dhunjiwadia
Apr. 2017 ist beigetreten
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Bewertung von dhunjiwadia
Even at 94, Clint Eastwood is still Hollywood's finest. Known for his adept film-making he brings his energy to an old-fashioned courtroom drama.
Juror 2 is a nail biting and thoroughly engrossing examination of Clint Eastwood's career-long infatuation with guilt and justice. With a fantastic script from Jonathan A. Abrams, Juror 2 turns a courtroom drama, with its limitations of American law, on its head.
Sometimes it's good to go into a movie not knowing the plot; except that it happens in a courtroom. Juror 2 is a thought-provoking drama directed by Clint Eastwood.
The information trickles in as the movie progresses and the moral issues keep getting more pronounced. The question of what should be done when every choice leads to something unfair for any individual, is for the characters as well as for the audience.
Toni Collette and J. K. Simmons deliver equally fantastic performances. I'm a bit disheartened that Keifer Southerland's role was limited. But the main man is Nicholas Hoult. Not once does he overplay the torment boiling beneath the surface. His internal panic is seen by the viewers but doesn't get expressed to the others around him.
The movie could be more sophisticated given the potential of the story, but I have tremendous respect for what I received.
This movie makes one reflect on life and the choices one makes. It's a powerful story about facing tough decisions, taking responsibility for your actions, and the moral dilemmas that come with it. It's also a conversation starter, prompting discussions on how others would react given a similar situation.
Juror 2 is a nail biting and thoroughly engrossing examination of Clint Eastwood's career-long infatuation with guilt and justice. With a fantastic script from Jonathan A. Abrams, Juror 2 turns a courtroom drama, with its limitations of American law, on its head.
Sometimes it's good to go into a movie not knowing the plot; except that it happens in a courtroom. Juror 2 is a thought-provoking drama directed by Clint Eastwood.
The information trickles in as the movie progresses and the moral issues keep getting more pronounced. The question of what should be done when every choice leads to something unfair for any individual, is for the characters as well as for the audience.
Toni Collette and J. K. Simmons deliver equally fantastic performances. I'm a bit disheartened that Keifer Southerland's role was limited. But the main man is Nicholas Hoult. Not once does he overplay the torment boiling beneath the surface. His internal panic is seen by the viewers but doesn't get expressed to the others around him.
The movie could be more sophisticated given the potential of the story, but I have tremendous respect for what I received.
This movie makes one reflect on life and the choices one makes. It's a powerful story about facing tough decisions, taking responsibility for your actions, and the moral dilemmas that come with it. It's also a conversation starter, prompting discussions on how others would react given a similar situation.
I absolutely adore musicals. I don't hesitate to pay for the best seats. And it gets even more pricey when one books tickets on the net for Westend productions from here. But I don't mind paying because the experience is vibrant and I find it most satisfying. I know the money is not the same for movie tickets, but I mentioned this because of my love for the genre. And I had high hopes for this one.
The movie is wickedly average. It left me feeling drained.
The production design and costumes are great. The singing was perfect.
Cynthia Erivo is a wonderful pick for Elphaba - both, for her acting and singing. Ariana Grande as Galinda/Glinda brings various quirks and humour to her character. Jonathan Bailey as Fiyero was surprising and fresh. Rest of the characters seem superficial and hard to connect.
The plot was incredibly thin and unable to hold my attention. Towards the end I was loathing the idea of listening to another song. With the exception of the finishing number, 'Defying Gravity', I found most of the songs forgettable.
Overall, it's still a watchable film despite its long runtime. But I was disappointed after reading some of the reviews. I'm not sure what I was expecting, but it wasn't this. Having said that, there are people who feel this is the 'best-ever' piece of cinema. So perhaps it's just me.
The movie is wickedly average. It left me feeling drained.
The production design and costumes are great. The singing was perfect.
Cynthia Erivo is a wonderful pick for Elphaba - both, for her acting and singing. Ariana Grande as Galinda/Glinda brings various quirks and humour to her character. Jonathan Bailey as Fiyero was surprising and fresh. Rest of the characters seem superficial and hard to connect.
The plot was incredibly thin and unable to hold my attention. Towards the end I was loathing the idea of listening to another song. With the exception of the finishing number, 'Defying Gravity', I found most of the songs forgettable.
Overall, it's still a watchable film despite its long runtime. But I was disappointed after reading some of the reviews. I'm not sure what I was expecting, but it wasn't this. Having said that, there are people who feel this is the 'best-ever' piece of cinema. So perhaps it's just me.
A Real Pain is the story of two Jewish American cousins, Benji (Kieran Culkin) and David (Jesse Eisenberg), who go on a tour to visit their ancestral home in Poland.
The title, A Real Pain, can be connected on two fronts
As the cousins travel through Poland with their tour group, they are forced to confront their relationship, revealing pain and insecurity on both sides.
It would be a disservice to Eisenberg's nuanced screenplay and direction if I tried to describe the film. It's a sharply written character study that tackles the bittersweet examination of family; while the cousins uncover the layers of their shared past and the impact it has on their present lives.
Benji and David's personalities are drawn in shades of grey. Also, every character in the film, no matter how small or inconsequential, feels fully fleshed out.
Throughout the film, we get to hear piano pieces by the Polish composer, Frederic Chopin. The music is cleverly interwoven into the film and becomes a character in itself. The melancholic melodies heighten the drama of the narrative.
Michael Dymek's cinematography is as subtle and unassuming as the story itself. He captures some haunting imagery from Poland's streets and post-Soviet architecture to the cold cruelty of a concentration camp - underscoring the film's theme of trauma and history.
Robert Nassau's editing ensures that the film has a good pace.
Culkin as Benji is terrific with a blend of charm and 'charmlessness'. He's a walking contradiction who can light up a room as easily as he can drain all the life out of it. And very deserving of the Best Supporting Actor Oscar, among other awards.
In contrast, Eisenberg as David is the straight man, but not without his own issues. His outward composure belies an internal pain.
The supporting cast is equally strong.
Eisenberg's direction and screenplay make it an unforgettable piece of work.
The title, A Real Pain, can be connected on two fronts
- The tour group's brush with the holocaust
- Also Benji's embarrassing and disruptive behavior as he struggles to deal with the death of his grandmother.
As the cousins travel through Poland with their tour group, they are forced to confront their relationship, revealing pain and insecurity on both sides.
It would be a disservice to Eisenberg's nuanced screenplay and direction if I tried to describe the film. It's a sharply written character study that tackles the bittersweet examination of family; while the cousins uncover the layers of their shared past and the impact it has on their present lives.
Benji and David's personalities are drawn in shades of grey. Also, every character in the film, no matter how small or inconsequential, feels fully fleshed out.
Throughout the film, we get to hear piano pieces by the Polish composer, Frederic Chopin. The music is cleverly interwoven into the film and becomes a character in itself. The melancholic melodies heighten the drama of the narrative.
Michael Dymek's cinematography is as subtle and unassuming as the story itself. He captures some haunting imagery from Poland's streets and post-Soviet architecture to the cold cruelty of a concentration camp - underscoring the film's theme of trauma and history.
Robert Nassau's editing ensures that the film has a good pace.
Culkin as Benji is terrific with a blend of charm and 'charmlessness'. He's a walking contradiction who can light up a room as easily as he can drain all the life out of it. And very deserving of the Best Supporting Actor Oscar, among other awards.
In contrast, Eisenberg as David is the straight man, but not without his own issues. His outward composure belies an internal pain.
The supporting cast is equally strong.
Eisenberg's direction and screenplay make it an unforgettable piece of work.