FlixChatter Review: ANNETTE (2021)

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What a roller coaster ride it has been doing an Adam Driver marathon of sort. I had just watched four of his films last month for the Hidden Gems series, which I had decided before I got a press screening for ANNETTE last week. Well in a way, the absolute bizarrity of Terry Gilliam’s The Man Who Killed Don Quixote ends up serving as a pre-req for Annette. It’s interesting that before the film starts, we’ve got a VO of its director Leos Carax telling the audience to hold our breath until the end of the movie. Well, there were a few times I did hold my breath watching this movie.

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It’s been four days since I saw it and let’s just say I’m still recovering from it, ahah. I guess nothing could really prepare you for this rock opera written by the Sparks Brothers. Ok now, even that info alone should tell you this isn’t a movie you watch for its strong narrative. Its primary strengths are its visual style and the catchy songs. I LOVE So May We Start in its opening sequence, starting with Carax and the Sparks with their band in a studio, then they step out the room, meeting the main actors of the movie and the entire group sing the song together as they walk out into the street. That’s such a surreal scene unlike anything I’ve ever seen, which is what you could say about the entire movie.

We’ve fashioned a world, a world built just for you
A tale of songs and fury with no taboo
We’ll sing and die for you, yes, in minor keys
And if you want us to kill too we may agree

That’s just some of the lyrics from the opening song… so don’t say the filmmakers didn’t warn you. When it first came out in Cannes, Twitter was set alight by critics describing a character performing cunnilingus while singing a love song. Well believe it or not, it’s actually NOT the most bizarre thing in this movie.

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The basic plot is that we’ve got a celebrity couple, a stand-up comedian Henry McHenry (Driver) and an opera singer Ann Desfranoux (Marion Cotillard) who falls head over heels in love. Their career trajectory changes course as the film progresses and the birth of their daughter turns their lives into a tailspin. The film’s title is named after their daughter who has a special gift… I’m not going to spoil it for you what her gift is, but what’s quite unnerving to behold is Carax chose to use a puppet for the baby. For someone with a strong aversion for dolls/puppets in general, it took me a while to adjust to that fact, but thankfully there are plenty of things to distract me from it, most notably Adam Driver’s tour de force performance.

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In my post about Annette here, some critics talked about Driver’s towering, imposing physicality being used to great effect in this film. That turns out to be absolutely true. Though billed as a bizarre love story, this is pretty much an Adam Driver show from start to finish and he capably carries this film on his strong shoulders. Carax is known for his grand but strange vision for his films and Driver is willing to match his insane cinematic choices, which I shouldn’t be surprised given he did exactly that for Terry Gilliam. As Henry, his dry sense of humor, sheer rage, magnetic charisma and intensity are in full display here, at times in extreme close-ups. His character preps with boxing regimen in his hooded robe which is quite strange for a comedian, but perhaps that explains why his acts are so militant and physical. Most people have seen how intense he could be as Kylo Ren in the Star Wars trilogy, but given he’s under a mask for most of the trilogy, I feel like you’re robbed off just how insane he’s willing to go for a role.

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Annette feels more like an experimental film at times, but it also feels personal in its depiction of love and loss. I find it hard for me to delve into this film’s plot as even after days watching it, I can’t quite put a finger on it what it’s about. Driver’s Henry–nicknamed ‘the ape of God’– is such a provocative performer who depicts the quintessential toxic masculinity, complete with a Me-Too chorus of women accusing him of various misbehaviors. But even from his stand-up acts where he doesn’t so much deliver jokes but throw lines at the audience to react to, it’s clear he’s got issues. Though both Henry and Ann are performers, the stark difference is that Henry seems to put a lot of himself into his show while Cotillard’s Ann is the opposite. She wears a wig when portraying a larger-than-life persona in her play where she dies at the end of each show. The theme of death ends up spilling over from their stage persona into real life… well, as ‘real’ as it seems in this film given the blurred line between fantasy and reality.

