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I'd like to review some movies.
Jonathan!
People don't usually use my real name in these intros...
Nice to see you.
I fail to recall the last time you were in Rome.
Uh... it's been a while.
And hear I heard you had retired.
Nope!
Just took a few months off.
My wife's expecting - things have been busy.
Then humor me with, uh... but one question.
No.
Alright then.
One of our finest rooms.
Thanks.
This'll be a real help.
And this is Movie Night!
It's been about three months since our last episode... and it is late October, so we're
just gonna call this Season Nine!
Hello and welcome back to Movie Night!
Inconsistently uploaded... but never half-assed!
Although I haven't uploaded as many videos this year, I've still been watching and reviewing
many new releases - so tonight I want to take a look at some of my favorite films from2017...
that I haven't already set aside for future episodes in November, or featured in earlier
episodes; so "Kong", "War Of The Apes", all any superhero movie won't be included.
In release-order, we'll start with "John Wick: Chapter 2".
Well, that was fucking awesome.
This neo-noir action thriller from director Chad Stahelski quadrupled its $40 million
dollar budget after its February 2017 release.
Following the chaotic and deadly events of "Chapter 1", Keanu Reeves (Wick) must return
to the life of an internationally hunted hit-man to repay a special debt.
The best part about the original wasn't the brilliantly filmed and choreographed hand-to-hand
action sequences, but rather the inventive and detailed criminal universe created by
writer Derek Kolstad.
Which is why I was so elated "Chapter 2" doubled-down on its exploration; showing us more scenes
and faces in this fascinating network of honorable modern-day assassins.
The 'you must honor the rules of our society' plot-devices manages to make believable sense
of a crazy situation no sane person would willingly embark on - least of all a man as
careful and intelligent as our title-character.
For his efforts, the ageless Keanu proves once again to be more than capable of handling
the ferocious gunplay and physical stuntwork.
Say what you might about his ability to emote - but he can handle a firearm better than
anyone in Hollywood.
Which comes in handy, since the R-rated adventure also boasts a body-count north of 120.
A
catacombs escape that closes out act one is particularly incredible - especially a bit
where Wick holds a baddie at bay with the muzzle of his shotgun barrel... while he reloads
to finish the job.
Bad-ass.
Even at 122 minutes, "John Wick 2" moves with relentless ease, especially the final 45 minutes
which don't seem to let up for a moment.
The talented supporting cast deliver the less-than-subtle dialogue with Shakespearen authority.
Whether Ian McShane is lecturing the villain on his mistakes, "You stabbed the devil in
the back", or Laurence Fishburne waxes poetic about his former "The Matrix" co-star, there's
a certain gravitas behind these relatively minor characters.
Of particular note is Claudia Gerini as Wick's initial 'target'.
In her only scene, she exhibits perennial class and beauty far beyond what's necessary
for a part like this.
Let's just say, I was impressed.
And let's not forget Peter "Sassy Trump" Serafinowicz - who was particularly amusing as the purveyor
of a "wine tasting"-themed gun dispensary.
But least we forget how absolutely gorgeous the cinematography here is.
Dark corridors and deep shadows are punctured by bright and vibrant beams of color and light.
The steady framework keeps the action easy to follow, while showing off the sets and
scenery.
Part one took place in empty warehouses and houses, whereas this sequel has our hero leaping
through Roman ruins and shooting up a mirror-filled museum exhibit.
The upgraded locations all looks stunning.
The auditory onslaught isn't too bad either; with careful mixing of the loud gunfire, breathless
grunts, and heavy punches.
I expect to see a few technical nominations for this flick come awards-season.
Building on the concepts, techniques, and pay-offs established by its predecessor - "John
Wick: Chapter 2" is a phenomenal action film (one of this decade's best), and an astonishingly
fun experience.
I thought it was AMAZING.
Now, a quick word about tonight's sponsor.
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But you don't have to worry about money, since "Movie Night" and JORD have partnered up to
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form - and you're entered to win.
And in two weeks, one lucky viewer will be selected at random to pick out whichever watch
they'd like!
There's dozens to chose from, each with several variations - available for men and women.
But if you'd prefer not to leave things to chance, you can always use coupon code "Jogwheel"
to receive $25-off your order!
And if watches aren't quite your thing?
You might as well enter anyway - as they make excellent an gift, especially with the holidays
quickly approaching.
These promotions help make the show possible - so, thanks, as always for your time and
attention.
Let's back to the reviews with my thoughts on "Get Out".
This fantastically inventive and proactive psychological horror film from first-time
director Jordan Peele was released nationwide on February 24, 2017.
The very modestly budgeted $4.5 million dollar production broke an impressive $250 million
in ticket sales.
When a young African-American man visits his Caucasian girlfriend's mysterious family estate...
not everything is as picture-perfect as it first seems.
