy and subsequent loans he left behind forced him to move to Japan to find work that would pay him back. There, however, he has found a measure of happiness, working in a career where he is about to receive a promotion and caring for Minami and her infant daughter, Uzuki. That’s until local policeman and single father Hayakawa decides to pick up a yamabuki, a yellow mountain flower that bears the same name as his daughter, setting off a series of events that culminate in a multi-level tragedy. . At the same time, her daughter, perhaps in an act of defiance, decided to demonstrate for the Koreans of Zainichi on the street, with a group of middle-aged and older people, “training” with her, a classmate who is really in love with her. Eventually, all the stories come together, in a Shakespearean/fable style also involving a group of petty thieves…

Juichiro Yamasaki is directing a film that seems to revolve around the concept of cause and effect, as each character’s actions impact the lives of others, and a small rock rolling down a mountain at an individual’s foot can spell disaster. in life. of another. Through this prism, the way the lives of the many protagonists come together is one of the best features of the film, highlighting Yamazaki’s direction and writing. The way it uses humor, especially through the interaction of Yamabuki and his classmate, is also excellent, brightening up a film that is essentially drama, and thus adding to the entertainment it offers. Finally, how fate can affect people, again through the prism of cause and effect, giving and taking a number of times, especially in Chang-su’s case, is highlighted. impressively works into the narrative, inducing it with a sense of optimism that works quite well here.

The acting is also of a very high standard. Kang Yoon-soo as Chang-su excels at the various transformations he undergoes throughout the film, with the tragedy scene being the pinnacle of his performance. Yohta Kawase as Hayakawa is as compelling as ever, once again emphasizing the fact that he can play any role at the same level of quality. Kilala Inori as Yamabuki is equally good, frequently stealing the show with her hard-hitting silences and the moments when she breaks her seemingly listless attitude.

Kenta Tawara’s cinematography captures the gloom of the characters’ lives realistically and through grayish tones that seem to dominate the film. A number of sequences, especially those of the explosions in the quarry, are quite awe-inspiring to watch while the final scene depicting Yamabuki is sure to stick in the minds of anyone who watches the film. The editing results in a relatively slow pace that matches the overall aesthetic quite well, in a distinct art-house style that’s also dictated by the near total absence of music.

The last part, however, as is unfortunately the case with many Japanese films these days, really falters. The characters stop acting naturally, instead stating Yamasaki’s opinions on various issues with a style that can only be described as on the nose, while the finale’s extended scenes, and their length, end up being boring. in a way, like the movie could have a rather impactful finale much sooner. Yamabuki’s mother arc also feels quite disconnected from the rest of the narrative, as it adds a slightly surreal aspect, with the sum of all of the above significantly detracting from the essence the film leaves behind at the end.

Other than that, though, “Yamabuki” is quite enjoyable to watch for at least 75 of its 97 minutes, as Yamasaki’s intelligence, great writing, and engaging commentary really shine through, carrying the film through most of its run. duration.

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Film review: “Barbarian” – SM Mirror https://mondovino-lefilm.com/film-review-barbarian-sm-mirror/ Sat, 17 Sep 2022 06:26:32 +0000 https://mondovino-lefilm.com/film-review-barbarian-sm-mirror/ BARBARICTo classify102 minutesReleased September 9 It’s a very smart movie…until the end, which is where it sort of disintegrates into a montage of pop culture elements. I kind of understand writer/director Zach Cregger’s decision to go deeper with the film’s final minutes, as this is the first major feature from this prolific actor/imv comedian/writer/director/producer. /twitch […]]]>

BARBARIC
To classify
102 minutes
Released September 9

It’s a very smart movie…until the end, which is where it sort of disintegrates into a montage of pop culture elements. I kind of understand writer/director Zach Cregger’s decision to go deeper with the film’s final minutes, as this is the first major feature from this prolific actor/imv comedian/writer/director/producer. /twitch streamer. And it worked for him, as the film made 10 million in its opening weekend. However, I was ready to watch him delve into the psychology, flaws and courage of the players, and ask some intoxicating questions.

He didn’t need to overdo it with the ending because he had already created some really compelling characters, brought to life by his talented cast, and an environment that sucks you in, thanks to his cinematographer Zach Kuperstein, a master creative pain. , loneliness and disconnection out of light, shadow and oscillating depth. Cregger also brought in an excellent editor, Joe Murphy, who knows how many heartbeats to fit on a stage to establish unbearable suspense. Light and dark and colors are used to create emotion and suspense, as are sounds. Anna Drubich’s extraordinary soundtrack is haunting and extremely effective.

British actress Georgina Campbell, in her first major feature film, establishes “Tess” as a down-to-earth, very real and relatable heroine. Bill Sarsgaard, second son of the great acting family led by his father Stellen, creates a very complex but also relatable “Keith”, whose hesitation seems to be born of kindness or a personality disorder, we do not don’t know which ones. This role will break our tendency to think of him only as the “Pennywise,” the creepy clown from the 2017 movie It. Justin Long nails “AJ,” the self-obsessed actor fleeing the crosshairs of the MeToo movement.

