Meade's Ball
Well-known member
I suppose the title of this, written by me, should really be something like Meade's Balls' Disliked Films of 2016. But, maybe i will begin with the thorough enjoyment of what might be a popular movie. No, afraid not. Although, one of the two thus far seen this year, weren't bad. I'll go in chronological order.
Yesterday, was a film that the girlfriend, who doesn't want to be a man, as far as i am aware, saw in a preview last month, with her sister, who also doesn't want to be a fellow. It was The Danish Girl. Now, perhaps i very much oughtn't, but i sometimes see chat shows like Graham Norton. He has the big names on there and, typical to all to the regular way of prodding and sizzling my i don't like them genes, i tend not to like them. Twice, now, i have seen Eddie Redmayne chatted to, and his way of being, although thoroughly nice and pleasant, irks me. Maybe it shouldn't but it does. That doesn't, though, massively interfere with how i see him as an actor, as he was a worthy winner last year with The Theory of Everything. In The Danish Girl, he is rather good, but he wasn't the only one, and i think Alicia Vikander had a greater chance to shine as the film went on.
Redmayne plays, initially, Einar Wegener, a Danish landscape artist held in high regard in the 1920s. Vikander plays his wife, Gerda, a fellow artist. Their love seems deep and true, and that is fortunate, in ways, for Einar, who, a little after sampling playfully with transvestism, comes to the realisation that he is and was in fact a woman. For all that happens with Einar's transformation into Lili, from the torture of feeling so alien to oneself to the medical world at that time classing it as schizophrenia, the effects of his trauma seem to spill out and over to Gerda more and in doing so has the story scattered into too many directions and issues that it is ready to handle. It was a shame it went that way, as the design of 1920s Copenhagen and Paris was immaculate and crisp, and the performances carried through the moments of the over-obvious.
Still, was quite good, and i hope Vikander gets the acting awards for it.
So, today, i went for something i knew i would wholeheartedly dislike. The new film by David O. Russell, whose films just incense me. Here he is again, with Jennifer Lawrence, Bradley "the ham" Cooper and Robert De Niro, creating a mildly comic drama with shouty-mouthed caricatures that i tend to loathe and wish for them to be silenced. In this one, it's a fairy-tale type piece, called Joybased on a true story, of a poor, pretty girl finally getting through the world's difficulties to make her name and become a princess of shopping channels. The real problem she has, though, is her family and what they continuously take from her, this inventor, to start with, of an amazing mop, without apology. Their cruel and brainless witterings are never particularly real, though, in Russell's usual manner of blending wrongful amounts of the mirthful with drama and style - half-stolen from Scorsese - with the traumatic to make the film emotionally empty. I also disliked the idea of success being sold here too, it being financial rather than moral or about a newfound personal freedom. And some of it was vomitously cheesy. I really didn't like it.
I saw the film as the sole guy on his own, the rest of the cinema filled with little collections of women, perhaps there with it being advertised as the tale of a strong-willed woman, but there was virtually no laughter anywhere and the film ended without that exhalation of excitement you sense when a good and absorbing film has closed. People, not just me, hurried away from their seats, without sharing a word of what they thought of it. If i wasn't there on my own, i would have sworn to not see Russell's next one, claiming i have learnt my lesson, and even ranted for a while over how i am slightly turning against Jennifer Lawrence, mostly for the films she chooses to make rather than becoming a bad actor.
Anyway, that's that. I plan to not like The Hateful Eight soon, but have hopes for The Revenant. *unfascinate*
Yesterday, was a film that the girlfriend, who doesn't want to be a man, as far as i am aware, saw in a preview last month, with her sister, who also doesn't want to be a fellow. It was The Danish Girl. Now, perhaps i very much oughtn't, but i sometimes see chat shows like Graham Norton. He has the big names on there and, typical to all to the regular way of prodding and sizzling my i don't like them genes, i tend not to like them. Twice, now, i have seen Eddie Redmayne chatted to, and his way of being, although thoroughly nice and pleasant, irks me. Maybe it shouldn't but it does. That doesn't, though, massively interfere with how i see him as an actor, as he was a worthy winner last year with The Theory of Everything. In The Danish Girl, he is rather good, but he wasn't the only one, and i think Alicia Vikander had a greater chance to shine as the film went on.
Redmayne plays, initially, Einar Wegener, a Danish landscape artist held in high regard in the 1920s. Vikander plays his wife, Gerda, a fellow artist. Their love seems deep and true, and that is fortunate, in ways, for Einar, who, a little after sampling playfully with transvestism, comes to the realisation that he is and was in fact a woman. For all that happens with Einar's transformation into Lili, from the torture of feeling so alien to oneself to the medical world at that time classing it as schizophrenia, the effects of his trauma seem to spill out and over to Gerda more and in doing so has the story scattered into too many directions and issues that it is ready to handle. It was a shame it went that way, as the design of 1920s Copenhagen and Paris was immaculate and crisp, and the performances carried through the moments of the over-obvious.
Still, was quite good, and i hope Vikander gets the acting awards for it.
So, today, i went for something i knew i would wholeheartedly dislike. The new film by David O. Russell, whose films just incense me. Here he is again, with Jennifer Lawrence, Bradley "the ham" Cooper and Robert De Niro, creating a mildly comic drama with shouty-mouthed caricatures that i tend to loathe and wish for them to be silenced. In this one, it's a fairy-tale type piece, called Joybased on a true story, of a poor, pretty girl finally getting through the world's difficulties to make her name and become a princess of shopping channels. The real problem she has, though, is her family and what they continuously take from her, this inventor, to start with, of an amazing mop, without apology. Their cruel and brainless witterings are never particularly real, though, in Russell's usual manner of blending wrongful amounts of the mirthful with drama and style - half-stolen from Scorsese - with the traumatic to make the film emotionally empty. I also disliked the idea of success being sold here too, it being financial rather than moral or about a newfound personal freedom. And some of it was vomitously cheesy. I really didn't like it.
I saw the film as the sole guy on his own, the rest of the cinema filled with little collections of women, perhaps there with it being advertised as the tale of a strong-willed woman, but there was virtually no laughter anywhere and the film ended without that exhalation of excitement you sense when a good and absorbing film has closed. People, not just me, hurried away from their seats, without sharing a word of what they thought of it. If i wasn't there on my own, i would have sworn to not see Russell's next one, claiming i have learnt my lesson, and even ranted for a while over how i am slightly turning against Jennifer Lawrence, mostly for the films she chooses to make rather than becoming a bad actor.
Anyway, that's that. I plan to not like The Hateful Eight soon, but have hopes for The Revenant. *unfascinate*
