leishayoung Reviews

Spiderhead (2022)

Is it 12 year olds reviewing these films? It's a perfectly good film

[7/10 · 27 June 2022]

I do not understand the negativity directed towards this film.

It is a perfectly good story with fine acting on every level.

Hemsworth's performance is spot on and the film holds your interest from start to finish, wondering how bad the situation is really going to get.

I recommend this film for a lazy Sunday afternoon. A solid 7 from me, it's not bad at all.

Father Christmas Is Back (2021)

Never thought it could get any worse than Love Actually.

[1/10 · 11 December 2021]

..and as someone who loves British comedy, this was just abysmal.

Weak story, weak character development and a complete lack of ANY instinct to feel empathy for ANY character in this film is just the beginning.

Honestly, I'm not British or American and this film just reeked of British desperation for an American audience.

Every British cliché for American audiences was ticked. That is, big manor house, stuffy English people doing stuffy English people things...and...oh, yeah...John Cleese (clearly just looking for a pay packet)...and...oh yeah...The Beatles.

...and then Kelsey Grammar shows up as the focal point of the film; a man we are supposed to believe was once English and moved to America and just became so completely Americanised that he diched EVERY aspect of his Englishness to become American through-and-through...bimbo on the arm and all.

What? It's absolutely ridiculous!

...and what of the mother? What the heck is she even in this film for but to show up randomly and tell her children who are, quite rightly, a little confused and angry about their completely absent father showing up out of the blue to...I don't know what? Why is he there? Why did he show up out of the blue with his simple American bimbo? And tell them to lighten up and just go with it...yeah...okay...mum...I'll just go with that...

I mean, mum? You suck!

Honestly, Grammar clearly just rang this one in for money, as did Cleese.

Honestly, England should really start hanging their collective heads in shame if this is what they have been reduced to.

Like I said, I am not British, but have so loved British humour over the years...but this is outright desperation to appeal to a dumb American audience...as smart Americans will dismiss this as I have.

How to Murder Your Wife (1965)

I'd like to murder them both

[2/10 · 10 September 2021]

Yes, this presents the worst of manhood and, we're supposed to believe that this 'zany' Italian woman is the much needed ying to his yang?

She drove me nuts from her first word spoken...which is completely in Italian, which, apparently makes it funny...when she just raised my blood pressure with every second of her screen time.

It's not funny, no matter how much they try to play off the 'bachelor who never really realised what he 'needed'', against that zany and over-the-top...but entirely insufferable Italian mumma/wife/sexual goddess.

I hated them both, and felt that they both deserved each other in relationship hell.

...a terribly average film on EVERY level.

The Hustler (1961)

Is it the subject matter or the film?

[7/10 · 19 June 2021]

I ask this question because I know there are men out there who will look at this film and just WANT to be Paul Newman. These men will see nothing more than a man shooting pool and all of the other stuff in-between.

...but, I know, deep down, that this film is ANTI anything that Paul Newman stands for in this film. He is a cocky loser in every way, and takes down a good woman who loved him and would have done almost ANYTHING for him, in the process. Yaaaay!

...and as a woman, I can tell you that it's incredibly ingratiating to be compared to a game of pool, but, then, maybe that's the point. Maybe that is how men relate to the world. That is, pushing balls into a net with a stick. Maybe that really is how men come to understand the world around them, and the pain they cause in the process.

...maybe that was the entire point of the film. Who knows?

All My Friends Are Dead (2020)

Lots of sleazy fun.

[9/10 · 1 June 2021]

I thoroughly enjoyed this film from start to finish, there was never a dull moment from the first death.

From great script and character development to acting and direction this movie will hit for anyone who is in for some sleaze, silliness and savagery. I was having so much fun I didn't want it to end.

The laughs come thick and fast, and the acting takes what could have been absolute exploitative schlock.and turns it into a very enjoyable horror/comedy. It even has some small 'funny' twists to make it all worthwhile.

I'm giving you my nine enthusiastic thumbs up Poland. Well done!

Antichrist (2009)

None of it is ANY use...

[2/10 · 9 October 2020]

...which is what I keep saying to myself every time I watch a van Trier film.

...and don't tell me it's because I don't 'get it'.

Honestly, there is no meaning to this film, at all! But kudos for getting Charlotte Gainsbourg to keep signing up for ritual humiliation, as she seems to have no other range in her acting repertoire but to take her clothes off, have sex, cry, seem desperate and hope that it some day amounts to an 'Oscar' nomination; just the NOMINATION that is, not that ACTUAL win.