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Despite Driver’s long screen time in the movie (he’s pretty much on screen at least 95% of the time), I don’t really get his character. I’m not sure the filmmakers intend it to be a character study, but at least Driver has an arc as Cotillard’s and Simon Helberg’s the conductor character barely has any. Both have their moments in the movie, but for the most part I feel like their characters are only there to move Henry’s story forward. It’s quite frustrating and such a pity given how talented both actors are. Heck, what living breathing performers want to be upstaged by a puppet baby? Yet that’s what happens here, especially the huge scene towards the end that made me gasp. The ending is as puzzling as ever as it feels anticlimactic. My friend sitting next to me raises both hands as the screen turns to black and said ‘that’s it?!’ Perhaps the filmmakers intend things to be one big giant puzzle, but perhaps they just didn’t know how to end the film.

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In terms of visuals, Annette is gorgeous to look at, shot by French DP Caroline Champetier, it has a neon green/blue tone similar to Holy Motors that she also shot. As to be expected in a musical, the songs are memorable and have such an infectious energy to them. So May We Start and We Love Each Other So Much are still stuck in my head to this day. One thing for sure though, the film’s sheer grandiosity, extreme absurdity and off-kilter sensibilities will likely make this one of the most divisive movies of recent memory. Like Holy Motors, Carax’s distinctive styles are not for everyone. It’s long running time (140 minutes) and odd pacing also doesn’t make this the easiest film to recommend to others.

For me personally, despite some of my biggest quibbles, I had a good time with it. I feel like I don’t have to fully understand something to appreciate it. Just like an art in a museum/gallery, I often have no clue what it means or why it’s constructed in such a way, but it can still be absolutely mesmerizing.

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Have you seen ANNETTE? I’d love to hear what you think!

Music Break: INCEPTION soundtrack by Hans Zimmer

Hans Zimmer is one of the most commercially successful composers working today. I’ve listed some of my favorite scores that he did on this post, though I should update that at some point as that list is over a decade old now. One of those on the list is INCEPTION, which was released exactly 11 years ago today in the US on July 16, 2010.

I remember being super excited for this movie, I even blogged about the promotional banners for it, and this scene spotlight of Tom Hardy‘s Ames saying ‘You musn’t be afraid to dream a little bigger, darling.’ Though the main star is Leonardo DiCaprio and it’s got a terrific ensemble cast, Hardy’s quite the scene stealer. Gosh I miss seeing that guy in movies, hope to see him in a big feature film again soon!

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In any case, Zimmer’s music is definitely one of the best things about the Christopher Nolan‘s mind-bending thriller, it was nominated for an Oscar for Best Original Score in 2011, but lost out to The Social Network (Trent Reznor + Atticus Ross).

Per this article, apparently Zimmer wrote the score before any footage had been shot. Given Zimmer had collaborated with Nolan previously on Batman Begins & The Dark Knight, it’s likely he’s discussed the concept of dreams-within-a-dream prior to shooting the film, but still, it’s amazing how fitting the score is to the final film. I love the combination of synthesizer and orchestral with his signature low brass BRAAAAM! sound which just sounds mysterious, ominous and cool! No wonder it has since become so overused in trailers and even action movies, much to the German composer’s chagrin. In any case, here are some of my favorite tracks from INCEPTION:

Interesting trivia about the Édith Piaf song Non, je ne regrette rien that apparently was an inspiration for Zimmer in creating the score. If you remember, it’s the “kick” song to signal the characters of another reality Per NPR, “… he intentionally cribbed the two defining “da-da” notes from a slowed-down version of the Edith Piaf song Non, je ne Regrette Rien. Zimmer is quoted in his interview with The New York Times that “… all the music in the score is subdivisions and multiplications of the tempo of the Edith Piaf track. So I could slip into half-time; I could slip into a third of a time. Anything could go anywhere. At any moment I could drop into a different level of time.”

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Some of you might have seen this already, but I just learned about this recently [mind-blown!]!

