Couple Erasmus and Paul: lavish lifestyle; in cable channel’s employ.
Things are interrupted by to arrival of a nameless boy
(Armed with just a bible and a bit of money).
Beautifully written, incredibly funny,
With genuine drama and great performances. A real joy!
An (alleged!) well-intentioned message is botched by poor execution
And an inherently worrisome/hypocritical premise (the ‘head knock’ solution).
The tone: conflicted and confused.
Well-worn trope: Even the Model Feels Bruised.
The only plusses: a few random laughs and Williams’ brilliant contribution.
A young life lost, and the Senator’s worried his career will sour.
Terrific work from Clarke (Re: Ted’s darkest hour).
Advisers descend (to handle
The impending tabloid scandal).
An engaging study of hubris, privilege and power.
Virtual Oasis, and bleak future-Ohio slums where actual bodies reside
Are the two worlds here. Some real clunkiness in the screenplay aside,
So much here's genuinely funny and clever.
I could watch Rylance’s Halliday forever,
Loved the audacious set pieces, and embraced this thrilling ride.
A simplistically told tale of the presidency that began
With the demise of the second son from the Kennedy clan.
There’s drama in his fight for Southern backing.
But, sadly: overall, the film is lacking
Any real depth of insight into Lyndon the man.
Marlo’s under enormous pressure. Offered help by her bro (Mr Success).
She initially declines, but will eventually acquiesce.
Though one plot development falls flat
There’s the gift of two central performances that
Shine - in this truly humane look at complex maternal stress.
Though he has supportive friends, and his family’s loving and warm,
Simon’s afraid that living his truth would cause a storm.
An excessively charming cast.
Rothwell’s Albright: what a blast!
Refreshing change (popular genre, with bonus: added reform).
Those on the murderous leader’s list couldn’t duck it.
(Including Maria’s fam) So a note: she stuck it
In his record sleeve.
Iannucci and team achieve
Hilarious results (after old Joe kicks the bucket).
Biting satire. Much to ponder: the absurd; the grave
(Disturbing live exhibit with the power to enslave).
Societal responsibility: well explored.
Some spot-on humour struck a chord.
Running time: could’ve really done with a shave.
Demise of their nemesis McGregor (grumpy sod)
Spells momentary freedom for this animal squad.
Creature effects: beautifully-rendered.
But various tonal shifts tended
To feel somewhat awkward (and came across as odd).
Gerwig brings us Lady Bird’s world so skillfully, assuredly and roundly.
A teenage girl navigating growth (and things not going soundly).
So well cast: every part!
One of many who stole my heart
Was Henderson, with a portrayal so utterly moving (profoundly).
Robbie: phenomenal, in a film with structural issues, (which reduces
To black humour some instances of domestic abuses).
So Tonya’s shunned (‘uncouth; non-fancy’),
But what about Nancy?:
The (gagged) true victim here, while all the others make excuses.
Monologues, speeches, then even more words (with little refrain),
This could be grating, if it weren’t for the skill of Chastain -
Who keeps us engaged.
Fast-paced game-play: well staged -
In this film that has its flaws - but entertaining in the main.
The lauded, difficult genius (excused: because of his art)
Meets his new love, and here comes the start
Of their complex game.
Gorgeous detail in every frame.
Enchanting; witty; with a fascinating darkness at its heart.
For us kids of the Seventies: a times, a fun, nostalgic trip:
The lurid colours, unnatural fibres, French Onion dip.
Some of the kids knew the score,
But I’d love to have learned more
About what the parents were thinking pre-The Great Unzip.
This delicious film from del Toro renders
A wealth of ethereal splendours.
A love story (with travail).
Also, a morality tale:
A beautiful creature; its oppressors; its defenders.
A solid film, but quite conventional. There’s really nothing new
To see here. So, after Chamberlain’s bid adieu,
Winston takes the job (and strain).
’Wow, the PM’s on the train!’
Oldman’s strong, but the real star’s Tsuji (and his crew).
Ellsberg knows secrets, and while employed at RAND
Wants hard truths exposed, and takes a brave stand.
Spielberg’s work had me riveted:
Tense, as outcomes pivoted
On Kay’s decision (a superb Streep) re: playing The Post’s hand.
...
Billionaire Grandpa Getty: notoriously tight.
Young Paul’s missing. Cash needed. A fight.
A world-famous crime.
Williams’ work here: sublime.
Impressive film. Suitably tense. Great use of light.