Honestly! Who is buying this crap? Who? But more importantly...why?

The Paperboy (2012)

An average film saved by the wonderful performances

[7/10 · 12 September 2020]

I'm all for delving into the 'swamp' that is human depravity and desperation, but only if it has a point.

This film is salvaged from the incredibly simple and dismissible story-line, by the performances of all involved.

Well done to the actors, but not much else.

Glitch (2015–2019)

History and science come together

[8/10 · 11 September 2020]

This is a series that is incredibly complex, as it delves into the history of, particularly, Victoria (Australia), and it's convict and 'gold rush' past.

This series was filmed, largely, in Castlemaine in Victoria; a country town that is steeped in 'gold rush' history. Even down to the original 'shafts' that were dug out by people from all over the world to mine for gold; especially the Chinese, who became such a HUGE part of Australian (but more specifically Victorian) history, throughout the gold rush.

At one point, Melbourne was among the richest of cities in the world because of the gold rush, and the majestic buildings that stand today in Melbourne's CBD are testament the the wealth the city held during those precious years.

Castlemaine, remains today, one of the greatest monuments to Victoria's gold rush past, with a plethora of original miners cottages; a children's grave yard, a beautiful old (and active) cemetery, and plenty of old buildings, such as the old banks, and post office buildings to take you on a journey into the 'not-so-distant' past.

It is such a beautiful town, with so much history, and well worth a visit.

I can completely understand why they chose Castelmaine to, largely, shoot this series.

Having said all of this, the series stands on its own feet, as it takes us on a journey into the unknown. It explores death, resurrection and the ramifications of humans interfering in nature's (or god's) path.

Nature (or god, if that's what you believe), will do what it does, and as much as we WANT to interfere to make things better for ourselves, is this the right course for us?

There is so much more going on in this series, but I highly recommend it for several reasons:

• Its historical content
• Its broader questions about nature/god, and what it means when we choose to interfere with either (depending on what you believe)
• Its exploration into humanity and how we are all different

...and, accepting death as part of life.

Overall though, this is a series that will hold your attention and keep you coming back for more answers. The acting is solid; the cinematography stunning, and, although a little flimsy at times, the script holds up.

I highly recommend this series to anyone who just wants to be taken on an interesting journey.

Loved it!

The Little Stranger (2018)

Decline of the British empire

[9/10 · 9 June 2020]

Some are missing the grander narrative of this well written, acted and directed film; which is the decline of the British Empire after WWI and WWII.

...and with Brexit looming on the horizon (some may argue the final nail in the coffin for the British empire), this a timely film.

The house is a metaphor for Britain; a once grand-dam slowly falling apart as modernity draws nearer and nearer; the class structures of the past dissolving away; the lines between aristocracy and the upper-middle class blurring and the meritocracy ensuring that your name alone will no longer guarantee you a seat at the table.

We witness an upper-middle class doctor, who has worked for his position in society, slink his way into the lives of a once noble aristocratic family and slowly, but surely, destroy it from the inside, until all that is left is an empty shell of a house with a view of a council estate from the front window; the new Britain.

Of course, within this overarching metaphor is the doctor's story, however if you watch the film through this lens, it will make more sense for those who have struggled with its pace and mood.

Action Point (2018)

Endure it for the last 20 minutes.

[6/10 · 25 April 2020]

A truly terrible film with a truly hilarious and fulfilling ending.

I'm sure they wrote this film with the ending in mind and the rest of the story as 'just something they had to do to make it a film'.

Hated it mostly but loooooved the ending.

Make of this what you will.

First Reformed (2017)

Not a 'crisis of faith' movie, but rather... (potential spoilers)

[8/10 · 20 April 2020]

...a 'crisis of what faith has become' movie.

A powerful film that explores how extremism is born from faith no longer providing, or having EVER provided, what it always promises to provide; solace in times of darkness, and answers where there are none.

How can faith survive when it is so intrinsically linked to power and money? Who are the believers and who are the charlatans? Who's version of faith is the RIGHT one? And can faith survive when faced with such immense issues as climate change, corporate greed, fascism and religious extremism?

Amidst insurmountable odds a priest struggles to use his faith to heal not only others, but himself, to what end? Not necessarily a tragic one, as some people have surmised.

A strong film that doesn't try to be anything more than what it is, a character study of a sheep amidst the wolves, who just happens to be a priest.

True History of the Kelly Gang (2019)

Terrible, fascicle re-telling of a far more authentic reality

[2/10 · 5 April 2020]

From an Aussie with love...

