Can I still call it contemporary when the film is fourteen years old – anyway it’s “story is based in the same time it’s been filmed”. Not changing the tag, that’s way too long.
They don’t make films like these anymore: wholesome without looking and feeling plastic. Yes, you can see everything coming from a mile away, but it still seems genuine (and all quite brown-ish, but that might just have been the 2010s). It’s also super easily-written sequel material, but I guess there’s no interest for book-focused romances in the 2020s (2030s?).
Female friends at different stages of their (romantic) lives come together for a book club. Solely for Jane Austen books, yes indeed. Time is divided pretty evenly between the four main characters, and none of the story lines are horrible and/or boring.
It all leads to an end with a dopey smile: look at books making things better. Honestly Netflix; I’ll write the sequel for you if the original author doesn’t want to.
Also known by Aladdin or any other story involving a genie and/or three wishes. Even ‘it’s not laugh, I just want her attention through wealth’ is used. It’s not a bad film, it’s just impressively mediocre.
This time the story is set in a contemporary Asian city and the princess is a young celebrity. She and Din grew up together before her father moved them to have a better chance at life. Meanwhile Din is struggling to get by and basically working to make enough money so he can meet Li Na on “her level”.
Even the genie, this time a wish dragon, paints by numbers. First he’s snotty, than confused, than finally learns that there’s more to life. He’s well-created and okay-ish voiced but – meh. A lot more of the myth(s) behind it would have elevated it to something more; now the entire film is nothing more than the uninspired decision for a rainy Sunday during which we have to slightly entertain the kids until dinner.
Wat een zalig, mooi getekend en grappig filmpje. Met een rebellerende muis en een knorrige (ook wel rebellerende) beer maakte ik me een beetje zorgen dat het een heel kinderlijk en daardoor kinderachtig filmpje zou zijn, maar neen.
In een wereld van beren en muizen (die elkaar niet mogen) is Ernest een slampamper en Celestine een lastpost die te veel vragen stelt en niet hard genoeg werkt. Ze vinden elkaar door zijn honger (fysiek) en de hare (naar meer in het leven). En tanden, maar dat legt de film wel uit.
Misschien lijkt het alleen maar getekend, maar dan nog is het weer eens een animatie die stukken vriendelijker is voor het oog dan het felle platte dat tegenwoordig zo de standaard is. Het draagt ook bij aan hoe hartverwarmend en zacht dit verhaaltje en film is. Ondanks alles is het niet mierzoet en zitten er genoeg kleine grapjes in dat meekijken makkelijk ‘voor je zelf’ kijken wordt.
Can you call a story clichéd if it’s based on a true story? Because Fighting With My Family goes through several well-used tropes (unlikely hero, successful comeback after a lowest moment), but uh – guess it all really happened, so do you judge a story on it?
The family mentioned is a boxing family from Greenwich. All four are in the ring (the fifth is in jail), but the children aim for the gold: becoming a part of WWE. The family expects the son to get it (at least), but it’s the daughter. This causes a rift.
One that will be mended through True Familial Love, after some solo hardships and end with a successful comeback. It’s marketed as a comedy, but I’d say “slice of life”/”coming of age” with both siblings learning what they want and can expect from life. With some laughs, that’s true.
Aardige superheldenfilm die eens niet aan Marvel of DC Comics is gebonden. Echter niet helemaal origineel – gebaseerd op een roman.
Er is mooi (gemaakt) spektakel met een leuk plotje over superkrachten als drugs en een Eenzame Detective die hier natuurlijk Iets mee te maken heeft.
Daarbovenop is er net genoeg verdieping om niet verveeld te raken maar ook niet in de lach te schieten door alle kronkels, maar vooral fijn: niet eindelijk veel vechtscènes die alleen maar tijd vreten en de kijker duizelig maken.
Dus voor hen die wel graag een beetje super wilt zien, maar op de droge, Franse manier waarop zij science fiction behandelen: dit is een heel aardig filmpje.
