wellthatswhatithinkanyway
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STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
In the early 80's, Robert Williams was a cocksure but awkward young man living in Stoke On-Trent, not fitting in completely with the youngsters around him. A few years later, a talent scout visits the area, and he auditions to join a band called Take That, propelling him as a teenager on a wild rollercoaster ride of hedonism and excess. But fame and fortune cannot buy happiness, and while the good times roll, his personal demons threaten to tear him apart, until he figures out what really matters.
I've finally got around to seeing Better Man, Michael Gracey's follow up film to 2017's well received The Greatest Showman, with this very curious musical biopic of pop icon Robbie Williams, a man whose relevance to modern chart music followers might have been a very dicey box office gamble, especially when he is inexplicably depicted with the face of a snarling monkey!?? At the very least, it makes it a little difficult to take it seriously, even if the underlying sentiment of it is explained in the tagline.
The grittiness of Williams's raw, working class background is effectively conveyed with a suitably grainy camera lens at the beginning, though the sheer amount of profanity is quite staggering and excessive, not shy even of the c word (once unthinkable in a 15 certificate film!) This, along with William's bombastic presence, are enough to make him unlikeable, but Gracey makes it clear this is largely a front, with personal demons and insecurities that tear him apart inside even at the height of his zenith. Still, he was a bigger personality than an ultimately cheesy pop band could contain, and so it was ultimately a solo career where he would shine brightest.
By the end, it's become overlong, dragging on and wearing out its welcome a bit, but it's a wild, fun, full on ride throughout, with some blistering musical numbers (including a Piccadilly Circus rendition of Rock DJ, misplaced in Williams's TT years) and some effecting human drama thrown in to make it all gel right. But if you really hate Williams, it won't make you like him anymore. ****
In the early 80's, Robert Williams was a cocksure but awkward young man living in Stoke On-Trent, not fitting in completely with the youngsters around him. A few years later, a talent scout visits the area, and he auditions to join a band called Take That, propelling him as a teenager on a wild rollercoaster ride of hedonism and excess. But fame and fortune cannot buy happiness, and while the good times roll, his personal demons threaten to tear him apart, until he figures out what really matters.
I've finally got around to seeing Better Man, Michael Gracey's follow up film to 2017's well received The Greatest Showman, with this very curious musical biopic of pop icon Robbie Williams, a man whose relevance to modern chart music followers might have been a very dicey box office gamble, especially when he is inexplicably depicted with the face of a snarling monkey!?? At the very least, it makes it a little difficult to take it seriously, even if the underlying sentiment of it is explained in the tagline.
The grittiness of Williams's raw, working class background is effectively conveyed with a suitably grainy camera lens at the beginning, though the sheer amount of profanity is quite staggering and excessive, not shy even of the c word (once unthinkable in a 15 certificate film!) This, along with William's bombastic presence, are enough to make him unlikeable, but Gracey makes it clear this is largely a front, with personal demons and insecurities that tear him apart inside even at the height of his zenith. Still, he was a bigger personality than an ultimately cheesy pop band could contain, and so it was ultimately a solo career where he would shine brightest.
By the end, it's become overlong, dragging on and wearing out its welcome a bit, but it's a wild, fun, full on ride throughout, with some blistering musical numbers (including a Piccadilly Circus rendition of Rock DJ, misplaced in Williams's TT years) and some effecting human drama thrown in to make it all gel right. But if you really hate Williams, it won't make you like him anymore. ****
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
On the morning of July 7th 2005, a series of co-ordinated explosive attacks took place on the London Underground, before another took place on a bus in Tavistock. The attacks drew a wedge between the Muslim community and larger society. Several days later, a series of other attacks were narrowly averted, but resulted in the tragic shooting of innocent Brazilian Jean Charles De Menezes at Stockwell Tube Station. Here survivors, first responders and law enforcement figures offer their accounts of what happened, and how it affected their lives.
It's a sad realisation of the passage of time when you can recall firsthand a national tragedy that took place and what you were doing on that day. But alas, twenty years have passed, and Netflix has offered this grim commemorative piece, in the shape of this four part detailing of what went on. It's a varied gathering of perspectives, that makes for a balanced, worthwhile experience.
The impact on the survivors is visibly evidenced, such as the gentleman who came face to face with the first bomber, whose status as a wheelchair user can be evidenced just out of shot of the camera, that gives extra power to his account. Some other reviewers have ignorantly chosen to lament how the series is 'pandering to the grievances of a minority', in the form of Muslims, while forgetting?!! The victims, but as we see Muslims were among the victims, and we hear the account of a survivor who went on a TV programme and found himself interrogated over his faith rather than his experiences, and so has a justifiable grievance. We also hear the Muslim community activist who warned of the dangers of the Finsbury Park mosque, from the hate preachings from the likes of Abu Hamza, and offers his own condolences to the victims. I wonder if these same people lament the family of Jean Charles De Menezes and wider society channeling their grievances through protest after he was killed partially because of a blurry photocopy that made his skin look much darker than it was, causing the firearms officers to mistake him for a suspect even though he looked nothing like him?!!