These characters go through transformative experiences and their relationships are engaging and intense. Their situation is very realistic, until the last minutes of the film. The way they handle every scary situation thrown at them gives them charisma and credibility, and what you think is about to happen can turn into a dime. The story explores trust and doors, and the back and forth between the characters and their surroundings becomes intense. I would have liked to see the whole movie develop the way it did in the first hour and a half. However, for the last few minutes, I kept thinking to myself, “I would have done this so differently.” The problem is that the characters, setting, and situation had so much potential to be a really deep experience, and it just doesn’t happen in the end. Even the location, Detroit (Bulgaria being a part-time stand-in for some shots) might have taken on additional significance through its pre-Civil War history, but that detail is never granted on screen. Barbarian is worth a look for the great work that goes into it. My advice is, don’t worry about the last minutes.

Kathryn Whitney Boole has spent most of her life in the entertainment industry, the backdrop for remarkable adventures with extraordinary people. She is a talent manager at Studio Talent Group in Santa Monica.

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Jackie Brown Review – Tarantino’s Most Romantic Film Is A Chilling Classic | Movies https://mondovino-lefilm.com/jackie-brown-review-tarantinos-most-romantic-film-is-a-chilling-classic-movies/ Thu, 15 Sep 2022 08:01:00 +0000 https://mondovino-lefilm.com/jackie-brown-review-tarantinos-most-romantic-film-is-a-chilling-classic-movies/ QUentin Tarantino’s third film is now relaunched in cinemas for its 25th anniversary, an incredibly stylish and thrilling adaptation of Elmore Leonard’s 1992 crime thriller Rum Punch. It’s a quasi-blaxploitation homage featuring a glorious central performance by Pam Grier as Jackie, the tough flight attendant who imports profits from US arms sales into her tote […]]]>

QUentin Tarantino’s third film is now relaunched in cinemas for its 25th anniversary, an incredibly stylish and thrilling adaptation of Elmore Leonard’s 1992 crime thriller Rum Punch. It’s a quasi-blaxploitation homage featuring a glorious central performance by Pam Grier as Jackie, the tough flight attendant who imports profits from US arms sales into her tote bag.

Brown thinks she can keep all the money by outmaneuvering her ruthlessly abusive associate Ordell Robbie (Samuel L Jackson), whose gruesome criminal court includes ex-cellmate Louis Gara (Robert De Niro) and the girlfriend of the space cadets Melanie (Bridget Fonda), and also law enforcement (in the form of Michael Keaton and Michael Bowen) who she pretends to work with undercover. But she finds herself meeting the equally tough, self-deprecating and gallant Max Cherry, a fine performance by Robert Forster as a bail bondsman who falls deeply in love with Jackie.

It’s Tarantino’s most conventional film, his only adaptation in fact, and his most human and romantic: he gives Grier and Forster one of the greatest screen kisses in history. His use of Bobby Womack’s Across 110th Street at the beginning and end of the film makes me levitate in happiness every time. Jackie Brown is often ostentatiously hailed as Tarantino’s best film by people who are not Tarantino fans at heart, this praise signaling a disapproval of the distinctive, delirious meth stimuli of other Tarantino films: the consciousness of self of pop culture, comically insane ultraviolence. , the brilliance of irony and studied immaturity, and the more unstructured narrative procedure, chapter by chapter. Jackie Brown does none of that, though there is certainly some violence, a big POV car trunk opening scene, and a classic Tarantino-esque sequence in which Ordell, having nothing else to do in his day that hang around and praise guns, lyrical lyrics about some type of assault rifle. Maybe posterity will crown Jackie Brown as his best film and maybe not. Either way, it shows that mainstream intrigue and dark romance are yet more styles of film Tarantino can craft: brilliantly.

These ultimate survivors and warriors, Grier and Jackson, are both explosive, so much so that it’s easy to forget how great the support turns are, too. De Niro gave an excellent performance, a late-career gem, as the rare beta-male among his cast of tough characters; Louis is the second stringer who is entirely subordinate to Jackson’s extremely tough Ordell, the nervous, troubled incompetent who is out of his depth and is ultimately brutally executed by his former prison buddy: “Your ass was fine.” Fonda is chillingly good as Melanie, who doesn’t like having to get up to answer Ordell’s (landline) phone, and of course Forster gives a wonderful portrayal of that rarest and most old-fashioned film attribute: the virility. He’s as tough as anyone else on screen, without being violently infatuated; his professionalism and control are what govern his attitude, giving him more in common with Jackie than the sinister Ordell, as Jackie is about to battle exploitation.

This is a very cold liquid nitrogen classic from Tarantino and a magnificent performance from Grier.

Jackie Brown is released in theaters on September 16.

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Syracuse and Garrett Shrader take the passing game to a new level in blowout win over UConn https://mondovino-lefilm.com/syracuse-and-garrett-shrader-take-the-passing-game-to-a-new-level-in-blowout-win-over-uconn/ Tue, 13 Sep 2022 02:36:52 +0000 https://mondovino-lefilm.com/syracuse-and-garrett-shrader-take-the-passing-game-to-a-new-level-in-blowout-win-over-uconn/ Get the latest news from Syracuse delivered straight to your inbox. Subscribe to our sports newsletter here. After recording 236 passing yards and a 72% completion percentage against Louisville, Garrett Shrader had a passing rating of 94.1, according to Pro Football Focus. Coming off a blowout victory over the Cardinals, one of Syracuse’s conference kryptonites, […]]]>

Get the latest news from Syracuse delivered straight to your inbox. Subscribe to our sports newsletter here.

After recording 236 passing yards and a 72% completion percentage against Louisville, Garrett Shrader had a passing rating of 94.1, according to Pro Football Focus. Coming off a blowout victory over the Cardinals, one of Syracuse’s conference kryptonites, Shrader showcased his offseason improvements against a 1-1 UConn team, leading to new career highs.