Per IMDb Trivia, Nolan stated that it’s a pure coincidence that Marion Cotillard had played Piaf in La Vie En Rose (2007). After Cotillard was cast, Nolan intended to change the song to eliminate speculation on the subject, but composer Zimmer persuaded him to keep it.


Hope you enjoyed this music break! Are you a fan of INCEPTION and its soundtrack?

Dreaming of Cannes – Musings on Leos Carax’s ANNETTE … and Adam Driver

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Given the Cannes Film Festival was canceled last year, the 2021’s ceremony’s red carpet returns with an extra dose of glamor. I was listening to NPR’s French correspondent Eleanor Beardsley in the car yesterday and wish I were at Promenade de la Croisette or somewhere on Côte d’Azur this week, especially after seeing this clip…


Ok so um, what I’m most looking forward to out of the Cannes lineup is Leos Carax’s ANNETTE! I’ve been wanting to blog about it since the trailer came out, but somehow never got around to it. Well now that it’s premiered at Cannes, I simply must post about it now… and really, as if I need an excuse to talk about Adam Driver 😍


So what is ANNETTE about exactly? Here’s the logline:

A globally acclaimed opera singer and a stand-up comedian have their first child, and their lives are completely changed.

I’m not hugely familiar with Carax’s work, but I did enjoy his HOLY MOTORS which I reviewed here. It’s offbeat and imaginative, parts of me are weird-ed out by it, even terrified at times, but also mesmerized at the same time. I have a feeling ANNETTE will be in similar vein, except that it has a pair of actors I adore: Adam Driver and Marion Cotillard. Check out the trailer if you haven’t already:

It’s got to be the year of the Sparks! Their documentary The Sparks Brothers was just released recently (read my friend Vince’s review), and apparently Ron + Russell Mael wrote this musical as well and that there’s no dialogue in this movie, it’s a complete sung-through musical.

In this EW article, Ron Mael revealed their longtime interest to get into movies:

“We’ve been trying over the years to do a movie musical… We had worked briefly with Jacques Tati in the middle ’70s and then we worked with Tim Burton in the early ’90s. These projects only led to super disappointment. The fact that Annette has actually happened and is the opening night film at Cannes is absolutely surreal. We couldn’t be more pleased. The cast is kind of ridiculous with Adam Driver and Marion Cotillard. I think people will be surprised because it’s not a movie musical in the way that people conceive of a movie musical. Without sounding too arrogant about it, I think it really is a new form for movie musicals. We’re just so proud of it and the job that Leos Carax did.”

The Sparks just released this new single So May We Start from the movie, featuring vocals from the band, Driver, Cotillard and cast member Simon Helberg. Take a listen:

I’m even more excited for this as I LOVE Driver’s singing (albeit briefly) in Marriage Story! Cotillard has won an Oscar playing singer Edith Piaf in La Vie En Rose so obviously she too can sing! Originally Rooney Mara was cast but dropped out, then Michelle Williams replaced her but also left the project when it got stuck in development, then Cotillard stepped in. Seeing her with short hair here made me think of Audrey Tautou who might be suitable for this offbeat material, but not sure if she can sing.

The visuals look amazing based on some of the stills I’m seeing so far!

Now, I enjoy musicals but I generally prefer musicals where not every single line is sung. I actually haven’t seen Les Misérables in its entirety for that reason, despite loving the stage version I happen to see live on Broadway. But hey, I’m willing to keep an open mind about this one because of all the talents involved.

Here’s a clip from the movie:

I briefly scanned a few critics’ reviews out of Cannes and unsurprisingly the reaction has been mixed, though it  currently stands at 90% with just 21 reviews. I feel like films like this are more acquired taste given its inherently kooky style + bizarre premise.

