Screen_O_Genic
Joined Jan 2006
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A triumph in scale, drama and action, "Gladiator II" vividly brings to life the world of Ancient Rome in all its tragedy and glory. Grand and epic, the film is a panoramic sweep on the maelstrom of events that transpire to bring a memorable tale full circle.
It's been years since the Empress Lucilla sent her son Lucius away to save him from dangerous conspirators after the collapse of everything she held dear. Then, stories of a popular and literate gladiator from the colonies spreads leading to a chain of events that culminate in a great saga of tragedy, vengeance, triumph and redemption.
The film is a compelling visual array of fashion, arms, blood and gore. Whether it be in the brutal contests in the Colosseum, the machinations and politics behind closed doors or out in the open, and the personal interactions that cement the human bond of connection the movie with its interesting acting, scene-complementing camera work and strong soundtrack pull the viewer into its foreign yet familiar world where life is cheap and the humanity strong. The casting is as iffy as the bloodthirsty crowd that screams for more. Denzel Washington is the ring and earring-ridden effete gladiator trainer who bites more than he can chew and his performance is as nondescript as it is strange. Paul Mescal in the lead role is a puzzling case of how one perceives it. His two cans short of a six-pack depiction is either the sorry case of an education-deprived barbarian or lack of acting experience on a film of this grand scale. Connie Nielsen's tear-dripping maternal excruciations are the sad case of a beauty sacrificed in the altar of botox. Perhaps the star of the show here is Pedro Pascal, with his handsome and authoritative martial demeanor ennobling and substantiating the film with an aesthetic and artistic gravity. The CGI-deluged flick may have saved the producers more than the fortune they supposedly spent but technology isn't as advanced yet to give films the much needed authenticity a movie like this needs and deserves. One looks and longs for actual real-life tangible objects to see and behold.
An artistic and commercial success and fittingly so, "Gladiator II" bypasses the sophomore slump with equal artistry and skill. One of the best films on Ancient Rome and perhaps director Ridley Scott's masterpiece this is a must see for every film viewer whether casual or enthusiast. A must see, this may very well be the film of the year.
It's been years since the Empress Lucilla sent her son Lucius away to save him from dangerous conspirators after the collapse of everything she held dear. Then, stories of a popular and literate gladiator from the colonies spreads leading to a chain of events that culminate in a great saga of tragedy, vengeance, triumph and redemption.
The film is a compelling visual array of fashion, arms, blood and gore. Whether it be in the brutal contests in the Colosseum, the machinations and politics behind closed doors or out in the open, and the personal interactions that cement the human bond of connection the movie with its interesting acting, scene-complementing camera work and strong soundtrack pull the viewer into its foreign yet familiar world where life is cheap and the humanity strong. The casting is as iffy as the bloodthirsty crowd that screams for more. Denzel Washington is the ring and earring-ridden effete gladiator trainer who bites more than he can chew and his performance is as nondescript as it is strange. Paul Mescal in the lead role is a puzzling case of how one perceives it. His two cans short of a six-pack depiction is either the sorry case of an education-deprived barbarian or lack of acting experience on a film of this grand scale. Connie Nielsen's tear-dripping maternal excruciations are the sad case of a beauty sacrificed in the altar of botox. Perhaps the star of the show here is Pedro Pascal, with his handsome and authoritative martial demeanor ennobling and substantiating the film with an aesthetic and artistic gravity. The CGI-deluged flick may have saved the producers more than the fortune they supposedly spent but technology isn't as advanced yet to give films the much needed authenticity a movie like this needs and deserves. One looks and longs for actual real-life tangible objects to see and behold.
An artistic and commercial success and fittingly so, "Gladiator II" bypasses the sophomore slump with equal artistry and skill. One of the best films on Ancient Rome and perhaps director Ridley Scott's masterpiece this is a must see for every film viewer whether casual or enthusiast. A must see, this may very well be the film of the year.
An intriguing mystery on what goes on within the walls of the Vatican, "Conclave" lifts a veil off the controversial institution. Based on the novel of the same name by Robert Harris, the film is a look at the politics of the Catholic world's most venerated leaders and highlights the challenges they face with the trying problems of the times.
Filmed in dark tones, the movie takes a winding course in the somber silence of conspiracy, deceit and change (both good and bad). With a compelling cast including Ralph Fiennes, John Lithgow and Stanley Tucci one is witness to the process in the election of the next pope and how complications can arise over such important undertakings.
The film primarily fails due to its adherence to mannerism where effect and atmosphere are given more importance than action. As a mystery the pace of the film should have been quicker and more to the point to sustain the interest of the viewer throughout. Too much empty space and dead weight dilute what should have been a riveting suspense. And the twist at the end of the film is as amusing as it is unexpected (go see if you'll see it coming).
