I gave the "The Revenant"4 Stars and consider it a masterpiece. Leo is an amazing actor and I truly believe when it's all said and done he will go down as the greatest of all time. When you watch his performances it's as if you're witnessing history and live events as they are actually being played out. Leo transforms into the character like no other. He's due for about five Oscars by now; this year it's going to impossible for voters to ignore him.
Pretentious nonsense from a critic trying too hard ; Matt Brunson is a desperate writer looking for attention in all the wrong ways. In his attempt to sound more refined and knowledgeable, he loses all credibility as a writer and a critic. One can only assume that his audience consists of haughty losers who look down their nose while smelling their own flatulence.
Silly review the writer lost me when he wrote "Like Wolf, both are stylistic studies in overkill, and both serve as masturbatory material for a segment of American males who clutch them like crucifixes in an attempt to ward off the encroaching new world order that they feel downgrades machismo and manliness."
Sounds like writer is threatened by the American male. that comment has very little to do with the movie and more to do with his own projections.
Love this review! So many witty burns to savor on the tongue: "stylistic studies in overkill...clutch them like crucifixes in an attempt to ward off the encroaching new world order...Mel Gibson's garish snuff films...like those cute pets in The Incredible Journey,...injecting elements of mysticism (apparently a requirement for any director making a movie...he's committed to his grunts, groans and growls, but then again, so was Charles Bronson." Anyone who can work both the madness of Mel Gibson and the cuteness of Incredible Journey into one review is my hero.
Loved it. Unlike those who are threatened by it and feel lesser for it. Find a safe space and grab a coloring book instead.
Uh, "...stylistic studies in overkill, and both serve as masturbatory material for a segment of American males who clutch them like crucifixes in an attempt to ward off the encroaching new world order that they feel downgrades machismo and manliness..." Say what? Dude, that schtick was cutting edge, like, eight years ago.
What happened to Overrated Underrated?
I enjoyed it. Nowhere near as good as the originals. But far better than the prequels. Although I did enjoy Episode III, it still didn't have that Star Wars feel to it that Abrams has managed to recapture. And I give him major credit for using real set pieces and special effects. Not all this CGI crap the prequels had.
The movie is a joke. It's a crappy clone of a new hope and is the worst of the bunch. Would rather watch the prequels than this garbage.
I read your review. Great to know you also enjoyed the movie as much as i did.
It was a really good film, but I personally found Gravity to be better. It delivered far more when it came to both emotion and action. I got fed up with the pacing of the plot (in The Martian). I think they could have started it possibly from somewhere in the middle and we could have been told beginning of the plot through flashbacks, recordings, news stories, conversations on Earth, etc. it might have been cool if we entered the story as he was traveling in the rover to the crater and we learned piece-by-piece how he got there and what he was doing just so the story didn't drag on so much. That isn't always popular with viewers so I get why they went with a more clearer plot structure. Another thing is that the connections between the crew, the commander and Mark didn't feel sincere or real. Constant, lighthearted teasing does not equal the total commitment, trust and closeness that was being translated through their actions. It seemed really forced to me. I also didn't understand the motivations behind Terry, the NASA director. At first he seemed like he was the clear "villain" in the story and that he would cause a real obstacle to Mark's rescue, but his influence on the plot really thinned as the movie went on and he faded to almost a background character. I know, I know, he delayed communication with the crew about Mark and canceled the inspections on the provision pod but my point is he was set up to be an antagonist and he ended up almost like a stern but somewhat well-meaning principal who can't control these crazy kids from following their hearts. Anyways, I did really like the film and I'd love to re-watch it at home so I can relax in soft pillows and take stretching breaks, cause it's one long-ass movie, but in my opinion I don't think it was as impactful and as well-done as Gravity.
I think they're afraid to go against the generic formula because they tried that with ROCKY V. And that didn't go so well.
Thanks for writing, John. But "Today as yesterday, conservatives and corporations (in the 20th c) rule America with the power of money and those without it, fight among themselves and cannot begin to overcome this social imbalance of wealth and inequality."
You're not telling me or anyone else something we don't already know.
With all due respect, if you have evidence supporting your claim, you should hire a good lawyer and take this to court rather than cutting and pasting your lengthy comment on every online review of the film. I wish you the best if you undertake such an endeavor.
Response to Matt
With all due respect, you talk about history as if you think you know it.
I volunteer that there is no revelation implied from the Trumbo film as there is little difference in the ruthless self-interest of men of means and their politicians of the 21st c from the 20th to the 19th c except a more efficient media.
Today as yesterday, conservatives and corporations (in the 20th c) rule America with the power of money and those without it, fight among themselves and cannot begin to overcome this social imbalance of wealth and inequality without leaders like Lincoln or TR or FDR or MLK or even Lyndon Johnson (by default).
But the purpose of my comment, gentlemen, was to point out that the premise of the Trumbo film is derived from lies, innuendo and misinformation.