Honestly! This attempt to take, who was essentially an outlaw with no REAL moral compass, and try and make this a religious/biblical tale?

I mean, give me a freakin' break! Please!!!

I knew the film-maker was trying to make it a 'biblical' epic, when I could no longer make sense of the narrative.

Yup! A sure-fire-way to ensure you cannot make heads-or-tails of a film is when it heads down the 'religious' path...and hence, when my interest wanes and I just want to turn off and go to bed...which is what I did.

Ned Kelly was an Irishman, who hated the English, especially the corrupt English 'law-enforcement' of Australia at the time (in fact, it wasn't even ALL English), and decided that he didn't care how long he lived, but was going to go on a killing and thieving spree to feed his family (and his infamy), and 'come-what-may'...and it did.

He died a dog's death, which his what he was. He was not a hero, or a 'man of the people', he was a self-interested, Irish thug. He didn't care for anyone but HIS lot, and that's the beginning and the end of it.

Honestly, to make him out to be a biblical figure? Get out of here!!

Drunk Parents (2019)

Not usually one to jump on the bandwagon of hate...but...

[2/10 · 15 February 2020]

...this film is appalling.

The entire film is a confusing mass of laughless scenes and scenarios.

I actually had to pause the film in the first half to ensure I was actually following the plot. Yup! That's right! This film is so badly put together that I couldn't actually follow what SHOULD have been a very simple plot.

In the right hands (and with the right chemistry between the actors), this film could have been a very funny, if sometimes crass, 'class-warfare' comedy; as the film does actually explore some of the strong themes facing modern-America; but the film just falls flat in every sense.

The failing is not in the script, but rather with how the film was put together, and with the casting.

Baldwin is the strong-point of this film, and ANY laughs we receive are from him. Hayek is woefully miss-cast in this film, and not because she is a bad actor, but simply because she fails to bounce-off Baldwin in any convincing way, or with any REAL comedy timing. That is, she's not bad, just not very good.

There is no narrative flow to this film, it seems to just jump from one scenario to another without any REAL connection, and, as such, makes no sense to the viewer.

As I stated earlier, I actually had to pause this film at 40 mins to make sure I was actually on top of what was going on, and for a comedy with a very simple narrative structure (in the end), why so complicated and confusing? It makes no sense.

Overall, I really just have to advise people to skip it (which I don't normally do), but it's just not worth the time...it really isn't.

Saving Zoë (2019)

Strong 'coming-of-age' film that could have been better...

[7/10 · 2 February 2020]

...with some minor tweaks.

I understand that the actors playing the rolls are actually in their mid-late 20s, and that may be a factor in this film missing the mark a bit, as it does lack that sense of teenage angst/drama that should always accompany films like this.

As part of that drama, it's always important to accentuate the emotional impact of losing a sibling, and the huge hole that leaves in a teenager's life (see Ordinary People). And I don't think that was explored enough in this film.

This is, for-all-intents-and-purposes, a teenage murder-mystery, but the mystery itself and the solving of it, does not warrant the build up to it, and in the end, nothing is really solved anyway.

The alternative is to see it as more one sister discovering the secrets of the other, but since we know the secret from about half way through the film, that also falls flat when the 'truth' is finally revealed.

Overall, it's worth watching, but it falls flat when it comes to the emotional connection between the two sisters and the people around them, and the fact that the mystery isn't compelling enough to justify the build up.

The House That Jack Built (2018)

I've long thought that Von Trier is taking the proverbial 'piss'...

[6/10 · 22 August 2019]

...at least some of the time. And this film has just sealed the deal for me.

This film is a mess, and NO! It's not because I don't "get it".

There are plenty of people who will watch this film and pretend it actually means something...but it doesn't.

Like I said, I honestly believe that Von Trier has graduated to a point in his career where he is just entertaining HIMSELF.

That is, he is just writing and directing absolute trash, but with the most provocative, yet 'artistic' imagery he can muster, and then observing the reaction.

...and good luck to him. I mean, he has 'A-grade' actors clambering to appear in his films, so why not?

Regardless, through all of the 'vagary', Matt Dillon does actually find a way to produce a very visceral and poignant performance with, what appears to be, very little direction; but, for all of Dillon's efforts, does it all actually mean anything?

Make no mistake, it IS Matt Dillon who elevates this film from absolute tripe to something worth watching, and with the glimmer of hope that there is some 'meat-on-the-bone' for all the audience is asked to endure.

