Robert Langdon, the Harvard professor whose impressive cognitive abilities was put through their paces in Angels and Demons and then The Da Vinci Code, finds himself at the centre of another mystery. This time, it involves the kidnapping of his close friend, Peter Solomon, a renowned member of the Freemasons. Along with Peter’s scientist sister Katherine, Langdon must piece together the fragmented clues to get Solomon’s abductor the information he strives, if he wishes to see his friend alive again.
Showing posts with label Tom Hanks. Show all posts
Showing posts with label Tom Hanks. Show all posts
Thursday, August 17, 2017
Book review: THE LOST SYMBOL (Dan Brown)
Saturday, November 26, 2016
Predictions: 2017 OSCAR NOMINATIONS (three months before the ceremony).
The aim is to also post predictions in a month's time, and before when they get announced, on January 24th 2017, as well, so I can see how my guesses change. Here goes!
Disclaimer: as I haven't seen a lot of these films, a lot of what I'm saying is just guesswork. I could end up despising a bunch of these movies once I view them, and completely alter my predictions! For predictions more grounded in research and opinion, check out Nathaniel's impressive compendium. He's a professional film writer so he's seen most of the films discussed, and thus, his word carries a lot more clout!
Picture
Any number between 5 and 10 could get nominated, so I'm going...
01. La La Land
02. Fences
03. Moonlight
04. Silence
05. Manchester by the Sea
06. Jackie
07. Arrival
08. Lion
Of these titles, I've so far only seen Arrival, which I was very impressed with, particularly given my innate aversion to sci-fi. It was a smart movie, but more importantly, it was a humane movie, and that, coupled with the tight, unostentatious visuals, means it deserves to get nominated.
Of the other seven, Jackie interests me the least, but then again we all know my thoughts about Natalie 'earnest' Portman, haha. La La Land, Fences and Moonlight look absolutely captivating in their own ways, and I can't wait to watch them.
Despite the fact that Scorsese is my favourite director, Silence's trailer left me a bit cold. I'm not sure what's up with Adam Driver and Andy Garfield's accents, and it just seems to lack the energy of a Wolf of Wall Street or The Depahted. But, we'll see.
Despite the fact that Scorsese is my favourite director, Silence's trailer left me a bit cold. I'm not sure what's up with Adam Driver and Andy Garfield's accents, and it just seems to lack the energy of a Wolf of Wall Street or The Depahted. But, we'll see.
Director
01. Damien Chazelle, La La Land
02. Pablo Larraín, Jackie
03. Martin Scorsese, Silence
04. Barry Jenkins, Moonlight
05. Denis Villeneuve, Arrival
Pablo Larraín has two films that are in serious contention at the 2017 Oscars, the other being Chile's entrant in to the Foreign Language Film category, Neruda, starring Mexican hottie Gael García Bernal (I totally just said his name out loud with an affected Latinamerican accent whilst typing this, haha). Chazelle's Whiplash was my favourite film of 2014, and his direction on it (particularly the scenes where JK Simmons yells at Miles Teller) were superb. Apparently La La Land is even more assured than Whiplash so that, the strong critical response the film has garnered, surely render him the frontrunner.
Actor
01. Denzel Washington, Fences
02. Casey Affleck, Manchester by the Sea
03. Ryan Gosling, La La Land
04. Tom Hanks, Sully
05. Andrew Garfield, Hacksaw Ridge
Andy Garfield is a bit of a left-of-field shout, but I just think that he can't appear in two prestige pictures and get totally ignored, and Silence's trailer didn't really seem like it had a 'proper' lead, so I've plumped for this. Plus, he was HELLA snubbed for The Social Network (fourth favourite performance of 2010, just saying).
Tom Hanks impressed audiences in both Bridge of Spies and Captain Philips and most people were surprised he didn't get nominated for at least one of them, particularly given the Academy are fond of him (he's the only actor to have won Best Actor back-to-back, for Philadelphia and Forrest Gump, respectively. Although Eddie Redcarpet sure tried hard to achieve that feat by stealing roles from transgender actresses, just saying). So many feel Hanks is due a nomination this year.
