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Long Shot movie synopsis Long Shot the movie showtimes online stream 2019 uhd Long Shot song, Watch Long Shot full movie online now.Fred Flarsky is a gifted and free-spirited journalist who has a knack for getting into trouble. Charlotte Field is one of the most influential women in the world -- a smart, sophisticated and accomplished politician. When Fred unexpectedly runs into Charlotte, he soon realizes that she was his former baby sitter and childhood crush. When Charlotte decides to make a run for the presidency, she impulsively hires Fred as her speechwriter -- much to the dismay of her trusted advisers.,what are Long Shot movies in order Long Shot synopsis full movie Long Shot 2019 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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Title : Long Shot Long Shot genre : Comedy, Romance Long Shot crew : Marco Beltrami, Rodrigo Guerrero, Charlize Theron, Mary E. Vogt, Kalina Ivanov, Barbara A. Hall, Seth Rogen, A.J. Dix, Joseph Drake, Nathan Kahane Long Shot release date : 10 September 19 2 5 Long Shot runtime : 125 Minutes Long Shot Crew : Marco Beltrami, Rodrigo Guerrero, Charlize Theron, Mary E. Vogt, Kalina Ivanov, Barbara A. Hall, Seth Rogen, A.J. Dix, Joseph Drake, Nathan Kahane Long Shot movie cast : Charlize Theron, Seth Rogen, June Diane Raphael, O'Shea Jackson Jr., Ravi Patel, Bob Odenkirk, Andy Serkis, Randall Park, Tristan D. Lalla, Alexander SkarsgÃ¥rd ========================ஜ۩۞۩ஜ==========================
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Fred Flarsky is a gifted and free-spirited journalist who has a knack for getting into trouble. Charlotte Field is one of the most influential women in the world -- a smart, sophisticated and accomplished politician. When Fred unexpectedly runs into Charlotte, he soon realizes that she was his former baby sitter and childhood crush. When Charlotte decides to make a run for the presidency, she impulsively hires Fred as her speechwriter -- much to the dismay of her trusted advisers. Long Shot 2019 review : If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
Who would have thought that the first (positive) surprise of the year would be a movie starring Seth Rogen in a romantic-comedy?! This genre has been having trouble for the past few years (only a handful of films are worthy of high praise), but Long Shot's amazing cast called my attention at the beginning of 2019 when I was organizing my watchlist of the year. I genuinely love Rogen type of humor, and Charlize Theron is one of the best actresses of the 21st century. Add three more terrific actors like Bob Odenkirk (President Chambers), O'Shea Jackson Jr. (Lance), and an unrecognizable Andy Serkis (Parker Wembley), and you have yourself a clear path to success.
So, what's the missing key ingredient? A well-written and compelling story, which is the number one problem with rom-coms of today. Most of these movies go straight to streaming services since they're the easiest ones to produce. Just gather a reasonably decent cast, put together a cliche narrative about how two people with nothing in common end up together through the most unlikely and dumb plot devices, and you have a low-budget “success”. Long Shot‘s premise follows a variation of that concept and it still carries the trademark conventionality, but it's the chemistry of its leads, the hilarious comedy and the beautifully-written screenplay that makes this one stand out.
The dialogues don't feel forced, a large portion of the jokes land, and the best compliment I can give to this film: it took itself seriously, and it worked seamlessly. There’s a heartfelt message to transmit to the viewers, and it’s delivered in the most realistic possible way. The romance doesn’t seem far-fetched or born out of nowhere. Instead, it has a wonderful arc, filled with real-life relationship moral dilemmas and difficult decisions. Everything that any character says either makes sense or makes you laugh.
The cast is brilliant as expected. Seth Rogen and Charlize Theron‘s chemistry is palpable, and it’s one of the reasons why the romance part of the movie works. They clearly had much fun on-set, and that’s visible on the big screen. Rogen provides most of the laughs, but he also proves that he can be dramatic if necessary. Theron is just impeccable. She simply can’t act a single line of her script in a way that’s not perfect, whether it’s a romantic scene or a comedy bit. Her range is on display throughout the entire runtime, and Jonathan Levine should be extremely grateful as a director to have such an outstanding actress to work with.
