Showing posts with label Christoph Waltz. Show all posts
Showing posts with label Christoph Waltz. Show all posts

Saturday, 18 January 2020

The Legend of Tarzan (2016)



Tarzan, having acclimated to life in London, is called back to his former home in the jungle to investigate the activities at a mining encampment.

Mildly entertaining Tarzan variation has good effects, lively action and humor; performances, however, are adequate at best.


Tuesday, 11 December 2018

Downsizing (2017)



A man realizes he would have a better life if he were to shrink himself to five inches tall, allowing him to live in wealth and splendor.

Although this movie tries to sell itself as a satire, it is very low on bite, but otherwise quite entertaining and endearing.


Tuesday, 27 December 2016

The Zero Theorem (2013)



A hugely talented but socially isolated computer operator is tasked by Management to prove the Zero Theorem: that the universe ends as nothing, rendering life meaningless.

Intended as a dystopian satire with a message about the meaning of life the result is  haphazard, incohesive and finally disappointing; cast and visual effects are worth the watch, though.


Tuesday, 5 April 2016

Ordinary Decent Criminal (2000)



A brilliant, flamboyant master criminal Michael Lynch is more interested in his image and his posterity than the actual profit from his ill-gotten gains.

Covering the same (true) story as John Boorman's brilliant The General this version sucessfully manages to emphasize the humourous aspects and entertains quite well.

Halliwell (no star): "Partly based on the true-life exploits of Martin Cahill, this is a run-of-the-mill thriller with some unconvincing cast."

Maltin*1/2: "The main character is so arrogant and and unlikable that it isn't fun to watch him taunt authority. Fiorentino and Spacey fumble with their brogues in this otherwise forgettable film."

 

Sunday, 31 January 2016

Big Eyes (2014)



A drama about the awakening of the painter Margaret Keane, her phenomenal success in the 1950s, and the subsequent legal difficulties she had with her husband, who claimed credit for her works in the 1960s.

Adequately straightforward handling of an unusual and upsetting true story of artistic betrayal with a splendid cast.