shallowness (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
shallowness) wrote2025-03-31 04:51 pm
shallowness) wrote2025-03-31 04:51 pm
Entry tags:
Movies I saw in March '25
As I'm not planning on going to the cinema tonight...
Black Bag was more style than substance (or heart), but there are worse things you could watch than a spy thriller about liars holding down relationships as directed by Soderberg and soundtracked by David Holmes with a good cast. I didn’t quite care enough about the central couple in the first half of the film, but Tom Burke made things come alive, Marissa Abela held her own, there were flashes of La Blanchett in the competent spy she played, Fassbender’s very controlled devoted husband came under increased pressure, Naomie Harries had good scenes, Pierce Brosnan too in a smaller role, and now I’ve actually seen Rege-Jean Page in something, I understand the hoo-hah more. It did remind me a bit of Duplicity (a Julia Roberts-Clive Owen film), but was clearly shot by the same guy as brought us Haywire etc.
Saw the cinematic trailer for Thunderbolts for the first time. If you emphasise that it features Yelena Belova and her found father and have a cover of a song that I like, apparently I’ll forget my issues with Marvel. (The trailer for Jurassic Whatever: In It For the Money also featured a cover of a song that I like and ScarJo, but no, I have no intention of going to see that.)
Mickey 17 was an entertaining darkly comic sci-fi with some visual flair, a good cast, some satiric bite and enough going on and not quite in a predictable direction. It’s better than Snowpiercer (also about a closed society in a wintery world in the near future), which I only saw recently for the first time, even if it didn’t quite have enough heart for me (baby beasties aside.) Point made about how callous humanity can be, though. Pattinson gets to play multiple versions of the same character, Mark Ruffalo and Toni Collette have a blast playing monsters, there are all sorts of British actors popping up. It leans heavily on voiceover (more so at the start) but that worked for me. It’s 15 for a reason.
The End is about the family of an ogliarch who went to live in an underground bunker as the world burned, and it’s also a musical, okay? (I did know that going in.) The songs work as a heightened expression of truths and lies for some complicated characters (never named) who have done terrible things and have a touch of Sondheim to them. George Mackay comes off best on the singing front, and Tim Mcinnerny on the dancing front. Tilda Swinton and Michael Shannon were surely cast for acting abilities. It's too long, and I was jarred by the switch from the end of the body of the film to the epilogue, but the musical element works perfectly for the drama where the Son comes of age and an outsider challenges everything in this artificial, particular setting. Early contender for the most out-there film I’ll see this year. If nothing else, seeing ‘The End’ up on the screen right at the start is a remarkable experience.
Black Bag was more style than substance (or heart), but there are worse things you could watch than a spy thriller about liars holding down relationships as directed by Soderberg and soundtracked by David Holmes with a good cast. I didn’t quite care enough about the central couple in the first half of the film, but Tom Burke made things come alive, Marissa Abela held her own, there were flashes of La Blanchett in the competent spy she played, Fassbender’s very controlled devoted husband came under increased pressure, Naomie Harries had good scenes, Pierce Brosnan too in a smaller role, and now I’ve actually seen Rege-Jean Page in something, I understand the hoo-hah more. It did remind me a bit of Duplicity (a Julia Roberts-Clive Owen film), but was clearly shot by the same guy as brought us Haywire etc.
Saw the cinematic trailer for Thunderbolts for the first time. If you emphasise that it features Yelena Belova and her found father and have a cover of a song that I like, apparently I’ll forget my issues with Marvel. (The trailer for Jurassic Whatever: In It For the Money also featured a cover of a song that I like and ScarJo, but no, I have no intention of going to see that.)
Mickey 17 was an entertaining darkly comic sci-fi with some visual flair, a good cast, some satiric bite and enough going on and not quite in a predictable direction. It’s better than Snowpiercer (also about a closed society in a wintery world in the near future), which I only saw recently for the first time, even if it didn’t quite have enough heart for me (baby beasties aside.) Point made about how callous humanity can be, though. Pattinson gets to play multiple versions of the same character, Mark Ruffalo and Toni Collette have a blast playing monsters, there are all sorts of British actors popping up. It leans heavily on voiceover (more so at the start) but that worked for me. It’s 15 for a reason.
The End is about the family of an ogliarch who went to live in an underground bunker as the world burned, and it’s also a musical, okay? (I did know that going in.) The songs work as a heightened expression of truths and lies for some complicated characters (never named) who have done terrible things and have a touch of Sondheim to them. George Mackay comes off best on the singing front, and Tim Mcinnerny on the dancing front. Tilda Swinton and Michael Shannon were surely cast for acting abilities. It's too long, and I was jarred by the switch from the end of the body of the film to the epilogue, but the musical element works perfectly for the drama where the Son comes of age and an outsider challenges everything in this artificial, particular setting. Early contender for the most out-there film I’ll see this year. If nothing else, seeing ‘The End’ up on the screen right at the start is a remarkable experience.