I currently have Denzel listed as frontrunner just because I don't want creepy Casey Affleck to be frontrunner, given his past history of groping a sleeping woman. Hopefully that holds him back from achieving the gold and leads Denzel to receive his third Oscar.
Actress01. Natalie Portman, Jackie
02. Emma Stone, La La Land
03. Annette Bening, 20th Century Woman
04. Amy Adams, Arrival
05. Jessica Chastain, Miss Sloane
Sigh. I am so gutted that Viola Davis is campaigning as Supporting Actress for Fences rather than Leading. From reports of people who have seen the film, it's one of those borderline cases (so not as brazen as, say, Felicia Vikander in The Danish Girl and my girl Rooney Mara in Carol last year), and Viola just submitted herself in Support to give herself more of a fighting chance of getting the gold. Which I get, #YouDoYou, but even from her clips in the trailer, she was immense, and I feel that, even with less screen time than Portman, she would have run her and Stone close. Viola is a leading lady and deserves no less than to be acknowledged as one!!!!!
Anyway, yeah, looks like Natalie Portman's heading towards her second Oscar.
Jessica Chastain for Miss Sloane is a bold pick, given most predictions have listed Isabelle Huppert, an icon of French cinema, for Elle in her place. It is indeed a travesty that Huppert doesn't even have one Oscar nomination. But as we know, talent only comes to play about 15% of the time at the Oscars. Emily Blunt doesn't have an Oscar nomination, either. 😒
I feel Miss Sloane, about a gun lobbyist, has a strongly political slant that could play well into Hollywood's hands given the recent US elections. I follow Chastain on Facebook and she's already been pointing out the parallels between the movie and life, so...
Finally, Amy Adams is very well-liked by the Academy, and is due an Oscar statuette at some point. Her performance in Arrival won't win, as it was too muted and unflashy, but the overall quality of the film, her popularity, and the fact that she was also in Nocturnal Animals makes me feel it would be churlish of them to deprive her of her sixth nomination.
I feel Miss Sloane, about a gun lobbyist, has a strongly political slant that could play well into Hollywood's hands given the recent US elections. I follow Chastain on Facebook and she's already been pointing out the parallels between the movie and life, so...
Finally, Amy Adams is very well-liked by the Academy, and is due an Oscar statuette at some point. Her performance in Arrival won't win, as it was too muted and unflashy, but the overall quality of the film, her popularity, and the fact that she was also in Nocturnal Animals makes me feel it would be churlish of them to deprive her of her sixth nomination.
Supporting Actor
01. Mahershala Ali, Moonlight
02. Peter Sarsgaard, Jackie
03. Lucas Hedges, Manchester by the Sea
04. Liam Neeson, Silence
05. Stephen Henderson, Fences
Ali has been picking up raves everywhere for his performance in Moonlight, so much so that I highly doubt his limited screen time (the film is told in three parts so every actor bar Naomie Harris is only in, at most, a third of it) will be to his detriment. Plus a really solid piece of acting lingers with your regardless of how short the running time was (think: Anne Hathaway in Les Mis).
From the trailers, Lucas Hedges looks like he's doing great work in Manchester by the Sea. Oscars can be a bit sexist in that in the Supporting Actress category, they're more than happy to nominate/award young girls (eg Hailee Steinfeld in True Grit, Saoirse Ronan in Atonement, Anna Paquin in The Piano), whereas they're stingier with dishing out slots for boys of comparable ages. But with their egregious omission of Jacob Tremblay last year for Room, they've got some atonement of their own to do. Hopefully Hedges reaps the dividends.
Ali has been picking up raves everywhere for his performance in Moonlight, so much so that I highly doubt his limited screen time (the film is told in three parts so every actor bar Naomie Harris is only in, at most, a third of it) will be to his detriment. Plus a really solid piece of acting lingers with your regardless of how short the running time was (think: Anne Hathaway in Les Mis).
From the trailers, Lucas Hedges looks like he's doing great work in Manchester by the Sea. Oscars can be a bit sexist in that in the Supporting Actress category, they're more than happy to nominate/award young girls (eg Hailee Steinfeld in True Grit, Saoirse Ronan in Atonement, Anna Paquin in The Piano), whereas they're stingier with dishing out slots for boys of comparable ages. But with their egregious omission of Jacob Tremblay last year for Room, they've got some atonement of their own to do. Hopefully Hedges reaps the dividends.