Inherently an allegory for today's more suppressed form of racism, "Get Out" delivers this important
social-message through the lens of a purely haunting and downright frightening narrative.
Daniel Kaluuya is outstanding at anchoring the bizarre R-rated story, the gorgeous Alison
Williams pulls off duality within her character with surprising ease, while the always versatile
Bradley Whitford is suspiciously disarming as a wholesome father figure.
There
was a very real part of me that wanted this story to conclude without any major twist.
It would have been far funnier (but less scary) if all the terrifying circumstances and perceived
racism really was just in Kaluuya's paranoid head.
Thankfully, the script, also penned by Peele, takes the movie to unimagined depths, that
are best explored unspoiled.
I'll only say that this film's most powerful accomplishment arrives moments before the
credits roll, when it appears everything our hero struggled for was for naught.
Through expert direction, a subtle set-up earlier, and the underlying racism our society
tries to ignore every day... this singular moment lands with pure chills.
For the briefest of moments, all of white America was able to understand (or at least,
relate to) the fear our African American brothers experience every day.
Although it was a little heavy-handed with the Microsoft product placement, this 104-minute
thriller delivered a wholly unique and captivating experience.
Although it was the first major release of the year I saw, it was instantly leaps ahead
of anything I saw in 2016.
Invocative commentary and visceral scares from a visionary talent make "Get Out" a truly
AMAZING film.
Next up, "Beauty And The Beast".
Just as magical.
Rather than a fresh adaptation of the centuries-old French fairy tale - this 129 minute musical
fantasy is a direct, live-action remake of Disney's Oscar-winning animated version from
1991.
The PG-rated film was a monster success, grossing over $1.2 billion (almost three times the
original's cume) - to become the highest grossing film of the year after its March 2017 release.
Not bad for $160 million dollar update, huh?
When a young women travels outside her provincial French town to rescue her father, she falls
in love with a beastly-looking Prince who has been imprisoned in a large castle by an
old curse.
Emma Watson and Dan Stevens star as the titular characters while Luke Evans, Kevin Kline,
Josh Gad, Ewan McGregor, Stanley Tucci, Ian McKellen, and Emma Thompson are featured in
the many interesting and eclectic supporting roles.
Not that there was any doubt, but Watson positively excels in the lead role... carrying the reputation
of the iconic songs with poise, perseverance, and stunning beauty.
Although I can't say the same for Stevens, he does enough to disappear into the CGI-assisted
role.
Evans, meanwhile nails the smarmy "Gaston" part with plenty of musical boasting, while
Gad makes jokes as the plucky (and 'controversially' gay) sidekick.
Under sterling direction from Bill Condon - this updated version delivers the wonderful
sights, and sounds just as before.
Everything from the costumes, visual-effects, and the characters themselves are gorgeous.
The musical numbers (including a few new tunes) are catchy, lively, and irresistibly fun.
It's hard not to get goose bumps when Thompson begins belting out the Oscar-winning titular
song.
Kids, women, and literally anyone who enjoyed the animated version will adore this fun and
flashy re-telling.
Obviously, nothing here is particularly original, but this is one "tale" that has withstood
the test of "time".
An enjoyable and warm-hearted trip down nostalgia-lane for the entire family, "Beauty And The Beast"
is an AWESOME remake.
Fourth up, a bonus review for "King Arthur: Legend Of The Sword"... most of which I filmed
back when it came out.
Surprisingly entertaining.
Apropos of nothing, I recently watched the 90s family film "A Kid In King Arthur's Court"
- and I remember thinking to myself, 'Hollywood is long overdue for a good, modern take on
the swords-and-shields genre'.
But unbeknownst to me at the time, director Guy Ritchie was already well on his way to
finishing this 126-minute adventure film.
Now, I get it - the last thing we is yet another remake - but the mythology and stories surrounding
the Knights Of The Round Table are so rich and diverse, it'd be a shame if some poorly
received Keira Knightly film was the last time we saw a proper theatrical adaptation
of this era.
And while I'll be the first to admit this latest version is hardly historically accurate
(the cold open features 500' elephants destroying giant bridges like they're made out of LEGO
bricks) - it's a damn enjoyable time.
Premiering on the hells of blockbuster juggernaut "Guardians Of The Galaxy: Vol. 2" on May 12,
2017 - this $175-million dollar production was doomed to box office failure.
Which is unfortunate, as the inventive re-telling really didn't deserve such a fate.
I guess Warner Bros.'s plan to make five more of them was just wishful thinking.
Charlie Hunnam portrays the title character in this PG-13 rated origin story, which has
Arthur rising from orphaned obscurity in medieval England to pull sword from sword, and challenge
the evil king for his true legacy.
The talented "Sons Of Anarchy Star" bulked up to play the man who-would-be king, and
does a wonderful job mixing incredulous emotions with cheeky confidence.