I have to be honest that Adam Driver is the main um, drive for me to see this, hopefully on the big screen. This Vulture reviewer says, “Driver, such a physically imposing, intense, glowering presence, is inspired casting here…” This BBC review also praised Driver’s performance: “It’s hard to imagine that any other actor would or could play his role.… Driver has become the patron saint of oddball indie projects that premiere at Cannes. His glowering, fearsomely physical performance here is a tour de force.” While LA Times critic Justin Chang remarked “… the movie belongs to Driver… who has rarely appeared more imposing in his physicality, more bottomless in his capacity for rage and deceit.” He also calls the movie ‘entrancingly weird’ and that actually makes me want to see it more!

Well, the rest of us would have to wait until August to see this. It’ll be released in U.S. theatres on August 6 and will have its streaming debuts on Amazon Prime on August 20.


So are you excited for ANNETTE? Which films released at Cannes are you most looking forward to?

FlixChatter Review: ALLIED (2016)

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So this is a film that has quite a pedigree. Starting w/ the director Robert Zemeckis, who have made some of the best films like Back To The Future, Romancing The Stone, Forrest Gump, Contact, etc. plus the two A-listers, Brad Pitt and Marion Cotillard. I have to admit my main draw was Zemeckis and Cotillard, as I’ve never been a Pitt fan. Well, my instinct is right the first time around as Cotillard is certainly the more interesting to watch out of the two.

The film is set in 1942, with Pitt as an intelligence officer Max in North Africa where he encounters a female French Resistance fighter, Marianne, in Morocco. The opening shot is striking, with an aerial shot of the desert and a wide shot of Pitt walking under the hot Sahara sun. Then he gets picked up in a car à la James Bond (the scene is reminiscent to when Bond and his girl get picked up by a Rolls-Royce in the middle of the Moroccan desert in Spectre). It plays out like some kind of retro GQ commercial with Pitt looking clean-cut and debonair, as he’s dropped off at a party to meet his pretend wife. Again it’s as if he’s playing Bond to his Bond girl, complete with the him speaking in French in front of Marianne’s friends.

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I love spy romances, it’s a sub-genre I wish Hollywood would make more of. Well, Allied certainly has all the ingredients for a great WWII romance drama. It’s definitely more drama than thrillers as you can count with one hand the amount of action in this film, which suits me just fine. What I do expect is a compelling story, great suspense and a sweeping romance worth rooting for. Unfortunately, the film falls short on all counts. The main thing for me is that it feels so insincere. Yes I know the actors are pretending to play pretends in the film, and it was rather amusing to watch at first. I especially enjoyed the scenes of them at the roof with Cotillard playing up her flirtatious side. But after a while it becomes kind of repetitive.


There’s not much espionage stuff going on in this film, but the first part was definitely much more engaging than the second. After an action-heavy scene at a top-ranking Nazi officer’s swanky party, the film then transitions from North Africa to the UK, where pretty much all the intrigue and flair fizzles almost instantly. Max and Marianne are now happily married with couple. When suspicion arises that Marianne is perhaps not who she says she is, the dramatic tension just isn’t there. I feel that Pitt is sort of sleepwalking his way through the film. Perhaps he aims to look poised and unruffled, but he comes across looking bored. Cotillard fares much better though she overacted a bit in parts, but her immense screen charisma is always a treat to watch. Then there’s the lack of chemistry between the two. Even the sex scenes lack any real heat, heck I was paying attention more to how they do that dust storm effects whilst they’re in the car! Overall I just don’t feel invested in their love affair. It’s really too bad as the story certainly has potential for a real heart-wrenching wartime romance.

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The supporting cast don’t really get much to do. Even the great Jared Harris, who was simply astonishing in Kelly Reichardt’s Certain Women, was perhaps the most memorable one here as Pitt’s boss. Matthew Goode is barely recognizable and his cameo appearance seems like a waste of his talent. Lizzy Caplan is grossly-underutilized as her character doesn’t seem to serve much purpose at all.