Supporting Actress
01. Viola Davis, Fences
02. Naomie Harris, Moonlight
03. Nicole Kidman, Lion
04. Octavia Spencer, Hidden Figures
05. Gugu Mbatha-Raw, Miss Sloane
I'll admit that the prevalence of women of colour in this category is influenced by some heavy wishful thinking on my part! But seriously, no-one needs to make reparations more than the Oscars for last year's complete whitewash. By all means nominate a white actor if they were good, but 'talent' argument doesn't really work given they nominated Eddie Redcarpet for The Danish Girl, Jennifer Lawrence for Joy, Mark Ruffalo for Spotlight and Christian Bale for The Big Short, performances that compare very unfavourably to Oscar nominated-performances in the past. To say those selections were mediocre would be an insult to mediocrity.
So yeah, I don't give a sh_t if the Oscars go too far the other way in terms of affirmative action this year; performers of colour are owed some kudos.
Naomie Harris is apparently amazing in a de-glam role as the junkie mum of the protagonist in Moonlight. She was always charming as flirty Moneypenny in the James Bond movies, so looking forward to seeing her in this role. Hidden Figures sounds great: uncredited women of colour who did all the grunt work for NASA and didn't get the credit for it. Apropos, and pretty similar to the Oscars, actually.
And Britain's very own Gugu Mbatha-Raw is a luminous screen presence (Mark Kermode, in his review of Free State of Jones, described a scene where she smiled, saying 'the whole screen lit up'), and should have been given the role of Belle in Beauty and the Beast instead of Emma Watson. Gugu is strikingly beautiful, has musical and dramatic training (unlike Emma), has previously played someone called Belle (in Amma Asante's Belle), and, most importantly, can actually act.
But ofc Emma Watson got the part.
As I said, Hollywood has some serious reparations to make.
Original Screenplay
01. Jackie
02. 20th Century Woman
03. Manchester by the Sea
04. Moonlight
05. Zootopia
Adapted Screenplay
01. Fences
02. Lion
03. Arrival
04. Silence
05. Hidden Figures
--
I'm not going to bother predicting the technicals, foreign film and short films until closer to the time when I've seen more.
I shall check back after the actual nominations come out and compare how I did! =)
I'll admit that the prevalence of women of colour in this category is influenced by some heavy wishful thinking on my part! But seriously, no-one needs to make reparations more than the Oscars for last year's complete whitewash. By all means nominate a white actor if they were good, but 'talent' argument doesn't really work given they nominated Eddie Redcarpet for The Danish Girl, Jennifer Lawrence for Joy, Mark Ruffalo for Spotlight and Christian Bale for The Big Short, performances that compare very unfavourably to Oscar nominated-performances in the past. To say those selections were mediocre would be an insult to mediocrity.
So yeah, I don't give a sh_t if the Oscars go too far the other way in terms of affirmative action this year; performers of colour are owed some kudos.
Naomie Harris is apparently amazing in a de-glam role as the junkie mum of the protagonist in Moonlight. She was always charming as flirty Moneypenny in the James Bond movies, so looking forward to seeing her in this role. Hidden Figures sounds great: uncredited women of colour who did all the grunt work for NASA and didn't get the credit for it. Apropos, and pretty similar to the Oscars, actually.
And Britain's very own Gugu Mbatha-Raw is a luminous screen presence (Mark Kermode, in his review of Free State of Jones, described a scene where she smiled, saying 'the whole screen lit up'), and should have been given the role of Belle in Beauty and the Beast instead of Emma Watson. Gugu is strikingly beautiful, has musical and dramatic training (unlike Emma), has previously played someone called Belle (in Amma Asante's Belle), and, most importantly, can actually act.
But ofc Emma Watson got the part.
As I said, Hollywood has some serious reparations to make.
Original Screenplay
01. Jackie
02. 20th Century Woman
03. Manchester by the Sea
04. Moonlight
05. Zootopia
Adapted Screenplay
01. Fences
02. Lion
03. Arrival
04. Silence
05. Hidden Figures
--
I'm not going to bother predicting the technicals, foreign film and short films until closer to the time when I've seen more.
