travisbickle86 Reviews

The Many Saints of Newark (2021)

Dissapointing

[3/10 · 23 September 2021]

As someone who has watched the entire Sopranos series at least five times it pains me to say that Many Saints of Newark is a big disappointment. There are a few strong scenes but they are few and far between. The film just feels like a rip-off greatest hits of past Sopranos moments without the clever writing and dry humour simply isn't there. The casting choices are bizarre. Worst of all, and I hate to use this word, it's boring.

Nivola is a good actor but he's not convincing as Dickie Moltisanti. None of the characters in Many Saints get an arc or proper development, and as a result, there's no real emotional pay-off in key moments.

One of the best cinematic moments is when Dickie kills his Goomar by the beach, which is promptly diminished by an inappropriate, Zach Snyder-esque, needle drop. Why?

The only positive take-away is Michael Gandolfini, who lights up the screen. He has a different intensity and charisma than his father, but he definitely has the makings of a varsity actor.

Frankly I'm depressed and ashamed, not even Quasimodo could have predicted this.

Career Opportunities (1991)

Written by an Alien for Idiots.

[2/10 · 10 December 2019]

An 82-minute advert advert for Target Corporation (plus Timex Watches, Minute Maid etc) with a score so appalling that the film actually feels three-hours long. Career Opportunities was written by John Hughes from the perspective of either: An Alien, whose only knowledge of the human race had been from watching cancelled soap operas, or a elderly inmate who has been in solitary confinement since adolescence. A truly bizarre and pointless movie, yet, Career Opportunities does serve a solitary purpose in that the film documents how incredibly beautiful Jennifer Connlley was in her prime.

Joker (I) (2019)

Not a Masterpiece

[7/10 · 20 October 2019]

A film which wants to be The King of Comedy and Taxi Driver, but doesn't live up to either. It is rather hollow and simplistic, and doesn't do justice to the character of the joker who's asset is his intelligence.

The film feels like a screenplay based on a loner called Arthur Fleck, which was later adapted to fit in the DC comic book universe. Sadly those sort of film rarely get financial backing these days.

On the plus side, it looks amazing and displays another great performance by Joaquin Pheonix, although not close to his work in PTA's The Master.

The shot near the end of Joker painting his smile with blood is worth the ticket price. A holy moment.

Terms of Endearment (1983)

An Uneven Vignette of 80s Self-Absorption.

[4/10 · 15 October 2019]

The hype surrounding this film was before my time. Terms of Endearment cleaned up in 1984, with a pram full of Oscars and Golden Globes. 1983 wasn't particularly a bad year for cinema: Scarface, Return of the Jedi, Rumble Fish, The Meaning of Life (which were all ignored), plus Silkwood and The Right Stuff; yet TOE topped them all.

Watching this fist the first time, 36 years after it's original release, I went in with no expectations except to see Jack Nicholson, who sadly, only has a few fleeting appearances. Even in remastered in HD, the film looks washed out and dull; like a made for TV movie.

During the first act of the film, the narrative skips forward by several years every 20 minutes. Some of the dialogue is surprisingly vulgar with Debra Winger's character, Emma, seemingly preoccupeid with sex. Amusingly, as a decade rushes past in under an hour of screen-time, neither Jack Nicholson nor Meredith Baxter's characters age.

Intentionally or otherwise, none of these characters are likeable. They all share the same traits of being incredibly self-centred, and often reckless. The closest an audience can get to relating to a character in TOE is probably Emma's youngest son.

The acting is disjointed and uneven. Meredith Baxer thinks she's in a comedy, Debra Winger thinks she in a musical, and Jeff Daniels generally seems to be somewhere else. Again, the only time scenes 'click' or feel grounded, is when Nicholson appears, and attempts to reel his co-stars in a little.

The film's strongest suit comes during the 2nd act, where relationships are tested and are put under strain, by financial woes or the characters' own remorseless philandering. The unglamorous aspects of marriage and parenting are shown is some realism, which gives the film some much needed depth. This all this quickly dissolves though, and once again time flashes by into the 3rd act, where now the story quickly descends into bleak, dead-end, with no let up. There seems to be no light at the end of the tunnel either, as the characters entwined in mourning for a young mother, continue to appear far too detached and self-absorbed to offer any reprieve to the viewer.

I have read other reviews of TOE, which justly call the film manipulative, and the catalyst for spawning a slate of other movies such as One True Thing and Stepmom; which is a crime in itself. Dramedies of today employ the same techniques used in TOE, but throw-in 'cry now' music at full volume, which is a far greater insult to the audience.

Terms of Endearment is an interesting vignette of 80s self-absorption.