A season ago, Shrader rushed for over 200 yards twice. But on Saturday, the junior threw for 292 yards, the most of his career. He finished with three passing touchdowns, two rushing touchdowns, and made 87% of his shots.

Here’s how Shrader’s arm led Syracuse in their 48-14 win over UConn:

55 yard penny



Both of Shrader’s passing touchdowns against Louisville relied on either Sean Tucker’s legs or a wide receiver connection in the red zone. Facing a weaker UConn defense, Shrader fully tested his deep passing range.

His first long completion ended with Damien Alford waltzing into the end zone. At the snap of his fingers, Shrader lined up next to Tucker and faked a pass to second-year running back. Instead, he looked for a pass with all of his receivers running deep routes.

UConn’s Tre Wortham covered Alford on the outside, but he maintained outside leverage to try and force the wide inside. Alford didn’t go all the way to the middle though, instead going down the right hash on his own. Shrader immediately recognized the open space, throwing the ball to his 6’6″ receiver.

Wortham dove forward. But Alford pushed on, collecting the ball at the UConn 15-yard line. His score put Syracuse up 16-0 before the end of the first quarter.

Given Tucker’s pedigree and considering that last season Shrader was more of a quarterback, UConn was hesitant to step back into its pass coverage. Shrader saw no pressure on the 2nd and long, creating an opportunity for an easy throw.

Find the open man

In the final minute of the first half, Shrader, under a bit more pressure, backed off and signaled the option to get rid of a quick screen pass to Tucker. Cornerback Kaleb Anthony picked up Tucker as he moved to the right sideline, leaving Courtney Jackson to enter the second tier intact. Tucker’s route also distracted a UConn linebacker, opening up a passing lane for Shrader.

Shrader delivered a perfectly timed pass inches from the end zone and Jackson stepped in for the score to give the Orange a 20-point halftime lead. Opposing secondaries usually focus on Tucker, especially in the red zone. Here, Jackson’s direct route to the end zone was overlooked, as Shrader and the SU offense capitalized on another mistake by the UConn defense.

Run it back

Minutes into the fourth quarter with a 1-and-1 from the UConn 39-yard line, the Orange made the same play, on which Alford scored. Shrader backed into the deep pocket with no Huskies within six yards of him. D’Marcus Adams, in the Alford position, sprinted into the right chop and headed straight for the end zone.

When Adams reached the 30-yard line, Shrader began his throwing motion as Adams ran to Wortham’s right, a clash again favoring the Syracuse receiver. Wortham slowly backed up to his left, leaving plenty of room for the rushing Adams to open to his right.

As Shrader sent the through pass, Adams had already taken advantage of Wortham. Adams grabbed the three-yard line and rolled into the end zone, cementing Syracuse’s 48-14 blowout and Shrader’s third pass touchdown of the night.

Contact Alex: [email protected]

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Movie Review: Miami 30 – Southern Miss 7 https://mondovino-lefilm.com/movie-review-miami-30-southern-miss-7/ Sun, 11 Sep 2022 13:22:02 +0000 https://mondovino-lefilm.com/movie-review-miami-30-southern-miss-7/ Unlike many Week 2 Power 5 programs, the Miami Hurricanes finished the job against the Southern Miss Golden Eagles on Saturday, September 10. The ‘Canes took a 10-7 halftime lead and turned it into a surefire 30-7 win at Hard Rock Stadium. Canyonero’s keys to victory for Southern Miss. were : 1- Stick to the […]]]>

Unlike many Week 2 Power 5 programs, the Miami Hurricanes finished the job against the Southern Miss Golden Eagles on Saturday, September 10. The ‘Canes took a 10-7 halftime lead and turned it into a surefire 30-7 win at Hard Rock Stadium.

Canyonero’s keys to victory for Southern Miss. were :

1- Stick to the basics. Missed tackles and blocks weren’t as much of an issue as they were against BCU. From week 1 to week 2, some improvements have been made. All seven penalties must be reduced to win on the road in Week 3.

2- Contain Frank Gore Jr. Gore Jr. only touched the ball nine times on offense, for a total of 23 yards. Safe to say he was content.

3- Take what the Golden Eagles defense gives you. I thought Miami OC Josh Gattis adjusted his scheme pretty well after halftime. Miami spread the ball to more threats than Xavier Restrepo as the game progressed.


The Doppler

The Doppler section will present important statistics that I believe tell the deeper story of the game. For example, Miami has to clear seven penalties for 70 yards against Texas A&M. Appalachian State is nearly 100 SP+ points better than So. Miss. The ‘Canes converted 9 of 17 third downs on offense and held the Eagles to 5 of 13. Just like 21, Miami was stopped on a 4th down.

Photo by Michael Reaves/Getty Images

Miami forced three So. Ms. turnovers while committing just one of their own. The offense allowed four sacks, eight tackles for loss, two PBUs and two rushes. Southern Miss. likes to blitz and showed different fronts, but their skill level is nothing compared to the Aggies.


Miami O

Like I said in The Doppler, the ‘Canes allowed four sacks, eight TFLs and two hastes against a bad G5 team. So. Miss HC Will Hall has definitely brought in a ton of transfers, but they shouldn’t be able to remotely compete with Miami’s offensive line.

