John Connor, now a troubled young adult, is again pursued (and protected) by machines from the future. A slightly tongue-in-cheek threequel – apart from the pleasantly downbeat ending – which is heavy on chase-based action, though light on violence and plot. It’s entertaining enough, if a step down from its predecessors.
Month: November 2019
The Incredible Burt Wonderstone (2013, dir. Don Scardino)
An arrogant and jaded Las Vegas stage magician has to find himself again after being sacked. Inconsistent but intermittently fantastic comedy; its perfunctory redemption arc story is bolstered with some great gags and a dark undercurrent throughout. Alan Arkin, as ever, steals the movie.
The Irishman [AKA I Heard You Paint Houses] (2019, dir. Martin Scorsese)
![The Irishman [AKA I Heard You Paint Houses] (2019, dir. Martin Scorsese)](https://255review.files.wordpress.com/2019/11/ti.jpg?w=620)
A now-aged mob hitman reflects. A stunning revisiting of themes preoccupying Scorsese throughout his career; gang life, organised crime, Catholic guilt. Sombre and melancholy, and Ellroy-like in its alt-history approach to the American 20th century. A technical, dramatic and stylistic marvel, with fine performances all around, none less than from Pesci, who’s revelatory here. Hugely recommended.
Kevin and Perry Go Large (2000, dir. Ed Bye)
Two teenage wannabe DJs go on holiday to Ibiza to lose their virginities. 90s sketch show characters get the send-them-on-vacation spinoff plot; gross-out humour and a surprisingly charming undercurrent make for a patchy flick, but Enfield and Burke capture adolescent friendship well, with the latter’s physical performance tremendous.
Rambo: Last Blood (2019, dir. Adrian Grunberg)
Disjointed and clumsy film. Rambo takes revenge on Mexican human trafficking killers. Off tone and unfortunate follow up, wasting good characters with gory but cut to pieces nonsense. The standard Rambo body count applies. All else is dull and uninteresting.
A second opinion can be found here
Overdrive (2017, dir. Antonio Negret)
Two car-criminal brothers have to steal a rare sports car to repay a debt. Glossy, slick, and glamorous escapist entertainment made with some skill. Indebted to Gone in 60 Seconds / Fast & Furious flicks, with a dash of Europacorp-ish South of France style. Fun while it’s on, and good-looking throughout.
Spider-Man: Far From Home (2019, dir. Jon Watts)
Peter Parker, on a European school trip with his classmates, comes into contact with both elemental monsters and a new superhero, Mysterio. Upbeat if overlong blend of teen road trip comedy and standard heroic action thrills, acting as a coda to Avengers: Endgame. Well-played and likeable, if episodic on several levels.
Inside Man (2006, dir. Spike Lee)
An embattled detective tries to work out how an unorthodox bank robbery became a hostage situation. Smart heist/siege movie that works as an intelligent genre piece and a sly political commentary on post-9/11 America. Lots to enjoy, with clever performances all around and plenty to think about. Recommended.
Men In Black: International (2019, dir. F Gary Gray
A probationary agent finds herself partnered with an MIB legend when an intergalactic crisis looms. Stuttering series reboot, transplanting a star pairing from another franchise with indifferent results. Okay action, poor comedy. Misunderstanding what made the first movies successful results in a film that was more fun to make than it is to watch.
Men In Black 3 (2012, dir. Barry Sonnenfeld)
Agent J has to travel back to 1969 and team up with the younger Agent K to defeat a time-travelling villain. Superior third instalment, building on fan affection for our alien-fighting duo, and working in terms of comedy, pathos and action. The best of the series.
255 Review 