However, ultimately, this film just comes off as a 'vanity project' for Von Trier, and not because he seeks to explore humanity, and what makes us 'tick', but rather for his own amusement, and to test how far he can go before someone asks the question: "is Lars Von Trier just taking the piss?".

Well, I've been asking that question for years, and this film has FINALLY given me my answer.

We Belong Together (2018)

Christian propaganda masquerading as something worth watching.

[1/10 · 21 July 2019]

Something seemed amiss from the beginning.

That is, disjointed editing, bad acting, and the typical 'good/bad, dirty/clean, virgin/wh***' narratives that tend to find their origins in any-and-all religious texts.

Then the clinker!

...perfectly groomed wife, who has just been in a terrible, and, life threatening 'accident' (masterfilly illustrated by a cut lip), and a devistated ex-husbande/ex-alcoholic who is saved by a perfectly groomed mother-in-law, who quotes scripture to save her son-in-law from himself.

He sees the light, returns to his 'den of inequity' to find is w*** waiting to destroy his life. And these are the penants he must pay for drinking, and allowing his son to die because of his own selfish desire to actually enjoy his life, that is, enjoy a couple of glasses of wine.

I must hand it to them though, they are becoming more-and-more clandestine in their approach.

...but, at-the-end-of-the-day, there's always something 'amiss' with Christian films; there is always a sense that something is missing, and just NQR; that there is an 'agenda' behind the facade.

...and this film continues the tradition.

The Lovely Bones (2009)

A wonderful tribute to those who have lost loved ones to tragedy and without closure.

[8/10 · 18 June 2019]

This is a film that asks us to suspend our 'logical minds' and find solace in humanity, both in the living and the dead.

For the religious, this film will be wonderfully cathartic, for everyone else, it will require an open mind and a desire to find humanity in tragic death, and an understanding of the unimaginable pain people suffer when there is no closure for their loss, and no place to assign their pain and grief.

The protagonist speaks to us from beyond the grave to take us on the journey of, not just a family coming to grips with their unexplained, tragic and immense loss, but of the spirit who must also find her own way to freedom from the pain of her death, and the loss of her family in any tangible sense.

This truly is a film that requires the suspension of reality and the embracing of purely visceral understandings and experiences of intense love, loss, pain and ultimately 'personal' redemption, for the human and spirit world alike.

This film is adapted from a novel, and novel adaptations are notoriously difficult, as film makers must find the visual equivalent of, sometimes, pages of literary prose/poetry.

Of course Jackson is the master of this kind of interpretation and he delivers a very well acted, emotive and ascetically pleasing film. However, as is often the case with novel adaptations, the film suffers with too much disjointed and, somewhat, clumsy narrative structure, as such it feels as though you are jumping between several different genres in the one film and never really landing on anything that feels solid.

Add to this the excessive run time and it does start to feel as though Jackson tried to fit too much into one film. That is, focusing too much on encapsulating every element of the original text and not enough time focusing on the 'visual' experience of the film.

Regardless, this is a film that ultimately seeks to bring the experience of tragic and painful death to life both through the living and the dead, and it succeeds admirably.

I highly recommend this film for the 'open minded'.

The 3rd Eye (2017)

Thank goodness for Netflix making world cinema so accessible.

[10/10 · 17 June 2019]

A very classy affair.

This film should tick the box of any horror/thriller fan; from acting to story, this film is strong and keeps you guessing, whilst offering up solid chills and some serious (though limited), gore, for lovers of 'blood-and-guts' horror.

This film delivers a great story with heart (yes, a horror film with heart), tied in with a wonderful theme.

Honestly, for a horror flick I cannot fault this film. It had me engrossed from beginning to end, and at no point did I feel that it descended in cliche or 'jump fright-for-the-sake-of-it' territory.

This is a film that is solid from start-to-end when it comes to acting, story, genuine creepiness and just some good fun.

I highly recommend.

Everybody Wants Some!! (2016)

Solid 7, enjoyable and relatable, but suffers from 3 main problems...

[7/10 · 11 June 2019]

...the first of which is the wrong choice of actor for the lead role. Jenner is not bad in the role, and appears to be a decent actor, however, he is not the right pick for a character that really needed to have the naivety of youth but the charisma to take the audience on his journey of self-discovery. To be honest, he comes across as more of a 'try hard', than the down-to-earth young guy trying to find his way in this new world, which, at least according to me, appeared to be what the film was going for.

The second issue is a lack of character development among several of the characters. There are a lot of central characters in this film and it always appears as if the movie is stretched too thin when it comes to really unpacking who the characters are, and what their individual motivations and experiences of college life really are.