On top of that, QB Tyler Van Dyke wasn’t on top of his accuracy. Van Dyke picked it up later, but he threw a TD and an INT, while averaging just 8.8 yards per attempt. Van Dyke broadcast it to eight different receivers, showing that he ultimately looked away from Restrepo and other receivers.

When it came to running play, Miami’s top three backs in order were Henry Parrish Jr., Thad Franklin Jr. and Jaylan Knighton. Parrish rushed for 109 yards on 4.7 rushes and a score. Franklin 49 yards on 4.1 rushes and a score of his victory. Knighton struggled to drop this swing pass that was almost a turnover, while only averaging 3.2 per carry.


Above– Parrish might not seem the most physically gifted on the list, but he’s a human pinball when he carries the rock, can catch the ball, and is a willing pro participant.


Above– Van Dyke must know the internal clock. If you have about 2.8 seconds and you’re on your 4th read, it’s time to run or toss it.

Above– With all those likes of Gatti from TE… why not save one to help protect with a rocky O-Line? Then again, it shouldn’t have turned into a bag anyway. Point them, count them, adjust.

Above– The RT technique here is atrocious. No one wants their tackles to look like this. He also jumps wide instead of picking up the inside rusher. Inside, it is the threat more than outside.

Above– Inside DL, let go for OT to jump really far and pick up an LB/DB. Guard pledged to help C early in the process. RG should stay square with their eyes on the goal post hitting this guy for C, but seeing and picking up the DL.


Above– here it is in the full GIF. Coach Mirabal will be frustrated by this return to the old regime. But when you get your OODA loop off the ground, you’re back to the old ways. This is why the rules are important in pass pro.

Above– Record the scratch moment for this S of So. Miss. I love that stuff, from Lashlee’s playbook which I hope Van Dyke suggested to Gattis. Miami may need to use these types of plays to gain confidence and separation from the WR.


MiamiD

The Canes defense came away with three sacks, seven TFLs, four PBUs and a rush on the night. The D was porous at first, but tightened especially when Leonard Taylor entered the court to provide pressure without having to blitz.


Above– Large level concepts are going to be difficult to defend. So Miss QB Zach Wilckie threw darts in the afternoon and looked great for a young QB.

Above– 16 was playing press man. If you haven’t blocked this guy by now, he’s basically on a free version on a crossfade cover. No bonus. In R4 terminology, the fade is not CAP because there is no one above the WR and the CB is within seven yards of the WR on the line. Once you look at the staff, 16 was no match for Jason Brownlee.


Above– 16 gets smoked on one shot and Brownlee scores the only points of the Golden Eagles game.


Above– On the other hand, 8 doesn’t get enough jam on the receiver, but stays with it on the fade. It’s caught, but not without a near-perfect catch and throw.


Above– Jacob Lichtenstein nearly lost control but recovers well for what I thought was a sack that changed momentum. It turned out to be a big game changer in the 1st half.


Above– 8 and 7 aren’t the only ones posing for animal crackers while Brownlee does his thing. It’s 5 and 23 this time.


The envelope

Weft. Okay, y’all. It was a difficult start on both sides of the ball, but the coaching staff seemed to have really learned about the players and what they can bring to the table at half-time. Who has the grapefruit to play at this level, and who doesn’t. It’s hard to tell in practice when you know who you’re up against, their moves and the stratagem in front of you.

Texas A&M will offer a new challenge. The Aggies’ talent level is way above that of Southern Miss, no kidding, right? We’ll see if Miami looks as slow against an SEC Blue Chip Ratio team as they did against a meh group of 5 opponent (and even a mid-range FCS team).

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Oke Oka Jeevitham movie review https://mondovino-lefilm.com/oke-oka-jeevitham-movie-review/ Fri, 09 Sep 2022 05:14:24 +0000 https://mondovino-lefilm.com/oke-oka-jeevitham-movie-review/ LOWER RESULTUnique and emotional OUR RATING3/5 CENSOR‘U’ What is the film about? Aadi (Sharwanand), Chaitu (Priyadarshi) and Srinu (Vennela Kishore) have their own issues. They get a second chance at life when scientist Paul (Nasser) sends them back twenty years using his time machine. The rest of the story is whether they can change fate […]]]>

LOWER RESULT
Unique and emotional

OUR RATING
3/5

CENSOR
‘U’


What is the film about?

Aadi (Sharwanand), Chaitu (Priyadarshi) and Srinu (Vennela Kishore) have their own issues. They get a second chance at life when scientist Paul (Nasser) sends them back twenty years using his time machine. The rest of the story is whether they can change fate knowing fully what is about to happen.

Performances

Oke Oka Jeevitham is Sharwanand’s 30th film. Sharwanand plays the role of a socially fearful person who lacks the greatest life support, his mother. The character requires him to play a character who constantly feels the pain inside. Sharwa is known for playing such characters easily. He succeeded this time too. The piece in which we see him controlling his tears when Amala talks about him in the missing episode is exemplary.

Amala Akkineni plays the hero’s mother and the most important character in the story. She’s a great choice because she adds freshness to the story and brings sensitivity to the entire emotional trail of the film. It will be a feather in his hat.

Vennela Kishore got a good role after a long time. It brings much needed relief to many places. Good handwriting also helped. Priyadarshi is doing well but we will definitely feel that he is underutilized.

Nasser is a good candidate as a scientist. Ritu Varma gets a small role and she is doing well. It’s good that the director didn’t try to use it more, which would have diluted the task at hand. The children who played the roles of the three friends are good. Above all, the boy who played the character of Vennela Kishore.