The Sicilian (1987)

A Multi-Million Dollar Misfire

[3/10 · 14 October 2019]

I'm one of those film-goers who regards Heaven's Gate as a masterpiece. I have seen Deer Hunter many times, and greatly enjoyed Year of the Dragon and Desperate Hours. The Sunchaser is just a disappointment, but still worth watching. The Sicilian, on the other-hand. is the cinematic equivalent of a Michelin-star meal which has been frozen, and then partially reheated in the microwave. Between the terrible casting, voice dubbing and sound issues, lack of exposition, questionable editing and overall confusion; The Sicilian generally drags.

Right from the offset, you know you are in trouble when a film shot in Sicily about a Sicilian folk-hero; is played by a French actor speaking English. It is not only Lambert who looks and sounds out of place, as the same applies to the rest of the cast. I think Terrance Stamp exemplifies this malaise most succinctly, by generally looking confused and uninterested, during the majority of his screen-time.

There are fleeting moments of brilliance from Cimino, which are often nullified by awful dialogue and poor line delivery. Cimino's auteurist traits are ever present: wide angles/close-ups, landscapes/mountains, expensive interiors, classic cars/tailored suits; which is all very well, but alas, negated by the lack of engagement we feel towards characters in previous films: De Niro's Vronsky or Kristofferson's Averill. Replaced in this instance by a bland indifference towards every character, further muddied by poor direction. Scenes which should have an emotional impact fall flat and simply add to an overall sense of confusion. You find yourself having to fill in the gaps and piece together what should be a fascinating and engaging narrative, but instead sit there wondering what was going on between takes.

In The Sicillian's defence, there are some breathtaking lanscape shots, especially towards the end of the film, where the level of cinematography seems to elevate, and some masterful use of mise-en-scene and tableau.

Three stars allocated for art direction, costume design and cinematography.

The Elephant Man (1980)

Exquisite

[10/10 · 4 June 2018]

A biopic truly worthy of young Joseph Merrick. From the opening frames it is clear to see this marvel of a film, is the work of true cinematic artists, with Mr Lynch at the helm, of course.

As beautiful and poignant, as it is harrowing and melancholic; The Elephant Man maxes out on every aspect of filmmaking. From the cinematography, production design, screen-writing, direction, sound. Capped by superb performances by it's stars: John Hurt and Anthony Hopkins.

Thank you, David. God bless you, Joseph.

No Manifesto: A Film About Manic Street Preachers (2015)

Candid yet unilluminating doc about the Manics

[6/10 · 25 March 2018]

A thoroughly entertaining, low-budget, doc on the Manics. Nice to see on clearer footage of archive interviews in the first act.

Interview with fans and some overly candid footage of the trio eating wimpy burgers and wiping off sweat backstage, was more of a curiosity than a revelation.

My main gripe was how Richey was mentioned almost in passing during the film; and any insight into how band dynamics had changed over time - from Richey's position of (essentially being) band leader from Generation Terrorists to post-Holy Bible transition - was skipped over. This issue of a possible communication break-down and creative fall out was only hinted at briefly by Sean and left unexplored by the filmmakers. At the request of the band, I suppose.

Hopefully Withdrawn Traces will give fans a better insight into Richey's departure; when it's released next year.

Star Wars: Episode VIII - The Last Jedi (2017)

Take a moment and ask yourself: What's missing?

[3/10 · 14 December 2017]

What is missing from the Disney 'Star Wars' films? They have the same props, sets, costumes. Even the same actors wearing the same costumes and holding the same props. So, what doesn't click? Answer: Because it's soulless. It lacks originality, care, true thoughts and feelings or spirituality. Because the people who have creative control over these films (Bob Iger / Kathy Kennedy) worship money, and not something greater than themselves. They make the films for their own benefit, for their own aggrandizement. Not for the benefit of others. Is there a way forward for cinema? The answer is YES.

Loon (I) (2017)

Frightening and True

[8/10 · 8 November 2017]

A damning indictment of Brexit Britain.

All the scenes between Charlie and his poor mother, the drum teacher and shop owner are brutal and rare. The scene where he refuses to take his medication is something else.

I can't think of many contemporary film-makers who have the balls to make feature-films like this.

The harsh aesthetic and use docu/improv reminded me of Cassavetes' Faces and Ferrara's Bad Lieutenant.

As unpleasant, depressing, amoral and nihilistic as LOON is; you have to accept it's courage and authenticity.

This is real cinema. An antidote to the mindless garbage may make you feel content in the moment but empty afterwards. LOON makes you guilty for watching, and yet somehow rewarded for surviving it.