I shall check back after the actual nominations come out and compare how I did! =)
Wednesday, August 04, 2010
I Need a Gun, 'Cos all I Do is Dance.
I know, I know, I've been a bit of a no-show with this blog for the past month or so, and it's really, really not on. Unfortunately, that isn't going to change any time soon, as I'm jetting off to Italy with my family this Friday for a few days. But, for now, have four mini-reviews of the films I've watched recently.

Step Up (Anne Fletcher, 2006)
Channing Tatum plays Tyler, your token disillusioned youth from the wrong side of the tracks who wastes his days being a juvenile delinquent with his two friends, brothers Mac and Skinny. One evening, they are caught vandalising a hall in the Maryland School of Arts. Mac and Skinny escape, but Tyler is punished with community service as a janitor at said school. In doing his duties, he crosses paths with pretty and talented but uppity teenager Nora (Jenna Dewan), who's dream it has always been to be a dancer. When her dance partner for the upcoming danceshow injures himself, it (predictably) sets Tyler up for a chance to show that he's more than just a troublemaker. Despite the background differences between the two, when they dance, sparks fly, and the two protagonists find themselves drawn towards each other as more than just dance partners.
As you'd expext, a film like this is fairly low on plot and dialogue, and puts all of the weight on the dance scenes, which are indeed sublime. The finale in particular, is spectacular, as a group of 20+ dancers, led by Tatum and Dewan, fuse streetdance, hip-hop and ballet to the intrumental track of Yung Joc's "Bout it". It's forgettable fodder for the most part, but the dance scenes really are worth a re-watch.
Toy Story 3 (Lee Unkrich, 2010)
Needless to say, Woody and Buzz's owner, Andy, can't be eight forever, and there must be a time when he goes to college. The time has arrived in Toy Story 3, and each of his toys - even his favourite, Woody, knows that they are living on borrowed time. However, they under-estimate their worth to Andy, for, whilst he only wishes to bring Woody with him to college, he still plans to keep the rest of his toys in the attic. But due to a stream of misunderstandings, the remaining toys get tossed out and end up in a day care centre. Whilst this new surrounding initially seems promising - plenty of eager children wanting to play with the toys in ways that Andy no longer does - the debutante toys soon realise that it is only children in the butterfly room who actually know how to play with toys. The kids in the caterpillar room - the room they've been shoved in - is occupied by toddlers, toddlers who don't treat the toys well. At all.
I had a bit of a love/hate relationship with Toy Story 2. I disliked it for aaaages, until one day, I had sudden craving to give it a re-appraisal, and I immediately fell back in love with it. My relationship with the first film is more straightforward: it was the first film I saw in the cinema in England, and loved it. It is a similar case with this film, which was choc-a-bloc full with joy, humour and banter between the toys. I'm not ashamed to admit I tore up twice, and was moved throughout by the loyalty and fraternity between the toys. The ending was one of the most bittersweet in film, but I adored it. And the cameo of a Totoro doll pretty much epitomized the film's awesomeness.
The Karate Kid (Harold Zwart, 2010)
Will Smith's kid plays Dre, a 12-year-old boy who's single mother has relocated them to China. He hates it there, he neither speaks the language, nor gets on with anybody around (except a pretty Chinese girl of his age who is similarly drawn to him). His interest in said girl is what gets him off on a bad foot with the resident bully. Dre, a feisty boy, is never one to take abuse lying down, yet, in their first fight, Dre easily comes off worse, sporting a brutal black eye which he proceeds to try to - and fail - to hide from his mother (played by Taraji P. Henson with the touch of maternal warmth she exhibited in The Curious Case of Benjamin Button). After one particularly bruising encounter with the group of bullies, the grouchy janitor (played by Jackie Chan) steps in, quietly opens a can of whoopass, and becomes Dre's mentor for the upcoming karate tournament.