Analysis

Newcomer Shree Karthick directed Oke Oka Jeevitham. It’s a mix of sci-fi and motherly feeling. But then, the movie is mostly a motherly feeling movie, but the sci-fi element is used as the basis to make it happen. It’s a smart and appreciable decision to limit the visual effects.

The storyline is very simple but unique. It has a strong emotion and at the same time, an unprecedented hue with the Time Machine.

He is immediately in the business by returning very quickly to the story. We see the Time Machine and immediately the three important characters are introduced and established. Vennela Kishore’s comedy as a real estate broker works.

The story becomes gripping when Nasser enters. The first half of the film is a decent watch. There are no fireworks and at the same time we don’t have many complaints. The twist that comes in between is interesting and keeps the audience engaged. The way he smartly threw the interval shot without spoon feeding.

The second half begins on a slow note. With the interval twist, we’re expecting some nostalgic Time Machine moments but the director didn’t give them much thought. The steps become slow. Above all, the parts involving children will be boring and the film will quickly go to the pre-climax. But even here we get occasional relief with comedy. After this period, the graph becomes higher. The director managed to stir up heartwarming emotions towards the end. The audience is also treated with a good message without becoming a preacher. The director’s success is how perfectly even an anti-climax is conveyed.

It’s a pretty decent attempt for a beginner. Also, it deserves appreciation for not deviating from the story with commercial elements like songs and love songs. Oke Oka Jeevitham feels like a satisfying watch despite its share of issues here and there. A little more depth would have made for a much better product but still the team deserves a pat on the back.

Overall, Oke Okka Jeevitham is a sci-fi drama that draws its premise emotionally without relying on graphics and avoiding complexity. If you want to watch something unique and different from the routine, it’s definitely worth a try this weekend.


Music and other departments?

As said before, director Shree Karthick has come up with a good job for a newcomer. It has its share of issues here and there, but it’s a largely satisfying start. The best part of Oke Oka Jeevitham is its good technical departments. Sujith Sarang found good visuals. The way different color tones are used for different time zones is nice.

The production design is good. Some may have expected something more accumulated for a time machine. The VFX is good for the scale of this movie. Jakes Bejoy came up with excellent sound design. The songs are passable and blend into the proceedings, but the film lacks a hit parade. In particular, a better Amma song would have done wonders. The editing could have been better here and there, especially in the early parts of the second half.


Strong points?

fresh plot
Sharwanand’s performance
Comedy by Vennela Kishore
Sound design and visual quality
emotions

Disadvantages?

Rhythm issues
Second half opening games
Lack of Chartbuster songs


Did I enjoy?

Yes

Will you recommend it?

Yes

This week’s releases on OTT – Check the “Ranking” filter

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‘The Eternal Daughter’ Review – Venice Film Festival – Deadline https://mondovino-lefilm.com/the-eternal-daughter-review-venice-film-festival-deadline/ Tue, 06 Sep 2022 15:12:00 +0000 https://mondovino-lefilm.com/the-eternal-daughter-review-venice-film-festival-deadline/ The phrase “Joanna Hogg’s shutter island” is not a line that many critics expect to release in their lifetime, but with her sixth feature, the British director has made a fascinating foray into genre cinema which, while remaining firmly in step with the rest of his quasi-autobiographical works, makes a startling departure from the upper-middle-class […]]]>

The phrase “Joanna Hogg’s shutter island” is not a line that many critics expect to release in their lifetime, but with her sixth feature, the British director has made a fascinating foray into genre cinema which, while remaining firmly in step with the rest of his quasi-autobiographical works, makes a startling departure from the upper-middle-class realism of his seminal film Memory.

Participation in the Venice competition The Eternal Daughter stays pretty much in the same social background and reunites Hogg with Tilda Swinton in a dual role, but there’s also a huge sense of unease here, that it’s seen as a scary story about a woman’s search for self or what it’s like to book a stay in the UK these days.

Swinton plays Julie, a filmmaker who takes her mother Rosalind (also Swinton) on a birthday trip to an ancestral home, which is now a hotel. Julie has two goals in mind, one is to share time with her now widowed mother before it’s too late, but she’s also working on a film project about her mother’s life, which she soon finds out. ‘It will involve picking up painful secrets. Contrary to Memory films, however, which covered similar territory, The Eternal Daughter is a ghost story, shrouded in fog and evoking, very effectively, the specter of MR James and his existential thrills.

To Hogg’s credit, this vanity is respected and not abandoned. Arriving at the hotel, mother and daughter hear the taxi driver’s tale of a strange face that once appeared at the window, and Julie’s first night is disturbed by strange sounds that only she can. apparently hear.

Julie’s mother’s dog, Louis – presumably one of the actress’ stellar pack, who featured prominently in Remembrance Part II – begins to act strangely, crying into the night and running away when the door to the hotel room mysteriously opens. But through it all, Julie is a strangely passive character; like the lead role in Hogg’s 2007 debut Unrelated, she’s an observer of life, fascinated by the rude hotel receptionist she spies on spending her free time on Instagram and bickering with her boyfriend at night when he picks her up in his music-blasting car.

At first, the gothic trimmings suggest they may only exist as a way into this story, as Julie finds her bearings in the creaky old building – filmed, incidentally, in the heightened style from the cult 1980s British TV show. Hammer House of Horror, with creepy flute music. However, there is no bait and switch: the veracity of the various supernatural elements may be subject to interpretation but the story remains tied to the conflict between the living and the living dead. There’s also a deceptively rich level of metatextuality to the way he does it – are we just seeing the process that Julie goes through as she tries to make the movie she wants to make? Or has she, as in the case of the protagonist of Remembrance Part II, already done ? If we want to go even further, a more cerebral point would be this: who is in fact the ghost here?