Donald Cried (2016)

Pure Cinema

[8/10 · 17 September 2017]

Three friends: Kris Avedisian, Kyle Espeleta and Jesse Wakeman felt the creative urge to expand Donald Cried from a short-film into an 85-minute feature. The whole backstory to the making of Donald, reflects other conscientious film-makers like John Cassavetes, who felt driven to make a film because they truly loved and believed in a project; wanting to share it with everybody, rather than the cynical need to debase cinema for financial gain or status.

Shot almost entirely hand-held, in a documentary style; the colours and image quality for the video are surprisingly lush given the budget constraints. The framing of the local amenities and spots set in deep snow are also alluring. It may sound facetious, yet as a Brit, I found locations and atmosphere of Warwick, R.I, fascinating, even exotic. The film is reminiscent of other indie classics such as Buffalo '66 and Garden State, in that in makes the everyday and mundane seem architectural and beautiful. The excellent use of non- actors (friends and family) on screen, brings Cassavetes to mind again.

Admittedly, at times, some of the camera work is shoddy and a bit amateur; yet it doesn't distract from the narrative which is engrossing throughout. What's most astounding about the film, is the 'almost too real' dynamics between the central characters. In 85-mins, we, as the viewer endure many all the tensions and emotions you'd experience between old friends. Its clear that Avedisian and Wakeman have known each other for a long time, and they brilliantly capitialise on their relationship in the film.

'If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.'

There is space for the art in-amongst the endless Star Wars and Transformers reboots and sequels; alongside conscientious and personal films like these. It's our job as an audience to remind film cinema chains, film producers and studios executives of this; then we should leave the artists to do theirs.

Kingsman: The Secret Service (2014)

Offensive, Crass and Infantile

[4/10 · 11 September 2017]

An Infantile showboating of digital camera-movement and cheap-looking CGI. A one-dimensional, pot hole ridden, script; devoid of nuance with lazy caricature stereotypes. Amoral and blasphemous. Your average teenager's wet-dream of material accumulation and violence.

I'm sure the 14-year-olds who managed to get in to a 15-rated movie, and maybe even sneak in some alcopops; had the greatest cinematic experience of their underdeveloped lives.

David Brent: Life on the Road (2016)

Actually Brilliant

[8/10 · 24 July 2017]

As a fan of the UK office I may be biased; but I thought Life On The Road was a terrifically entertaining film throughout.

Has all the elements of cringe and humiliation from the original office - minus the sterling casting and was more of a solo-effort from Gervais.

I've gone off Gervais as a person over the years, with his endless bashing of Christianity and bullying of subordinates; but like in his earlier work, this is a reminder of what a remarkable talent he is.

The songs are incredible, as is Gervais' singing - The Disabled song had me in guilt-ridden stitches.

A very welcome diversion from the restrictive SJW / PC world of entertainment we live in now.

Desperate Hours (1990)

See through the sloppy editing and studio mutilation, and you'll find Cimino's art.

[8/10 · 11 May 2017]

With the clouds running through blue skies and the majestic mountains ever present you'll know Desperate Hours has American maverick, Michael Cimino at the helm. There are few auteurist directors who have this ability to impose themselves on an audience with the 'look' of their film stock within the first few minutes. Kubrick, Bergman and Tarkovsky come to mind, of course.

Sadly, we are yet again left trapped between a conscientious artist trying to feed us caviar while the studio chew up some cardboard and spit it out:

'According to some official sources, Michael Cimino's original cut of Desperate Hours was mutilated by the film's producers, resulting in a very badly edited film filled with plot holes. The only known proof of any deleted scenes are some stills which seemingly show a few of them.'

It's sad to think Cimino didn't have the chance to re-cut this film like with Heaven's Gate. Still, the acting is fantastic; Mickey Rourke was at the height of his powers here. There is humour thrown between the tension; some of the more subtle exchanges and glances between the characters are masterful. Like in the 1955 version, there is subtext referring to class, and references to the changing nature of American society. Cimino also references the influence of advertising, although the theme is never developed (thanks again to you-know-who!) As Rourke's Bosworth spews out:

'That's why America is becoming a second rate country!'

The editing by Chris Rouse/Peter Hunt is a mess. Choppy and careless. The ending sees the most obvious intervention by the bean counters. I could almost hear the argument between director and producers during the closing scenes:

'Give me more time. This doesn't make sense. There must be at least some character resolution!'

'No, Michael You've spent our budget. Don't mess with us, we're not United Artists. We'll tell the press!'

For years I had avoided watching Desperate Hours based on the reviews; but if you are a fan of Cimino, it is easy to see past the choppy edits and plot holes. The cinematography is often a joy, as is the direction of the fantastic cast, costume/set designs and cars. At times I felt like shouting out 'Michael, you spoil us!' because you don't see many filmmakers today who are allowed to treat their audience as adults.