A pc smear and mockery of the centuries-old bedrock of the world's greatest and most important religion, "Conclave" is more politics and agenda than art. A treat for liberals and a head-shaker for conservatives you'll never make a mistake on when this film was made. A glimpse at the typical liberal mindset.
Filmed in dark tones, the movie takes a winding course in the somber silence of conspiracy, deceit and change (both good and bad). With a compelling cast including Ralph Fiennes, John Lithgow and Stanley Tucci one is witness to the process in the election of the next pope and how complications can arise over such important undertakings.
The film primarily fails due to its adherence to mannerism where effect and atmosphere are given more importance than action. As a mystery the pace of the film should have been quicker and more to the point to sustain the interest of the viewer throughout. Too much empty space and dead weight dilute what should have been a riveting suspense. And the twist at the end of the film is as amusing as it is unexpected (go see if you'll see it coming).
A pc smear and mockery of the centuries-old bedrock of the world's greatest and most important religion, "Conclave" is more politics and agenda than art. A treat for liberals and a head-shaker for conservatives you'll never make a mistake on when this film was made. A glimpse at the typical liberal mindset.
A frenzied take on the adrenaline-surged and hectic lead up to the first ever episode of the famed show, "Saturday Night" is a mad rush from start to finish. Premiering on October 11, 1975 from New York City, "Saturday Night" was a comedy/musical show that introduced an irreverent style of humor and a group of young comics who would change Comedy forever. John Belushi, Chevy Chase, Dan Aykroyd, Bill Murray, Eddie Murphy, Chris Farley, Adam Sandler, and Jimmy Fallon are among the stars who got their first big break at the institution. "Saturday Night" the movie gives a cocaine rush of an idea why.
With a camera on non-stop uppers and a cast fleeting by so quickly one feels as if one is in a bullet train, the movie begs for some Valium. The film recreates the highs and lows not to mention the tension on opening night especially if most of those involved are stoned, the show creator doesn't even know what the show's about, key members quit, and the budding star doesn't want to sign a contract, much more show up. Of course, being a hive of wisecracking smartasses the witty banter and repartee shoot back and forth like flies after a battle. Amid the barely-restrained turmoil one sees and feels the passion those involved felt at the creation of something they knew was special.
Unfortunately a number of snags trip what should have been a fun and delightful time in television history. Too much of the film focuses on show creator Lorne Michaels and he just isn't that interesting here. The movie should have highlighted the memorable cast but instead they're evenly relegated to second-lead and quite poorly at that: Belushi is portrayed as some self-centered weirdo lacking his real-life charm; Aykroyd is some muted dork who thinks he's Casanova; Garrett Morris is pc'd up to be more flashy while Chevy Chase is made to be more nicer than he really was. It's the old-school extras here who truly shine and add the soul to the show like a no nonsense Willem Dafoe as network executive David Tebet and J. K. Simmons as a grandstanding and wittily-whipping Milton Berle. For all the hubbub the film is pretty tedious and all in all fails to truly convey what the fuss was all about.
A fine and watchable tribute to a groundbreaking show and a cast of stars like no other since, "Saturday Night" with its vintage air and wacky irreverence hearken back to a time when electricity was in the air and men had souls. As a glimpse, a time travel away from the shallowness and negativity of these isolation-inducing times one couldn't find a better antidote.
With a camera on non-stop uppers and a cast fleeting by so quickly one feels as if one is in a bullet train, the movie begs for some Valium. The film recreates the highs and lows not to mention the tension on opening night especially if most of those involved are stoned, the show creator doesn't even know what the show's about, key members quit, and the budding star doesn't want to sign a contract, much more show up. Of course, being a hive of wisecracking smartasses the witty banter and repartee shoot back and forth like flies after a battle. Amid the barely-restrained turmoil one sees and feels the passion those involved felt at the creation of something they knew was special.
Unfortunately a number of snags trip what should have been a fun and delightful time in television history. Too much of the film focuses on show creator Lorne Michaels and he just isn't that interesting here. The movie should have highlighted the memorable cast but instead they're evenly relegated to second-lead and quite poorly at that: Belushi is portrayed as some self-centered weirdo lacking his real-life charm; Aykroyd is some muted dork who thinks he's Casanova; Garrett Morris is pc'd up to be more flashy while Chevy Chase is made to be more nicer than he really was. It's the old-school extras here who truly shine and add the soul to the show like a no nonsense Willem Dafoe as network executive David Tebet and J. K. Simmons as a grandstanding and wittily-whipping Milton Berle. For all the hubbub the film is pretty tedious and all in all fails to truly convey what the fuss was all about.
A fine and watchable tribute to a groundbreaking show and a cast of stars like no other since, "Saturday Night" with its vintage air and wacky irreverence hearken back to a time when electricity was in the air and men had souls. As a glimpse, a time travel away from the shallowness and negativity of these isolation-inducing times one couldn't find a better antidote.