These Chinese canned narratives often tend to be oblique and frustrating, not to mention pretentious, but for a receptive audience – and, let’s face it, mostly the middle-aged genre – The Eternal Daughter will strike a very strange but significant nerve as a film about this time in our lives when the things we take for granted are suddenly ripped away. In that sense, it’s a film about absence as much as presence, and it’s fitting that the stylized end credits bear more than a passing resemblance to the opening of Alfred Hitchcock’s 1940 classic. Rebecca (you can draw your own conclusions).

Curiously, this is also where executive producer Martin Scorsese’s name appears, and it’s not at all a stretch to see Hogg’s film’s appeal to him in terms of overlapping with shutter island as a story of love, guilt and denial to the unreliable narrator.

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The Whale Review: Brendan Fraser in Darren Aronofsky’s Drama https://mondovino-lefilm.com/the-whale-review-brendan-fraser-in-darren-aronofskys-drama/ Sun, 04 Sep 2022 20:01:40 +0000 https://mondovino-lefilm.com/the-whale-review-brendan-fraser-in-darren-aronofskys-drama/ Venice: For Fraser, ‘The Whale’ is a confident leap to the movie star status he so rightly deserves. There are two things to be a little worried about and one thing to be extremely excited about when entering “The Whale”. The first element of concern is director Darren Aronofsky, who admittedly made outstanding films like […]]]>

Venice: For Fraser, ‘The Whale’ is a confident leap to the movie star status he so rightly deserves.

There are two things to be a little worried about and one thing to be extremely excited about when entering “The Whale”.

The first element of concern is director Darren Aronofsky, who admittedly made outstanding films like “Requiem for a Dream” and “Pi” and achieved career-defining performances in “Black Swan” and “The Wrestler.” But her last two films, “Noah” and “Mother!”, succumbed to all her worst instincts, creating bloated, self-indulgent nonsense that was actively painful to navigate.

In “The Whale”, the use of “fat suits” is also slightly disturbing, with which contemporary audiences are increasingly uncomfortable. Much of the use of these so-called fat suits has been to create phobic jokes, particularly turning skinny movie stars like Gwyneth Paltrow, Julia Roberts and Courteney Cox into walking punchlines. Even when the use itself is fat-phobic, in the case of Sarah Paulson as Linda Tripp in “American Crime Story,” there’s also the consideration that heavier actors who often struggle to get roles do not have the opportunity to play big roles.

However, most who come to “The Whale” may be overflowing with goodwill because of Brendan Fraser. After suffering well-documented injuries and abuse from the film industry, Fraser retired from Hollywood, leaving behind heartbroken Gen Xers and millennials who adored him in a wide range of roles. , from delightful himbos to tragic underdogs and wise action heroes. After a few hesitant steps into the spotlight in small roles and television appearances, the comeback was further strengthened when he was cast in Martin Scorsese’s “Killers of the Flower Moon” and Steven’s “No Sudden Move.” Soderbergh. “The Whale” by Darren Aronofsky formalizes: The Brendanaissance is launched!

Fraser gives an impressive performance, in every sense of the word, as Charlie, a 600-pound man who teaches online writing classes and never leaves his apartment. Despite the best efforts of his nurse best friend Liz (Hong Chau), Charlie refuses to go to the hospital, even though he shows signs of congestive heart failure and has a blood pressure of 238/134. Charlie has never recovered since the death of Alan, the “love of his life”, a few years prior and has passed the time since on his sofa, slowly eating himself to death. This final week works almost like an introverted companion to “Leaving Las Vegas,” a similar journey into self-destruction, but here with a quiet commitment to solitude. The action of “The Whale”, faithful to the play on which it is based, never leaves Charlie’s small apartment.

The fat suit is what it is. There are many valid reasons to think this movie has some fat intolerant undertones and stances, especially one scene where it seems to suggest a person might overdose on mayonnaise like it’s heroin uncut. And many could be triggered by a big central character being openly called “disgusting” throughout. But in terms of practical effects, it’s hard not to be impressed with the prosthetics, especially around Fraser’s face, as they look reasonably realistic. He is able to give a fun and devastating performance seemingly without hindrance.

Charlie knows he only has a few days left, so he decides to reconnect with his daughter Ellie (Sadie Sink), whom he left behind when he fell in love with Alan eight years ago. She is now 16 and fails high school. The couple’s only contact has been child support payments and sporadic updates through his mother. Ellie is a nightmarish caricature of a teenage girl. Sink recklessly maintains his performance at 10 at all times, which is squeaky cumulatively. Respite comes when her mother, played by the always excellent Samantha Morton, comes to Charlie about their troubled daughter who gets the biggest laugh of the movie in a “Charlie!” She is diabolical!

Despite the hilarity of this cutting assessment, “The Whale” actually works better at its less cruel. When Fraser manages to show Charlie’s spirit in a back-and-forth with stubborn, hypocritical missionary Thomas (Ty Simpkins), smiling softly as he reassures him, “I read the Bible. I thought it was devastating. Or when Liz jokingly threatens to stab him, and he hugs her and makes her laugh tenderly, whispering, “What’s it gonna do?” My internal organs measure at least two feet. When his confrontation with Morton is so filled with mutual compassion, it’s hard to believe this is the same movie that showed Charlie eating a chicken wing in such brazen disgust.