A die-hard childhood fan of 1981's "Excalibur" - Hunnam's reverence and respect for this
property is obvious - he goes all out in every scene.
If everything else broke down, the movie would still be worth watching for his character
alone.
An early monologue to a doubtful enemy has him describing his improbable skill-set, while
parallel flashbacks amusingly show the truth.
He tackles, swings, punches, and jumps like a veteran action hero - apparently modeling
his style off UFC fighter Conor McGregor.
And thanks to some absolutely stellar sound design, every sword fight, fist-fight, and
street fight are filled with heavy and violent hits.
Ritchie's kinetic, motion-tracking traits lend themselves well to the faster sequences,
even if these modern cinematic techniques feel almost anachronistic, if that makes sense.
The editing is equally excellent; blending Guy's trademark super-fast, non-linear, smash-cut
style to create a uniquely familiar atmosphere.
Or, as he described it, "Lord Of The Rings" meets "Snatch".
The results are occasionally funny, and always entertaining.
Action movies are really only as good as the villain, and thanks to Jude Law's suitably
detestable performance, "King Arthur" is in good shape.
With his hairline receding, he seems to be gravitating towards older, bad-guy roles these
days, but we're all a beneficiary of this career transition.
His uncaring demeanor and menacing scowl are a perfect fit for the evil King Vortigern.
Describing his vile behavior, Arthur tells him, "You make sense of the Devil."
Elsewhere, Djimon Hounsou, Aidan Gillen, and Eric Bana do fine work in smaller supporting
roles - while love-interest / sidepiece Àstrid Bergès-Frisbey feels like a wasted after-thought.
The one thing that really struck me is Daniel Pemberton's music- which can best be described
as 'orchestral grunge' - keeping the mood intense, and the pace driving.
It's definitely a score I'll be picking up on CD when it's released.
For better or worse, this is a quintessential period-piece popcorn flick; all the familiar
good-vs-evil action-movie tropes are here, but they're also executed in fresh ways.
And despite one perfectly-dropped 'F-bomb', it's also a safe time for dates and families.
If you adjust your expectations accordingly, "King Arthur: Legend Of The Sword" is a fun
whiz-bang adventure with time-tested characters.
I thought it was GREAT.
Next up, "Dunkirk".
Nolan has done it again.
Produced on a comparatively small budget of $100 million dollars - this PG-13 rated war
epic is the tenth feature from acclaimed director Christopher Nolan.
Which scored over half a billion in ticket sales just a couple months after its July
21, 2017 release.
Sharing the inspiring true story of the allies' rescue from Dunkirk beach during the second
World War, this 106-minute drama unfolds without much dialogue or even conventional protagonists.
Instead, the extremely lean script illustrates through action and visuals alone how harrowing
and dangerous the battlefields in the land, sea, and air really werezz.
Fitting into one of those three location-categories, the ensemble cast features understated and
powerful performances from a slew of familiar faces, including: Fionn Whitehead, Harry Styles,
James D'Arcy, Kenneth Branagh, Cillian Murphy, Mark Rylance, and Tom Hardy.
Nolan's unique approach to their (lack of) development means each character is somewhat
generic and interchangeable though.
The survival scenarios they constantly find themselves in are so terrifying and realistic,
we can't help but picture ourselves in their shoes.
And since we learn so little about these characters (most aren't even given names) - this emotional
transference is vital to the success of the narrative.
Those expecting traditional character arcs or introspective monologues need to look elsewhere;
"Saving Private Ryan" this is not.
Indeed, rather than personalizing a giant battle by showing a single soldier's experience,
Nolan goes in the opposite direction; employing a giant ensemble with thousands of extras
- with no single person receiving the lion's share of screentime.
"Dunkirk" is an immersive experience that's bolstered by an extremely loud and visceral
sound-mix - unforgiving with its dynamic range.
When gunfire pierces the silence, it is as startling as it is uncomfortable.
Or the terrifying sound of the Jericho-Trompete sirens from German fighter plane as they dive
for another attack run.
Meanwhile, Hans Zimmer doles out an aggressively intense score that builds and builds to a
seemingly never-ending crescendos... constantly keeping the tension on edge - often drowning
out all other sounds.
The music is an overbearing accompaniment to the stressful action unfolding onscreen,
and one of the more memorable soundtracks in Zimmer's catalog - even if it is a bit
distracting at times.
Only the third movie of the decade to be primarily shot and filmed in the massive 70mm film format
- "Dunkirk" is best experienced on the largest screen possible, which makes full use of the
supersized celluloid.
But since a majority of film-goers (not to mention 100% of the home media release) will
only see a 16:9 cut of the picture - there are many shots that feel unnaturally framed
due to the extended headroom in the non-cropped version.