This is a thorough, in-depth and ultimately thought provoking documentary that marks a sad milestone in our history, but one which should not (and could not) ever be forgotten. ****
On the morning of July 7th 2005, a series of co-ordinated explosive attacks took place on the London Underground, before another took place on a bus in Tavistock. The attacks drew a wedge between the Muslim community and larger society. Several days later, a series of other attacks were narrowly averted, but resulted in the tragic shooting of innocent Brazilian Jean Charles De Menezes at Stockwell Tube Station. Here survivors, first responders and law enforcement figures offer their accounts of what happened, and how it affected their lives.
It's a sad realisation of the passage of time when you can recall firsthand a national tragedy that took place and what you were doing on that day. But alas, twenty years have passed, and Netflix has offered this grim commemorative piece, in the shape of this four part detailing of what went on. It's a varied gathering of perspectives, that makes for a balanced, worthwhile experience.
The impact on the survivors is visibly evidenced, such as the gentleman who came face to face with the first bomber, whose status as a wheelchair user can be evidenced just out of shot of the camera, that gives extra power to his account. Some other reviewers have ignorantly chosen to lament how the series is 'pandering to the grievances of a minority', in the form of Muslims, while forgetting?!! The victims, but as we see Muslims were among the victims, and we hear the account of a survivor who went on a TV programme and found himself interrogated over his faith rather than his experiences, and so has a justifiable grievance. We also hear the Muslim community activist who warned of the dangers of the Finsbury Park mosque, from the hate preachings from the likes of Abu Hamza, and offers his own condolences to the victims. I wonder if these same people lament the family of Jean Charles De Menezes and wider society channeling their grievances through protest after he was killed partially because of a blurry photocopy that made his skin look much darker than it was, causing the firearms officers to mistake him for a suspect even though he looked nothing like him?!!
This is a thorough, in-depth and ultimately thought provoking documentary that marks a sad milestone in our history, but one which should not (and could not) ever be forgotten. ****
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
A property dealer (Nicolas Cage) travels with his teenage son (Finn Little) to the Australian beach of his youth, hoping to pass his love of surfing onto his boy. However he is shocked by the immediately hostile and aggressive attitude of the local surfers, who tell him straight: "Don't live here. Don't surf here." The unruly brutes appear under the control of Scally (the late Julian McMahon), who believes modern men have become weak and dependent, and need to be broken down to rise again.
Now that everything seems to be cleared up with those films he made to get out of debt, Nicolas Cage is now free to return to the off the wall zany projects he is known and loved for. Inspired, original stuff like this, from director Lorcan Finnegan can only help this process along. The Surfer features a genuinely intriguing concept, playing out in a surrealist fashion, and giving nothing away with regards how the script will play out.
As well as its interesting idea, the film also has some relevant themes to explore, most notably that of toxic masculinity, and what it means to be a man, which has been explored in depth in modern times, with regards online influencers and the manosphere. Cage is degraded and humiliated beyond endurance in front of our very eyes, going from a presentable everyman into a sorry version of his former self, and we're sucked into his spiralling insanity along with him, just eager to see where he goes.
When the ending does eventually roll around, there is an inviting sense of ambiguity that sort of wraps things up and sort of doesn't. One things for sure, the ride to get there has been a wild and highly creative one. ****
A property dealer (Nicolas Cage) travels with his teenage son (Finn Little) to the Australian beach of his youth, hoping to pass his love of surfing onto his boy. However he is shocked by the immediately hostile and aggressive attitude of the local surfers, who tell him straight: "Don't live here. Don't surf here." The unruly brutes appear under the control of Scally (the late Julian McMahon), who believes modern men have become weak and dependent, and need to be broken down to rise again.
Now that everything seems to be cleared up with those films he made to get out of debt, Nicolas Cage is now free to return to the off the wall zany projects he is known and loved for. Inspired, original stuff like this, from director Lorcan Finnegan can only help this process along. The Surfer features a genuinely intriguing concept, playing out in a surrealist fashion, and giving nothing away with regards how the script will play out.
As well as its interesting idea, the film also has some relevant themes to explore, most notably that of toxic masculinity, and what it means to be a man, which has been explored in depth in modern times, with regards online influencers and the manosphere. Cage is degraded and humiliated beyond endurance in front of our very eyes, going from a presentable everyman into a sorry version of his former self, and we're sucked into his spiralling insanity along with him, just eager to see where he goes.
When the ending does eventually roll around, there is an inviting sense of ambiguity that sort of wraps things up and sort of doesn't. One things for sure, the ride to get there has been a wild and highly creative one. ****
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