Without Brendan Fraser’s innate charm and ability to project sweet sadness through the slightest twinkle of his huge blue eyes, “The Whale” wouldn’t have much else to do. Morton and Chau’s flawless performances shine a light on the complicated relationship with Charlie, a lovable, frustrating, and dishonest man.

Aronofsky’s direction is cautious but brings a cinematic flair, which plays into Charlie’s claustrophobic existence rather than simply feeling burdened with where the story originated on stage (where it’s confined to a single set). Samuel D. Hunter’s script has elements to recommend it. Allusions to “Moby Dick,” which seem burdensome at the start of the film, culminate in something moving and, in the film’s final moments, even profound.

For Fraser, “The Whale” is a confident leap into the movie star status he so rightly deserves. For the normally more low-key Venice audience, who usually rush to the exit as the film ends, the mere sight of Fraser’s name over the end credits made the crowd turn to the screen to applaud and applaud the triumphant return of the actor. If that rapturous applause continues throughout awards season, it could turn out to be the most wonderful and emotional moment of this whale’s journey.

Category B-

“The Whale” premiered at the 2022 Venice Film Festival. A24 will release it in theaters on Friday, December 9.

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A police epic that lives up to its reputation https://mondovino-lefilm.com/a-police-epic-that-lives-up-to-its-reputation/ Fri, 02 Sep 2022 22:00:00 +0000 https://mondovino-lefilm.com/a-police-epic-that-lives-up-to-its-reputation/ In the pantheon of detective films, Michael Mann Heat is the one that often comes up in conversation. And although I’ve been a fan of Mann’s previous work – notably Collateral and its adaptation of miami vice – I did not see Heat. However, after watching the film, I can say the praise is well […]]]>

In the pantheon of detective films, Michael Mann Heat is the one that often comes up in conversation. And although I’ve been a fan of Mann’s previous work – notably Collateral and its adaptation of miami vice – I did not see Heat. However, after watching the film, I can say the praise is well deserved, as Mann has not only crafted a sprawling crime epic, but also a tale about relationships and how easily they are formed and broken. Combined with the magnetic performance of robert deniro and Al Pacinothis approach makes Heat A must-see movie.

Heat owes its existence to the exploits of a true criminal, Neil McCauley, of the same name as the character played by De Niro. McCauley was an extremely skilled criminal who got into a game of cat and mouse with a police detective and ended up getting shot. While most Heat is fictional, its events having a real-life basis help the film stand out from other detective capers of the era, such as Se7fr Where pulp Fiction. While those films relied on a flashier visual style and catchy dialogue, Heat has a lot more in mind.

COLLIDER VIDEO OF THE DAY

The film begins correctly when McCauley and his team of criminals successfully rob an armored truck. Things go awry when new member Waingro (Kevin Gage) kills one of the truck’s guards, prompting a firefight. This also catches the attention of Lt. Vincent Hanna (Pacino), who is determined to bring the criminals in. From the jump, Heat draws parallels between Hanna and McCauley. Both are extremely skilled in their line of work, as Hanna is able to piece together the events of the robbery simply by looking at the crime scene, and McCauley plans the heist down to the smallest detail.

Relationships are what give ‘heat’ its spark

But where the film really draws a line between the two is their relationships with others and how those relationships are strengthened or weakened. Hanna is in his third marriage, and he and his wife Justine (Diana Venora) are slowly moving away. Things aren’t helped by the fact that Justine’s ex-husband neglects to spend time with their daughter, Lauren (Natalie Portman). McCauley, meanwhile, sticks to a simple code that he recites like a mantra: “Don’t get attached to something you don’t want to leave in 30 seconds flat if you feel the heat around the corner. street.” Great for pulling off burglaries, less in practice for starting a relationship, which turns McCauley’s whole life upside down when he falls in love with entertainer Eady (Amy Brenneman). As McCauley gets so serious about Eady that he breaks his vow to run away with her, Hanna separates from his wife – even seeing her cheat on her with him.


RELATED: Val Kilmer Would Love To See Michael Mann Do ‘Heat 2’

Another relationship pair that provides a nice contrast to the movie is the way McCauley treats his fellow thieves VS the way Hanna treats her co-workers. McCauley’s crew is more like a family; they support each other and even eat together at the restaurant, with each member of the crew bringing their family. True to this loyalty, McCauley hunts down and brutally executes Waingro after he sells out the other members of their gang to the LAPD. In contrast, Hanna sees her fellow police officers as little more than tools to be used in the pursuit of justice. He also doesn’t take kindly to people who get in his way and often threatens them with jail time or worse.

That memorable dinner scene

Eventually, Hanna and McCauley come face to face in a restaurant, in the film’s most memorable scene. There they talk about their obsessive nature and how they can’t stop what they’re made to do. Mann boils the intensity here slowly simmering, as De Niro and Pacino look down on each other. “You do what you do, and I do what I have to do,” Hanna told McCauley. “And now that we’ve been face to face, if I’m here and I have to put you away, I won’t like it.” McCauley replies, “What if you get me locked up and I have to put you down? Because no matter what, you won’t get in my way.” This exchange proves prophetic, as the two have one last gunfight at an airfield and Hanna fatally shoots McCauley. Yet, in a sobering moment, Heat closes on Hanna standing over McCauley’s corpse, holding her hand. Eventually, the duo found a connection with each other.


