Profound statement on Lothian Road, Edinburgh.
Meet the Parents (2000) is forever hilarious.
It’s finally on Netflix, the streaming platform the excuse to watch once more what you’ve viewed 20-odd times already.
This is the ultimate comedy about Murphy’s Law, with one inane episode after another. But they are all credible and you believe every moment. It’s so well shot and edited, with the awkward reactions and expressions half of the hilarity. Moreover, it defines awkward. And there’s a seasonal quality to it, like it should be mandatory Christmas viewing.
Sadly, together with Analyze This (1999), it gave De Niro the impression he was first and foremost a comedian, and it kickstarted almost two decades of utter shite from the legend. This includes the truly horrid sequels to this masterpiece.
The Matrix Resurrections (2021). I turned it off.
I’ll keep this short.
I lasted 54 minutes but couldn’t take any more pain.
It’s nothing but a desperate parody of the original.
I wondered why or how Keanu Reeves was in it. It’s either blackmail material or the makers of this sorry sack of shit were in possession of another sad-with-a-sandwich meme.
It’s visually so anonymous and could be any derivative movie among a thousand.
It has nothing to say.
And every character in it I wished to flush down a toilet.
It’s pointless.
Bye for now.
The Lighthouse (2019) is out there.
This movie defines fate and foreboding, superstition and subterfuge. It’s ostensibly about two blokes with shady pasts, but segues to a hysterical Puritan sermon on the dangers of drink, with a style which harks back to German Expressionism
It all gets a bit hardcore. You’re on a lighthouse island and with no escape, stranded with two total lunatics, the nominally quiet one and the macho man – and a descent into madness is the only outcome. It’s a gnarly movie.
And subtitles are needed for Willem Dafoe.
St James Quarter.
I’ve seen worse, but I’ve seen better. In all honesty, I just miss the stinking thing which signposted the gateway to Leith. Same shops, but fancier. Welcome to Hell.
Munich – The Edge of War (2021). What a dire experience this waste of a movie is.
I was a bit dubious of this because it’s a British production about WWII, which are typically dull, mannered, mawkish, and entirely made-for-TV fare. It saddens me to report that Munich is all of the above and worse. It’s fucking atrocious. I don’t know where the tendency came from to depict these world-historical events from the POVs of superfluous (and entirely made up) secondary characters, but it’s vexing. Maybe just make a movie involving the actual statesmen, nah? This pointless, drama school-level acted show even has its forgettable range of third-wheels hog the screen time.
The screenplay is annoying to the max, every line of dialogue straight out of an alleged quote stemming from an alleged secondary source. One accidental highlight: I was taken aback by a smug-as-fuck SS character who appeared to be doing a very bad impersonation of the August Diehl bad boy from Inglorious Basterds (2009) – he had his voice and mannerisms and looked like him a decade on. It’s a truly embarrassing copycat acting job. And then I realised it was actually him. It’s the only what-the-hell and almost interesting moment of a placid and pointless excursion into revisionism.
Trash. But even cruddier than your usual sort because the topic is important. I’ve read a few reviews and it’s highly regarded, with a whopping 96% rating on Rotten Tomatoes. What are these critics on?
Wanderings and ... wonderings. 