Minding the Gap is a 93 minute documentary
Betty is a two season TV-show, 12 episodes of 30 minutes
And both of them involve skating, why I combined the two. Minding the Gap is a sober documentary about life in a small town with an even smaller amount of possibilities to get out of the rut your ancestors created for you. The documentary maker returns after a time and goes looking for all his (skater) friends. Not all of them got out – mentally and physically.
This might all sound terribly depressing and it’s definitely not a fun, cool watch, but director Bing Liu manages to make you feel for these strangers like it’s your own set of friends.
Betty keeps things (most of the time) a lot more lighthearted. It’s based in reality with the skateboarders having been plucked from the street and allowed input to stories (according to the credits), but HBO puts a very cool, glamorous, quick-living sheen over it. It’s a group of diverse female teens in New York that skate. There are a few (teen-related) problems, but mostly it’s just cruising: little goes permanently wrong.
That also turns it into brightly coloured wallpaper pretty quickly. Or maybe I’m just too old and not cool enough.
Either way, I still want to get a skateboard and try my hardest to master it now.
One of those films you miss the theater-run of, slightly forget about until they pop up somewhere and trigger the “Didn’t I want to see this?”-thought. Maybe I should start a To Be Watched list.
The shoplifters don’t just shoplift goods. This is a mild spoiler that won’t make sense until the end of the film. In the beginning of it, it’s just a poor family adopting a neglected toddler. Like in 10 Minutes it is shown that you can create your own family – this one is just built on much less sturdy foundations.
The funny thing is that for a long time little seems wrong with those foundations. Yes, some dodgy things happen and what are the exact relationships between everyone but by golly: at least they try t stay upright in a society that doesn’t even notice that it keeps kicking them down.
I’m also impressed by the acting and the thin balance between sharing and silence – it never gets annoying that we don’t know everything (yet). Except for that one story line; I must have missed the clues here. Or it was simply shoplifted from the story: everything and -one can clearly be.
Kinda started this out of boredom, decided to stick with it because it told me a lot about Hollywood (history) I didn’t know yet. And showed a lot of cool stunts (which are usually also very dangerous, shouldn’t be reenacted and there should probably be a conversation about how it’s time to CGI stunts before anything else).
It’s the untold story, but at the same time and all too familiar one: women aren’t as appreciated in their job as men (in the same function).
Starting out, it was more women than men doing stunts. Then it turned out that money was to be made, and men came in in droves. Women have to be a carbon copy of the actress they replace: men are done after putting on a wig. Men are hired for every job (background victims, for example) with little experience, women didn’t because they “didn’t fit the bill completely” or “I don’t like to see women shot” – director’s quote.
Yet they – as in any other job – persevere(d). Sometimes by doing the too dangerous job (an interviewed stuntwoman broke her back twice), but they have so much passion for what they do that it’s hard to stay away.
Inspirational and motivational – both about standing your ground in the work place and I really want to pick up all kinds of martial arts, boxing and trampoline jumping right now.
And then there’s the last rose (although I could go looking for what other flowery shows and films Netflix has to offer, of course).
Another protagonist who wants more (music-related things) from life as well. This time she isn’t tried down by kids, but by an immigrant mother. We’re still doing country as a soundtrack, though.
Real life throws an ugly wrench in those dreams, underlining that dreaming big is harder in unwelcome surroundings (think about aliens and borders).
This rose is a bit sleeker than the previous one (maybe an UK/US difference?) but still shows that American films can be contained and without any sentimental circus to pull at your heart strings. There’s enough drama without, after all.
Poor Rosario just wants to sing and make music, and the way Eva Noblezada plays it you wish her the world. A lovely conclusion to my rose-trilogy.
Rose-Lyn, fresh out of lock-up, has to pick between parenthood or carrying on purchasing her dream of becoming a country singer. Two kids and a record might be an inspiration for that, or an anchor. Especially if you’re in Glasgow opposed to Nashville, and no-one there supports your dream.
What’s really good here is how genuine the struggle looks and feels. Yes, she’s being selfish in this endeavour, but there’s no other option and only because she can’t have both. Can someone help Rose-Lyn, because she can’t.
It’s a fictional story, but it feels like you’re following someone’s real story. Combine that with the fun soundtrack (again!) and you have a lovely film.