I forwent Inception to see this film, as it was on my dad's birthday and he loves Jackie Chan, and to be honest, I'm totally sure that I would have preferred the other film. Though, that said, I still had a relatively good time with The Karate Kid. Jaden Smith, who was cute and cuddly in The Pursuit of Happyness but didn't convince me he was capable of much past that, more than carries the film here, both in his natural acting as well as his dedication to the fight scenes. Jackie Chan, who's fight moves I adore but I'd never rated very highly as an actor, also surprises here, particularly in the scene with the car, a scene which actually moved me to tears. Like Step Up, it's a fairly predictable, forgettable set-up, but thanks to a fun soundtrack and brilliant chemistry between the two leads, good fun whilst it lasts.
Diary of a Wimpy Kid (Thor Freudenthal, 2010)
Zachary Gordon stars as Greg Heffley, a boy entering middle school. He's determined to make a name for himself and be as popular as possible, and if this involves re-inventing his loyal but unfashionable best mate Rowley Jefferson (played with affable charm by Robert Capron). The film follows him as his attempts to show how popular and cool he is fall flat each time, with each attempt just landing him further and further away from his aim. It's a simple enough movie with a simple enough message: don't become so preoccupied with the superficial that you forgo the things that really matter, and a cool turn from the ever-lovely Chloe Moretz (MUST watch Kick-Ass!)
Step Up (Anne Fletcher, 2006)
Channing Tatum plays Tyler, your token disillusioned youth from the wrong side of the tracks who wastes his days being a juvenile delinquent with his two friends, brothers Mac and Skinny. One evening, they are caught vandalising a hall in the Maryland School of Arts. Mac and Skinny escape, but Tyler is punished with community service as a janitor at said school. In doing his duties, he crosses paths with pretty and talented but uppity teenager Nora (Jenna Dewan), who's dream it has always been to be a dancer. When her dance partner for the upcoming danceshow injures himself, it (predictably) sets Tyler up for a chance to show that he's more than just a troublemaker. Despite the background differences between the two, when they dance, sparks fly, and the two protagonists find themselves drawn towards each other as more than just dance partners.
As you'd expext, a film like this is fairly low on plot and dialogue, and puts all of the weight on the dance scenes, which are indeed sublime. The finale in particular, is spectacular, as a group of 20+ dancers, led by Tatum and Dewan, fuse streetdance, hip-hop and ballet to the intrumental track of Yung Joc's "Bout it". It's forgettable fodder for the most part, but the dance scenes really are worth a re-watch.
Toy Story 3 (Lee Unkrich, 2010)
Needless to say, Woody and Buzz's owner, Andy, can't be eight forever, and there must be a time when he goes to college. The time has arrived in Toy Story 3, and each of his toys - even his favourite, Woody, knows that they are living on borrowed time. However, they under-estimate their worth to Andy, for, whilst he only wishes to bring Woody with him to college, he still plans to keep the rest of his toys in the attic. But due to a stream of misunderstandings, the remaining toys get tossed out and end up in a day care centre. Whilst this new surrounding initially seems promising - plenty of eager children wanting to play with the toys in ways that Andy no longer does - the debutante toys soon realise that it is only children in the butterfly room who actually know how to play with toys. The kids in the caterpillar room - the room they've been shoved in - is occupied by toddlers, toddlers who don't treat the toys well. At all.
I had a bit of a love/hate relationship with Toy Story 2. I disliked it for aaaages, until one day, I had sudden craving to give it a re-appraisal, and I immediately fell back in love with it. My relationship with the first film is more straightforward: it was the first film I saw in the cinema in England, and loved it. It is a similar case with this film, which was choc-a-bloc full with joy, humour and banter between the toys. I'm not ashamed to admit I tore up twice, and was moved throughout by the loyalty and fraternity between the toys. The ending was one of the most bittersweet in film, but I adored it. And the cameo of a Totoro doll pretty much epitomized the film's awesomeness.
The Karate Kid (Harold Zwart, 2010)
Will Smith's kid plays Dre, a 12-year-old boy who's single mother has relocated them to China. He hates it there, he neither speaks the language, nor gets on with anybody around (except a pretty Chinese girl of his age who is similarly drawn to him). His interest in said girl is what gets him off on a bad foot with the resident bully. Dre, a feisty boy, is never one to take abuse lying down, yet, in their first fight, Dre easily comes off worse, sporting a brutal black eye which he proceeds to try to - and fail - to hide from his mother (played by Taraji P. Henson with the touch of maternal warmth she exhibited in The Curious Case of Benjamin Button). After one particularly bruising encounter with the group of bullies, the grouchy janitor (played by Jackie Chan) steps in, quietly opens a can of whoopass, and becomes Dre's mentor for the upcoming karate tournament.