Now, the Mr & Mrs. Smith comparison is inevitable given both leads are spies (not to mention the recent commotion of Brangelina), but the Morocco setting also instantly conjures up memories of the much, much more compelling WWII romance drama Casablanca. Watching this actually made me want to rewatch it and so I did. I convinced my hubby, who hadn’t seen it before, to rent it on Thanksgiving eve. Well, Allied could barely hold a candle to that masterful classic, no matter how visually dazzling it looks. Which brings me to the stunning cinematography by Zemeckis’ regular Don Burgess. The visuals, costumes and set pieces are definitely a plus here, they’re more authentic than the performances of the leads.

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Overall, this is quite a disappointing effort from Zemeckis. The film is more style over substance… an elegant, sleek but utterly superficial affair. I’d think this type of film would make me cry buckets, but my eyes were dry the entire time. What’s more, for a film about espionage, the utter lack of edge and suspense is indefensible.

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Have you seen ALLIED? I’d love to hear what you think!

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Five for the Fifth: SEPTEMBER 2016 Edition

Welcome to FlixChatter’s primary blog series! As is customary for this monthly feature, I get to post five random news item/observation/poster, etc. and then turn it over to you to share your take on that given topic. You can see the previous five-for-the-fifth posts here.

1. Still can’t believe it’s Labor Day weekend already! For some reason I haven’t asked this before in the previous September editions. Most Americans will get a day off today in the first Monday of September to celebrate the creation of the labor movement and is dedicated to the social and economic achievements of American workers.

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It made me think of films that’s filmed in a workplace, whether it’s a factory, restaurant, 9-5 office job, etc. Having just rewatched Working Girl a couple of months ago, as well as Equity just last week, there are definitely a ton of films made about Wall Street. But there are a lot of memorable films about less glamorous jobs, i.e. Waitress, High Fidelity, Extract, Office Space, The Good Girl, Up in the Air, just to name a few. I’d also include Pixar’s Monsters, Inc. that takes place inside a scream factory.

So which workplace movie(s) is your all time favorite? 

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2. Ok, for this month FFTF, I want to feature two trailers from films by female directors. The first one stars Marion Cotillard, whose film Allied I actually featured last month. Well, as I said before, anything with miss Cotillard gets my attention!

From The Land of the Moon (Mal de pierres) trailer doesn’t have a subtitle yet but here’s the synopsis per IMDb:

Adaptation of Milena Agus’ novel, set after WWII following Gabrielle (Marion Cotillard), a passionate, free-spirited woman who is in a loveless marriage and falls for another man.

The film is directed by French actress/filmmaker Nicole Garcia also stars Louis Garrel and Alex Brendemühl. I love WWII romances, so I’m automatically intrigued by this. Apparently Sundance Selects has picked up the U.S. rights to the film back in March, and the film opens in France in mid October, but the US release date hasn’t been announced yet.

Here’s a clip that does have English subtitles:

Now this one takes place closer to home for me in the US.

Certain Women focuses on the lives of three women intersect in small-town America, where each is imperfectly blazing a trail.

I love the casting of the three main actresses: Laura Dern, Michelle Williams, and Kristen Stewart. I’m not familiar with filmmaker Kelly Reichardt, but I did remember her film Meek’s Cutoff (also starring Michelle Williams) was quite acclaimed. Certain Women is set for release on October 14th.

Thoughts about either one of these films? 

3. Well, now that the dust has sort of settled on the Summer blockbuster season, a bunch of articles are lamenting that 2016 is one of the worst Summer seasons. The New York Times lists over a dozen movies as financial disappointment (including The BFG, ID4 sequel, Alice Through the Looking Glass, Warcraft, etc. and perhaps the biggest dud of all, the Ben-Hur remake.

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But it seems that we’re only looking at big, tentpole movies. Seems that quite a few smaller movies like Lights Out, Bad Moms, The Purge: Election Year, Sausage Party, and this weekend’s box office winner for a second week in a row, Don’t Breathe have beaten industry expectations. Most of those movies’ budget are well below $20 mil, but have grossed at least twice its budget.