I do not judge the fine performance of the actors in this make-believe film, but I take exception that there is some value or substantive message learned from untold truth and the manipulation of facts.
Thanks for writing, Leroy, though (to misquote Sam Cooke) apparently you don't know much about reading comprehension. Nowhere do I state that Trumbo was a "hero"; in fact, I state that he was not a "saint" and was a "hypocrite."
One doesn't have to find Trumbo a hero to recognize that what was going on during this period was horrific, tragic, and a national disgrace. Of course, if you DO agree with what was being done by HUAC et al, then the stateside terrorists have already won.
And, uh, the fact that he was an unrepentant Stalinist. Only much later in life did he remotely show remorse and even then haltingly. Holodomor anyone?
The fact this reviewer refuses to acknowledge this man, talented though he was, as an apologist for massive atrocities, rather as a hero...well. As Sam Cooke sang, "Don't know much about history."
your Victor Frankenstein is interesting Harvey raved about it said it was a must see Joe
The movie Trumbo completely misrepresents the avarice conniving man that Trumbo was, he was all about the money and getting attention, he was not a hero, just a grandstander who took from others if he could get away with it.
So how about the truth and getting the facts right about Trumbo.
Fact – Trumbo was a fast writer and during the Blacklist period he was forced to write and rewrite scripts for less money for low-life producers like the King Bros and anyone else who paid him under the table. Trumbo did it for the money. The King Bros’s nephew Robert Rich, who was listed as the author, was an office errand boy and bag man who picked up scripts and delivered cash to pay Trumbo.
Fact - Roman Holiday may be Trumbo’s story for all I know, but he was not in Italy during the shooting of the film where most of the script was re-written by Director Billy Wyler and screenwriter Ian Hunter. They wrote script on set day to day and the nights before shooting the film, as was Wyler’s method of film making. Ian Hunter’s son would not return the Oscar when asked by the Academy to do so in order that the Academy issue Trumbo the Oscar decades later.
Fact - Dalton Trumbo lied about being the original author of the 1956 Oscar winning film, “The Brave One”. My father wrote the original screenplay.
Fact – “The Brave One” script marked “#1” with 170 pages is archived in the University of Wisconsin Library where Trumbo donated all his work. The “#1” script’s Title page was removed and no author was mentioned.
Fact - The “first version” (133 pages) and “second version” (119 pages) of the scripts listed “Screenplay by: Arthur J. Henley”.
Fact - The last two scripts listed “Screenplay by Merrill G. White and Harry S Franklin, Based on an Original Story by Robert L. Rich”.
Fact – When the King Bros listed their nephew Robert Rich as author they had no idea that “The Brave One” would be nominated for the Oscar for Best Original Story.
Fact - Robert Rich did not attend the Oscar awards because he was cooperating with the FBI who were watching Trumbo and he didn’t want to be publicly humiliated when the truth came out (FBI File Number: 100-1338754; Serial: 1118; Part: 13 of 15).
Fact - White and Franklin were editors and acting as shills for Trumbo before and after “The Brave One” movie. The King Bros did not initially intend that their nephew Robert Rich be a front for Trumbo. White and/or Franklin were fronts for Trumbo. It was only after the media played up the no-show at the Oscars that the King Bros and Trumbo saw this as a way to sell tickets and Trumbo could play the media as well as he wrote.
Fact – My Spanish father, Juan Duval, was a member of the Writer’s Guild of America (West). The WGAW destroyed my father’s original screenplays, which I’m told was the practice of WGAW.
Fact - Juan Duval, poet, dancer, choreographer, composer and director of stage and film, wrote the original story/screenplay that The Brave One was based and presented it to a shareholder in the King Bros production company, who then gave it to Morrie King (one of the three King brothers). My father died before film production began.
Trumbo re-wrote the screenplay and removed 50+ pages from the original script, some of which, was about the Catholic ritual of blessing the bulls before a bull fight.
If you read the screenplay marked #1 and the redacted letters in Trumbo’s book, “Additional Dialogue, Letters of Dalton Trumbo, 1942-1962” and compare them to the rewritten scripts and un-redacted letters archived at the University of Wisconsin Library, it’s obvious that Trumbo didn’t write the original screenplay, otherwise, why would he criticize and complain to the King Bros in so many letters about the original screenplay.
My father was born in Barcelona, Spain in 1897, he matriculated from the Monastery at Monserrat and moved to Paris in 1913, where he was renowned as a Classical Spanish and Apache dancer. In 1915, he was conscripted into the French Army and fought in Tunis and then at Verdun, where he was partially gassed and suffered head wounds. He joined the US Army after WWI and was stationed in occupied Germany for 2 years before immigrating to the US where he set-up a Flamenco dance studio in Hollywood, CA. My father worked in film and stage productions, and choreographed at least one sword fighting scene with Rudolf Valentino and made movies in Mexico and Cuba.