I forwent Inception to see this film, as it was on my dad's birthday and he loves Jackie Chan, and to be honest, I'm totally sure that I would have preferred the other film. Though, that said, I still had a relatively good time with The Karate Kid. Jaden Smith, who was cute and cuddly in The Pursuit of Happyness but didn't convince me he was capable of much past that, more than carries the film here, both in his natural acting as well as his dedication to the fight scenes. Jackie Chan, who's fight moves I adore but I'd never rated very highly as an actor, also surprises here, particularly in the scene with the car, a scene which actually moved me to tears. Like Step Up, it's a fairly predictable, forgettable set-up, but thanks to a fun soundtrack and brilliant chemistry between the two leads, good fun whilst it lasts.
Diary of a Wimpy Kid (Thor Freudenthal, 2010)
Zachary Gordon stars as Greg Heffley, a boy entering middle school. He's determined to make a name for himself and be as popular as possible, and if this involves re-inventing his loyal but unfashionable best mate Rowley Jefferson (played with affable charm by Robert Capron). The film follows him as his attempts to show how popular and cool he is fall flat each time, with each attempt just landing him further and further away from his aim. It's a simple enough movie with a simple enough message: don't become so preoccupied with the superficial that you forgo the things that really matter, and a cool turn from the ever-lovely Chloe Moretz (MUST watch Kick-Ass!)
Labels:
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Sunday, May 30, 2010
On to the Next One.
Catwoman (Pitof, 2004)
Halle Berry plays Patient Philips, a mild-mannered artist who, after stumbling upon the secret that a popular anti-aging cream is toxic, is killed by some henchmen, only to come back to life thanks to a cat, Midnight. In doing so, she has also inherited super-human powers from the cat, such as agility, eyesight, etc, and whilst she uses most of these new powers for the greater good, there are times when it overtakes her and turns her into someone she doesn't quite recognise. In retrospect, every bit as silly and bad as the critics slated Catwoman to be, but still rather good fun in short bursts (Benjamin Bratt is and always has been, lush) if you don't take it seriously enough.
People Will Talk (Joseph L. Mankiewicz, 1951)
One of Mankiewicz's most underrated films, People Will Talk centres around Cary Grant's well-liked Dr. Praetorius and two strands in his life, firstly, that of him falling in love with one of his patients Deborah (Jeanne Crain), who tries to top herself when she finds out she's pregnant out of wedlock (this was the 50s, after all), and the second of his affiliation with his elderly friend Mr Shunderson. The performances here are uniformly excellent, particularly from the two romantic leads, who have a very passionate (despite no real action) scene when he visits her house. There are engaging subplots and one-liners aplenty, and the usage of Brahms was excellent, rendering the film an extremely enjoyable comedy of manners.
The Da Vinci Code (Ron Howard, 2006)
Complete and utter nonsense, and at 140 minutes running time, the nonsense outstayed its welcome by a good hour. That said, I did enjoy Ian McKellan's kooky performance as Leigh Teabing, and was indulged by some of the touristy shots of Paris and London. Hans Zimmer's score was the stuff of musical dreams and it suited the tone of the film perfectly, and I've always liked the source material (frivolous as it was), so there was an element of adventure that appealed to me. That said, there were far too many gaping flaws for me to ignore. Firstly, the all-round quality of the acting. Tom Hanks does nothing other than half-gurn, half-groan his way through the film, Audrey Tautou (someone who I ordinarily adore) looks awkward and Alfred Molina, Jean Reno and especially Paul Bettany as Silas are borderline laughable. And then there's the direction from Ron Howard, which just doesn't fit. Bah.
Two Girls and a Sailor (Richard Thorpe, 1944)
I enjoyed the dancing, but I tired of playing guess who with the romantic plot. Choc a bloc full of talented performers, the film ended up somewhat less than the sum of its parts.
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