Thank you Michael. RIP

Pretty Woman (1990)

More Offensive Than Salo

[1/10 · 14 February 2017]

Roll up, roll up. Watch Richard Gere phone-in a half asleep performance as an autistic Trump character, displaying the American dream in all its vulgar and disgusting self-indulgent glory.

I'm not a feminist; not even a woman - but this is one of the most offensive films I've ever seen. About as subtle as being beaten to death with a wrench.

Buy the whore some clothes and wait for Stockholm syndrome to set in. Show the b*tch how to operate a chilled salad fork, and who knows, one day it may even feed itself?

Worse than it's content; Pretty Woman is an insult to film as medium and it's audience. Vile

Aimy in a Cage (2015)

A Beautiful Mess

[7/10 · 14 January 2017]

I can imagine Aimy in a Cage causing great distress to a casual audience during screenings. Not so much for the content, as it's artistic and experimental form. I pity those who don't have the imagination or capacity to dream of cinema outside of a prescribed copy & paste format. There is a lot owed to Tim Burton - with the colored lighting, gaudy sets, costumes and props reminiscent of Burton's earlier works. The theme of being a repugnant and excluded artist is also present throughout. I saw the film as a subverted allegory for a girl struggling with an eating disorder, but who knows. Like the best surrealist cinema, the film flows subconsciously, like coming in-and-out of deep sleep. The cuts don't necessarily match and the audio isn't always synced, but it only adds to the orchestrated chaos of the film. Intentionally or not, I found the film hilarious in parts, especially scenes involving the Grandmother or Crispin Glover. Unfortunately, the narrative does fall-apart around the 50-minute mark (somewhat amusing in itself) as the cast shrinks downs to a trio. No doubt due to budget constraints. Still, I commend the filmmakers for creating this nightmarish fairytale, experimenting with cinema as an art-form. Which - lets face it, in recent times has reverted to being spoon-fed warm diarrhoea by major corporations.

High-Rise (2015)

Awful

[3/10 · 19 November 2016]

Ben Wheatley seems to be under the impression he's the next Kubrick, like when your friends blow smoke up your ass at a party because you have all the coke and you actually believe it. This is an exhibition from a filmmaker who clearly cannot grasp basic cinematic grammar. I would rather be violated with a glass mitten than watch this again. The only way a filmmaker could be more self-indulgent would be if he had two cocks and masturbated with both his hands at the same time. The first 20-minutes of High-Rise is vaguely entertaining, with the remainder being just painful. I usually champion British cinema and would love to excuse this recent addition; but I'm afraid its simply a badly edited, poorly adapted, incoherent mess. Read the book if you must, but save yourself a headache and skip this one.

Weiner (2016)

Cringe Factor

[9/10 · 16 July 2016]

I grimaced (both with amusement and embarrassment) throughout this tightly-edited portrait of an egomaniac. The filmmakers were allowed an amazing amount of access in to subjects lives, during which the viewer can't help but debate if we want to like or despise Anthony Weiner. I think that was also what his spouse, Huma Abedin was debating the whole time too. Weiner: A guy who literally could not keep his d**k in his pants. The question is raised during the film, to whether or not Anthony may have a mental illness or sex addition, which is never really addressed - more accepted. A highlight is when Weiner snaps at the filmmaker for daring to ask him a question. Great Film! 9/10

Hyena (I) (2014)

Keeping British Cinema Alive

[7/10 · 19 October 2015]

Review: If you're fresh from watching other shoe-string, budget films from auteur-directors such as Loach, Leigh or Meadows, you can may be disappointed by Hyena's lack of depth, knowledge of film-theory, and its inability to push the calibre of actors (such as Stephen Graham) to their potential. Nevertheless, the narrative is gripping and the film quickly drags you to hell with it.

Unrecognisable from his Nielson-esque portrayal in 'Tony'; Ferdinando's portrayal of bent-copper Michael is hugely exciting. The actor has a screen-presence that forgives some of the clumsier plot-devices and line-delivery, which often detract from the films strengths. Like Cimino and Cassavetes, the excellent use and direction of non- actors (mainly in the form of the Albanian-mafioso, antagonists), added the extra-dimension which 'Hyena' may have lacked otherwise. Elisa Lasowski's performance is also superb throughout.

In terms of content, 'Hyena' should be commended for its unflinching look at the realities of modern London; policing, immigration and human trafficking. Equally in terms of form; for its long-takes, use of improvisation, realism, use of non-actors, powerful narrative and performances. Much like in 'Tony', Johnson's thematic and aesthetic portrayal of big-city isolation, alienation, paranoia and nihilism through a dirty glass is palpable; and should be commended.

Both 'Tony' and 'Hyena' should have been given a lot more PR on its release, as well as the praise they deserves for its bravery and unflinching glance at a very modern London.