It's one of those "damned if you do, damned if you don't" situations - but still slightly
distracting to see everyone's faces positioned in the dead-center of the picture.
But all of it is stunningly detailed and hauntingly beautiful.
Although to be fair, watching paint dry would likely look pretty gorgeous too if it were
projected from 4K IMAX laser projectors onto a 100" screen.
The entirety of the "air" plot looks particularly astonishing; with cameras affixed to inside
and to the sides of Spitfire fighter planes as they swoop through the clouds above the
English Channel.
Easily the greatest aerial battles ever captured on film - these dog-fighting scenes are worth
the price of admission alone; and are even more impressive when you learn they were created
without any computer effects.
Prohibitive costs notwithstanding, if it could have been accomplished practically - it was,
as Nolan chose to avoid CGI-shots whenever possible.
The results are seamless and realistic.
"Dunkirk" explores several key scenes from different perspectives, by inventively inter-cutting
the narrative threads in a non-parallel way.
As the technique arrives without introduction or warning, it can be a bit confusing when
you begin to see the same scene over, but from a different angle - but does allow for
additional insight.
These are the types of creative decisions you don't usually associate with a summer
blockbuster starring one of the hunky musicians from OneDirection, but it works.
Nolan may not be cinema's "smartest" filmmaker, but of the director's I'd consider "smart",
he's certainly the most accessible - and that counts for a lot.
As I was hoping for a bit more historical insight and character development, I can't
say that this film is my favorite entry in Nolan's growing portfolio - but that doesn't
preclude it from being one of the best war movies ever made.
"Dunkirk" is a monumental achievement in blockbuster filmmaking, and a truly AMAZING film.
Finally, here's my review of "Kingsman: The Golden Circle".
A sequel almost on-par with its predecessor.
Matthew Vaughn returns to direct the follow-up to 2014's surprisingly successful "Kingsman:
The Secret Service".
The experienced director utilizes every bit of his increased $104 million dollar budget,
and the extended 141-minute run-time... packing this action/comedy film with entertaining
moments and characters.
It faired slightly worse than its predecessor, netting around $300 million a month after
its September 2017 premiere.
After the titular spy-agency's headquarters is destroyed, and the world's drug users are
held hostage by an eccentric Julianne Moore, rookie agent Taron Egerton and his stalwart
accomplice Mark Strong must join forces with their American counterparts to defeat her.
Egerton once again shines as the resourceful lead - he's the handsome English gent ladies
want to shag, and the charming gent men want to be.
Through a particularly convoluted and overly-explained series of events, Colin Firth's character
returns as well... but his presence is at best distracting, and at worst, unnecessary.
Especially since it dramatically undercuts the emotional weight of the original picture.
The utilization of the rest of the all-star cast (a which group shares an impressive five
Oscar wins) is unfortunately also a bit hit-or-miss - several big names, like Channing Tatum and
Jeff Bridges, are utterly wasted.
That being said, each individual performance is pretty stellar.
One celebrity's inclusion goes well past "cameo" - and becomes more amusing with each subsequent
appearance.
But it's the return of Hanna Alström as the sexy Swedish Princess that was a surprise
inclusion.
Her role in part one was nothing more than a throwaway joke to close the film on a lewd
moment of hilarity - so there was absolutely no expectation she'd be woven back into this
follow-up, let alone with such emotional effectiveness.
Her relationship with Egerton feels authentic and earned, giving some much needed balance
to the absurd narrative.
I was also pleasantly surprised (and impressed) that Sam Jackson returned to film a single
new shot, necessary to explain an expositional flashback.
And Bruce Greenwood is perfectly devilish as the President... which I believe marks
the third time the Canadian actor has portrayed the American leader.
In a word, "The Golden Circle" is totally dope.
From the dark humor to the cheeky characters, it had me smiling throughout the extremely
fast-paced R-rated narrative.
But the real draw here is the inventively-filmed action sequences - bursting with kinetic movement,
fancy gadgets, and fantastic music.
A sequence where Firth and Egerton fight back-to-back while yet another perfectly-selected pop rock
songs blares in the background was as entertaining as it was outlandish.
Despite the particularly convenient return of Colin Firth, and a few scenes that share
too much similarity to the first - "Kingsman: The Golden Circle" is an excessive action-romp
with likable characters.
I thought it was an AWESOME movie.
That does it for this modest list of 2017 films I loved... but stay tuned in a couple
episodes where I'll look back at some of the ones I hated.
In the meantime, we'll be taking look at classic monster films in my fifth horror episode;
if you'd like to leave a review.
Until then - please click or tap here to watch my reviews of the "Planet Of The Apes" series,
or here to watch a playlist of every movie I've rated a "TEN", or click the Jogwheel
icon to subscribe, and be notified of new uploads when they're released.
Once again, my name is Jonathan Paula, thanks for watching and have a good Movie Night!
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