This could be an issue with the actors that were chosen, but screen time is too limited to gain a solid understanding of all of the characters, the result being that several of them just come off as 'frat boy' cliches.

The other issue affecting this film, which was not an issue with 'Dazed and Confused', is the focus on 'bro culture', and the complete lack of ANY female perspective of college life beyond 'frat chicks' and ONE character who defies this stereotype of college life for women (Deutch), who does well to bring a more nuanced character portrayal of 'intelligent university girl' to the movie, but, quite rightly, should not have been expected to fly that flag all on her own, and in the end, it really just becomes what she was put there to be in the first place "intelligent university girl', among a sea of frat-chicks...(will women ever be allowed to move beyond the dichotomy of the virgin and the w***e?).

Add to this the general lack of chemistry between Deutch and Jenner, and it makes for two characters we don't care too much about, in a relationship we don't care too much about.

The two gems of the film are McReynalds (Hoechlin), and Finnegan (Powell), who use their limited screen time to make the most of their characters, and as such, have great audience appeal.

Hoechlin portrays McReynalds perfectly, as the quintessential, "all American" boy. He effortlessly encapsulates the dichotomy between being part of 'jock culture' but having the weight of the team; the university; his community; his parents and his future on his shoulders; constantly striving for perfection so that nobody is disappointed, and who has the mental toughness, determination and focus to 'make it'.

The antithesis of McReynalds is Powell's interpretation of Finnegan, the guy who was born with looks, natural talent and charisma but who is only in it for the good time, and isn't particularly concerned about the 'serious side' of 'playing ball'. He effortlessly moves between different social circles with his loose philosophical musings, and never allows anything to get too serious. He is, for-all-intents-and-purposes, the heart of the film. And the charisma he brings to the role is truly infectious as an audience member.

All-in-all though this is a film worth giving your time to, as it does encapsulate the excitement and wonder of moving out of adolescence and into adulthood with all of it's 'awakenings', which, man or woman, if you allow yourself to take from the movie, can relate to and enjoy.

I highly recommend a second viewing once you have seen and understood more what the characters are about. I definitely enjoyed it more second time around.

Movie 43 (2013)

Makes me think there was a campaign against this film.

[7/10 · 4 May 2019]

I didn't bother to watch this film when it was released because it was universally panned by all and sundry. However, I saw it on Netflix today and decided to actually watch it for myself and see if it really was that bad.

IT ISN'T!

Of course it isn't a cinematic masterpiece, but if you don't go into it expecting the greatest comedy on Earth, then you won't be disappointed. But if you have an open mind, you should enjoy yourself, as I did.

In fact, when you take the film in context (which I won't give away), it actually makes sense, and is funnier for it. Especially when you consider that you have 'Boomer' actors mixing it with modern issues, concepts and ideas.

Most of the actors in this film have kids, and it shows. In fact, I imagine they were all thinking of their kids when they were acting our their scenes. And it makes for a very entertaining film.

This film is solid, but it won't appeal to some people because it IS 'gutter humour', but delivered in a different way; and dare I say, in a more 21st century way, and dealing with 21st century issues and ideas that younger people can relate to. And when I say "younger", I mean anyone who isn't a 'Boomer'.

This is also an incredibly socially conscious film when you consider the material it deals with, and how it is dealt with.

It's a controversial film, for good reason, but it has also definitely opened the doors to usher in a new generation of socio-political humour for the younger generations.

...and like I said, when I say "younger", I mean anyone who isn't' a Boomer.

The Basement (II) (2018)

Genre defying. Give this film a chance (potential spoilers)

[7/10 · 11 April 2019]

This film is low budget which will not appeal to anyone who is used to the 'bells and whistles' of Hollywood (even cheap Hollywood). However, if you're on board for some low budget film making (which I often prefer because it demands so much more from the actors involved), then this is a solid film.

I started out like so many other reviewers here and felt that it was all a bit lame. However, the longer I watched, the more invested I became in the characters and the desperate situation the protagonist (Cayleb Long) finds himself in. I began to realise that this film has so much more going on that what we see on the surface.

The acting, despite other people's reviews here, is actually very strong, and the film itself really does defy any kind of 'fixed' genre. In particular, Jackson Davis does an amazing job as he explores his acting range to the great horror, amusement and emotion of the audience; a VERY solid performance from which Cayleb Long bounces off effortlessly.

It will require a re-watch though (you'll understand when you watch the movie).

Doc was my favourite character LOL!