Which of the Summer sleeper hits are your favorite?
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4. It just dawned on me after I started watching Netflix’s Stranger Things that I’ve been watching two big 80s/90s stars making a comeback on TV. Winona Ryder is one of the stars of Stranger Things, and of course you all know Christian Slater has won acclaims for his performance in Mr. Robot.

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I don’t remember either one of those working steadily, apart from some small roles here and there. But there are some 80s/90s actors who have been working pretty steadily up until now, the likes of Robert Downey Jr. (since his comeback in Iron Man), Rob Lowe, Arnie, Sly, etc. It made me think of their peers a couple of decades ago who I haven’t seen in ages… Andrew McCarthy, Jami Gertz, Sherilyn Fenn, Molly Ringwald, and pretty much everyone in The Breakfast Club, boy those were big names when I was in high school!

So which of your favorite 80s/90s star would you like to see make a comeback on TV?

5. This month Five for the Fifth‘s guest is Mark from Marked Movies! I’ve talked about it a few times the topic here but it’s always a fun one to discuss.

What actors people take a disliking to? Not that they’re bad actors but there’s something about their style, or even appearance, that you just don’t take to.
Or alternatively, what actors people have previously disliked but over time began to appreciate them?

Well, I’m sure you have an answer for either one of Mark’s question. Let’s hear it!


Well, that’s it for the SEPTEMBER edition of Five for the Fifth, folks. Take part by picking a question out of the five above or better yet, do ‘em all! 

Everybody’s Chattin + Spotlight on ‘Macbeth’ First Official US Trailer

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Hello hello! How is this only Wednesday? I feel like I’ve been at work all week. Well, here in the States we’re anticipating a three-day weekend with Labor Day on Monday. YES!!

Well, I was gonna do this community blogging post last week but somehow time ran away from me so I made sure I do it this week.

So about those links…

Horror maestro Wes Craven died this past Sunday, Rodney said his farewell, while Dan posted a top 10 tribute.

Katy posted a bunch of awesome artwork of Summer movies, what a great find!

Abbi reviewed a book she REALLY loved, see if it’s something you should pick up.

As it’s back-to-school week for a lot of you, Jay posted two uplifting movies just in time for that time of the year.

Khalid paid tribute to the FX series THE SHIELD, which premiered 13 years ago.

Woo hoo!! Brittani reviewed the Scottish rom-com Not Another Happy Ending, which launched my current obsession on the French Adonis Stanley Weber

Now a few reviews of movies I haven’t seen yet but will definitely rent…

Keith reviewed Z For Zachariah | Josh reviewed Testament of Youth | Tom reviewed Straight Outta Compton


Trailer Spotlight

I can’t believe I haven’t talked about this film on this blog much. I also thought we’ve seen a trailer but what we got a few months ago was just the teaser, so we finally got an official one. Behold…

Heh, after the high of watching this comes the agonizing wait. Hey at least folks in the UK only has a month to wait when in opens on Oct 2 but this film doesn’t come out until December 4 in the US. WTF??!!

Macbeth, a duke of Scotland, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.

You probably sneered why I even put the film description here but hey, not everyone has the privilege of studying Shakespeare growing up or even see this play live on stage. Wish I had, but I’m not wholly familiar with this story even though it’s been adapted on screen multiple times. So this feels fresh to me, and boy is this going to be an eerily-gorgeous film. I read somewhere that it’s as if the entire film was shot in Instagram, ahah well, it IS rather somber & gloomy looking but it does fit the subject matter which isn’t exactly a sunny, cheerful story.

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In the Summer we had Mad Max and in the Fall/Winter, we’ve got Mad Mac!

All that cunning, deceit and treachery set against such a lush panorama and stylistic slo-mo… a cross between Braveheart + 300 in the battle scenes… lest we forget Michael Fassbender was quite memorable as Stelios in 300, who died alongside King Leonidas and said ‘It’s an honor to die at your side.’ Boy, the career trajectory of Fassbender & Gerry Butler is enough to make one pause doesn’t it? But then again, Fassy certainly is one w/ the chops and he’s much wiser in his film role choices.