Heat is also one of the most tense films I have ever seen. Mann knows how to create suspense, as his camera follows McCauley and his team as they walk through a bank with the intention of robbing it. From there, the action escalates into a shootout – bullets shatter glass, ripping flesh and blood flying. Mann shot the entire film on location, resulting in a more immersive experience. I was on the edge of my seat watching McCauley and his crew attempt to escape, and leaned back with a sigh of relief after they did. Kudos also to Elliott Goldenthalwhose score goes from haunting to heartbreaking in no time.

RELATED: Michael Mann’s ‘Ferrari’ Begins Filming in Italy

A killer cast

And in line with his future films, Mann has stacked the cast with a row of killer talent. In addition to De Niro, Pacino and Portman, there are Val Kilmer as McCauley’s right-hand man, Chris Shiherlis; Jon Voight like its close Nate; and Ashley Judd as Chris’ wife, Charlene. Same Denis Haysbert and Danny Trejo have brief roles. And each actor uses their screen time: Haysbert, for example, plays a character who gets out of jail and tries to get right but ends up being the getaway driver for McCauley’s team. Mann also used actual LAPD members in his film, which further adds to the authenticity.


Mann recently wrote a sequel to Heat, which covers McCauley and Hanna’s lives before the events of the film. It also inspired other films, including The black Knight as a director Christopher Nolan is a huge Mann’s fan, and Guillaume Fishtner has a role in both films.

When all is said and done, Heat is one of the few films that manages to live up to its reputation years after its debut. If you’re looking for a good thriller or have some spare time, give it a watch. You will not regret it.

Evaluation: A

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Love at the Villa (2022) https://mondovino-lefilm.com/love-at-the-villa-2022/ Thu, 01 Sep 2022 07:01:29 +0000 https://mondovino-lefilm.com/love-at-the-villa-2022/ love at the villa2022. Written and directed by Mark Steven Johnson.With Kat Graham, Tom Hopper, Laura Hopper, Raymond Ablack, Hélène Cardona and Peter Arpesella. SYNOPSIS: After a breakup, a young woman sets off on a trip to romantic Verona, Italy, only to find the villa she’s booked was double-booked and she’ll have to share her […]]]>

love at the villa2022.

Written and directed by Mark Steven Johnson.
With Kat Graham, Tom Hopper, Laura Hopper, Raymond Ablack, Hélène Cardona and Peter Arpesella.

SYNOPSIS:

After a breakup, a young woman sets off on a trip to romantic Verona, Italy, only to find the villa she’s booked was double-booked and she’ll have to share her vacation with a cynical Brit.

The romantic environment of Verona, Italy, becomes the playground of an affair of enemies to lovers in love at the villa (coming from writer and director Mark Steven Johnson, a name that may mean nothing to you but who is responsible for the sadly poor cinematic adaptation of daredevil). And pretty much the only upside here is that the movie was shot on location, which makes the hopelessly romantic cheesiness of it all somewhat tolerable.

If you’re going to use every genre cliche in the playbook, you might as well do it where William Shakespeare’s famous play Romeo and Juliet was set up, complete with statues of Juliet and a villa with a perfect view of the place Romeo called her to in the night.

It’s a way of saying that if the characters were moderately likable, love at the villa would manage to sweep viewers into something so shamelessly romantic. However, when one of your protagonists insists that they “never make a mistake”, it doesn’t exactly incite good faith for the remaining 90 minutes of this bloated enterprise (there are a few subplots which could be greatly reduced here).

Kat Graham’s Julie (yes, that’s how the stuff is on her nose) is an elementary school teacher ready to embark on her dream destination vacation with her longtime boyfriend, Brandon (Raymond Ablack) . However, during a fancy dinner with Julie who is going over a strict itinerary for the trip (one of the only funny jokes is that she allocated a percentage of the pie chart to spontaneity), Brandon confesses that he doesn’t don’t think the relationship is working. It’s also hard to blame her for feeling that way, given Julie’s self-centered attitude that persists throughout the film (at least until the script decides it’s time for her to be more). rational and level-headed without much character arc).

All in all, this is one of the significant issues with love at the villa (a flawed movie that’s definitely not “great”); he cannot decide what he wants to be. Once Julie arrives alone in Verona (with the help of the world’s craziest Uber driver for an embarrassing comedy), she finds that her room has been double-booked. Inside is a shirtless Charlie (Tom Hopper), a wine consultant on a business trip, who chooses to stay in this room every year despite not believing in love. It’s obvious that Charlie hides his soft side and is a romantic at heart, which is a good logical starting point for the character given the setting.

Julie and Charlie immediately come across as self-absorbed, arguing over who gets the room for the week. This instigates a war between them that is always cruel on both sides rather than harmless shenanigans that allow viewers to actually like one of these characters. She exploits her allergies to cats; he donates his missing luggage to charity and invades his diary.

These are just a few examples, but none of it sounds funny or convincing that these people weren’t the problems in their respective relationships or didn’t deserve love. As such, by the time these two find common ground and realize they love each other, the film has already dug its grave. Eventually, more characters are introduced (somehow even grittier), we move through unnecessary subplots, and the story comes to its predictable but fitting conclusion.

Hopefully everyone involved in creating love at the villa had a great holiday because functioning as a tourist attraction for Verona is the only level the movie works on.

Scintillating Myth Rating – Movie: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the editor of Flickering Myth Reviews. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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