In 1935, my father directed the highest grossing Spanish speaking movie up to that time, which starred Movita (Marlon Brandon's second wife). My father's best friend was Federico Garcia Lorca and he tried to talk Lorca out of re-entering Spain in July 1936. In 1937, my father published a series of articles about the presence of Nazis in the Canary Islands and in one of the articles, he named who murdered Lorca and why.
My father joined the US Army Air Force in January 1942 and was sent to Tunis where he had fought in WWI. He was fluent in five languages and served as a Tech Sargent. He was Honorably Discharged for ill health in 1943, the same year that Trumbo joined the Communist Party.
Mizi Trumbo refused to talk to me about The Brave One original screenplay.
If Trumbo posthumously received the Oscar for the Roman Holiday story, then my father’s original story which the movie “The Brave One” was based certainly deserves to be recognized by Hollywood and the Academy of Arts and Sciences and posthumously awarded the Oscar for “Best Original Story”.
Before former Director of the Academy of Arts and Sciences Bruce Davis retired, he told me that because of the documentation that I provided him, he was inclined to believe that my father wrote the original screenplay which the movie, “The Brave One” was based.
I request that the Academy recognize my father’s work and issue him an Oscar for his original story and screenplay which the 1956 movie, “The Brave One” was based.
Comment by John Hart Duval
Personally, to me In Cold Blood is one of the best films ever made.
This is another racist movie where fat ugly Seth Rogen plays an explicitly Jewish character, while good-looking Jewish actors (Joseph Gordon-Levitt and Lizzy Caplan, this time) play non-Jews. As a matter of fact, despite being the son of two Jewish parents, Gordon-Levitt has never explicitly played his own ethnicity once in his entire 30 years of acting. Is there a problem, Joey?
This is the same racist trick Rogen pulls every time. He always casts himself as an explicit Jewish character opposite non-Jewish characters played by good-looking Jews (Paul Rudd, James Franco, Dave Franco, Zac Efron, Halston Sage, etc.).
And this new film is from the same studio, S.S.ony, that released last year’s Fury, about fighting Nazis during WWII. Fury starred no less than four Jews (Logan Lerman, Jon Bernthal, Jason Isaacs, and Shia LaBeouf), yet none of the characters were Jewish and Jews and the Holocaust were never mentioned. Gee, maybe they should have cast Seth Rogen as a “funny” Jewish soldier who died early on in the film.
Actors of fully Jewish background: Logan Lerman, Natalie Portman, Joseph Gordon-Levitt, Mila Kunis, Bar Refaeli, James Wolk, Jennifer Jason Leigh, Julian Morris, Adam Brody, Esti Ginzburg, Kat Dennings, Gabriel Macht, Erin Heatherton, Odeya Rush, Anton Yelchin, Paul Rudd, Scott Mechlowicz, Lisa Kudrow, Lizzy Caplan, Emmanuelle Chriqui, Gal Gadot, Debra Messing, Robert Kazinsky, Melanie Laurent, Shiri Appleby, Justin Bartha, Sarah Michelle Gellar, Margarita Levieva, Elizabeth Berkley, Halston Sage, Seth Gabel, Corey Stoll, Mia Kirshner, Alden Ehrenreich, Eric Balfour, Jason Isaacs, Jon Bernthal, William Shatner, Leonard Nimoy.
Andrew Garfield and Aaron Taylor-Johnson are Jewish, too (though I don’t know if both of their parents are).
Actors with Jewish mothers and non-Jewish fathers: Jake Gyllenhaal, Dave Franco, James Franco, Scarlett Johansson, Daniel Day-Lewis, Daniel Radcliffe, Alison Brie, Eva Green, Joaquin Phoenix, River Phoenix, Emmy Rossum, Rashida Jones, Jennifer Connelly, Sofia Black D’Elia, Nora Arnezeder, Goldie Hawn, Ginnifer Goodwin, Amanda Peet, Eric Dane, Jeremy Jordan, Joel Kinnaman, Ben Barnes, Patricia Arquette, Kyra Sedgwick, Dave Annable, Ryan Potter.
Actors with Jewish fathers and non-Jewish mothers, who themselves were either raised as Jews and/or identify as Jews: Ezra Miller, Gwyneth Paltrow, Alexa Davalos, Nat Wolff, Nicola Peltz, James Maslow, Josh Bowman, Winona Ryder, Michael Douglas, Ben Foster, Jamie Lee Curtis, Nikki Reed, Zac Efron, Jonathan Keltz, Paul Newman.
Oh, and Ansel Elgort’s father is Jewish, though I don’t know how Ansel was raised. Robert Downey, Jr. and Sean Penn were also born to Jewish fathers and non-Jewish mothers. Armie Hammer and Chris Pine are part Jewish.
Actors with one Jewish-born parent and one parent who converted to Judaism: Dianna Agron, Sara Paxton (whose father converted, not her mother), Alicia Silverstone, Jamie-Lynn Sigler.
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