In any case, another main draw for me here is Marion Cotillard‘s casting as Lady Macbeth. The French actress can do no wrong in my eyes… and she looks positively radiant in this trailer. I’m also curious to see Jake Reynor who plays Malcolm, the elder son of the slain King Duncan. I interviewed him last year for the latest Transformers movie and really, I wish I could just ask him all about THIS film instead.

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David Thewlis as Duncan & Jack Reynor as Malcolm

I don’t usually say this to many movies, but this one does have that epic quality about it. Reviewers have hailed this film from the film festival rounds, though I try not to read many of them at this point. I haven’t seen anything the Aussie director Justin Kurzel‘s done, but he’s one got one feature film under his belt. Yet he’s working with BOTH Fassbender and Cotillard again in Assassin’s Creed.


So are you excited for MACBETH?

AUGUST 2015 Viewing Recap + Movie of the Month

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Well, we are officially entering the ‘ber’ month which means ‘brrrrr’ months are upon us. But I do love Autumn here in Minnesota though so let’s not think about Winter yet.

The highlight for me this month is that I’ve kept up on my script and it’s about 70% done now. I mean obviously there’s going to be a ton of rewrites and polishing but I’m just glad I’ve kept up with it almost daily, and thus I haven’t been blogging [and visiting others’ blogs] as much lately. In any case, I might blog even less in the future, but I don’t plan on giving that up completely, at least not yet.

Posts You Might’ve Missed

Liebster Award

A Trio of Casting News
I’m Excited About

Guest Post – Musings from a part-time cartoon artist:
Maybe some comics shouldn’t be movies

five_newtomeactors_2015Music Break: Pride & Prejudice and
Fave Scores from Dario Marianelli

Interview with the filmmakers of
NO ESCAPE: John Eric & Drew Dowdle

Blogathons

Against the Crowd:
a battle of two sword-n-sandals movies

The Five Emotions Blogathon

Thursday Movie Picks #56:
Alien Invasion of Earth

Reviews

Mission Impossible: Rogue Nation

The Man From U.N.C.L.E

Dark Places [guest review]

The End of the Tour

Solomon Kane

Casting By Documentary

No Escape

New-to-me Movies:

Hitman: AGENT 47 (2015)

Seeking A Friend For the End of the World (2012)

La Banda Picasso (2012)

The Last Flight (2009)

Two Days One Night (2014)

I tried to watch CHERI with Michelle Pfeiffer but just couldn’t finish it. I just think Rupert Friend is so awkward in the title role. Heh, his character is supposed to be a young French Casanova, wish they had cast Stanley Weber who’d be more age appropriate AND perfectly seductive in the role.

Rewatches:

Mission Impossible: Rogue Nation

Pride & Prejudice TV miniseries (1995)

Persuasion TV movie(2007)

Sword of Vengeance (2014)

Top Secret! (1984)

Hot Fuzz (2007)

TV Shows:

Dancing on the Edge

Movie of the Month

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I had been waiting to see Two Days One Night for ages. I thought this was going to hit Netflix back in June. Well, it was well worth the wait. It’s such a compelling human drama, right from the start the story truly sucked you in and Marion Cotillard gave such an amazing performance. It’s an understated role and they made her look so plain her as a young Belgian mother Sandra who discovers that her workmates have opted for a significant pay bonus in exchange for her dismissal. So the title refers to the time she has to convince her colleagues to give up their bonuses so that she can keep her job.

This is the second film by the Dardenne Brothers‘ work after The Kid with the Bike and it’s definitely a superior one. It’s such a minimalist film in terms of style, the performances are naturalistic, but the story REALLY packs a punch. I was fully invested in the character’s journey and it really pays off in the end. It’s certainly one of miss Marion’s most astounding work in her already illustrious career. I can’t recommend this one enough folks, see it pronto if you haven’t already.

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So that’s my AUGUST recap. What’s YOUR fave movie(s) you saw this month?