In addition to all of this, there’s one thing I never expected to be praising right now: the makeup department. Before the film, I knew that Andy Serkis was on the cast, but I completely forgot what his role was. Without an ounce of exaggeration, I truly believe that it’s almost impossible to recognize him as Wembley if you don’t know beforehand that he participates in the movie. When I re-checked the cast members, I remembered that he had a role indeed, and I was almost as surprised by the discovery as I was with how much I enjoyed this film. O’Shea Jackson Jr. also delivers a hilarious performance while Bob Odenkirk doesn’t really have much screentime to shine.
This is one of those movies that you can’t precisely point out obvious flaws. A flawless film doesn’t mean it’s a perfect 10/10 movie. It just means you really don’t have any major issues with it. If every single aspect of a film is just “good”, then the movie is “good”, not “incredible” or “amazing”. That is how I view Long Shot. It’s an extremely entertaining rom-com, undeniably one of the best I’ve seen these past few years. Even though the main concept follows the genre’s traditional storylines, its well-written screenplay, hilarious comedy bits, and outstanding protagonists make a surprisingly serious story remarkably entertaining.
It’s a fast-paced 2-hour runtime that I recommend to anyone who just wants to have a good time at the movie theater.
Rating: B+ Oddly mild and politically centrist-affirming for a movie about a woman who spends the majority of the movie trying to enact a climate-benefit policy. Also kind of exists in this weird in-between purgatory world where it's "so woke" and "not like those other RomComs where the guy gets the hot girl just because" but is simultaneously like... The slovenly ~nice guy~ still gets this political powerhouse stunner of a woman by the power of... Being himself? I guess. It's a very half measures movie, is what I'm saying. Moves towards one set of things but can't leave the other set behind. And so a movie with this middling a perspective, of course, gets the middling-est of ratings.
Charlize is a fuckin' champ in this though, absolutely runs the show.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
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Rike is forty, a successful doctor whose job demands everything of her. She intends to use her much-needed annual holiday to fulfill her long-cherished dream of sailing alone from Gibraltar to Ascension, a small tropical island in the middle of the Atlantic. Her desire for a carefree holiday seems to be coming to pass but then, after a storm, her beautiful adventure suddenly turns into an unprecedented challenge when she spots a badly damaged, hopelessly overloaded refugee boat nearby. Styx 2018 review : 'Styx' reminds us of the plight of refugees who risk everything in the ocean, and the damage caused by bureaucracy and by-the-book policy. A work of nail-biting drama that is not only superbly executed but exceedingly timely, it is a film that deserves to be screened widely in Australia so it can be seen by all. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-styx-an-intense-nautical-morality-tale
Head to https://www.maketheswitch.com.au/germanfilmfest for more German Film Festival reviews. **_A story about a choice between two equally untenable options_**
>_the_
>_go home blacks_
>_refugees_
>_dirty immigrants_
>_asylum seekers_
>_sucking our country dry_
>_niggers with their hands out_
>_they smell strange_
>_savage_
>_messed up their country and now they want_
>_to mess ours up_
>_how do the words_
>_the dirty looks_
>_roll off your backs_
>_maybe because the blow is softer_
>_than a limb torn off_
- Warsan Shire; "Home" (2015)
>_It was a rough coast, a coast of high cliffs and pounding waves; nature defended it. But it was__, when all was said and done, one of the coasts of a country that was a lifeboat, and that lifeboat was under siege by people who wanted to be taken on board. She thought to the southern shores of Italy and the boats that came up from the south, crammed with the desperate of North Africa striving to get into Europe. The vessels capsized under their human cargo; there were people in the water, their dream coming to a watery end. How could one turn one's face against all of that? What sort of person would one have to be to sail past?_
- Alexander McCall Smith; _The Novel Habits of Happiness_ (2015)
In Homer's _Odyssey_, returning from the Trojan War, Odysseus and his men must pass through a narrow strait, one side of which is home to the six-headed sea monster Scylla, whilst the other is home to Charybdis, an underwater sea monster who causes a whirlpool at the surface capable of swallowing entire ships. Prior to reaching the straits, the goddess Circe advises Odysseus to sail closer to Scylla than Charybdis, telling him, "better by far to lose six men and keep your ship than lose your entire crew". Hoping to somehow outwit both monsters, Odysseus tells his crew about Charybdis, but not Scylla, and ultimately, although they avoid the whirlpool, Scylla eats six of his men.
Written by Wolfgang Fischer and Ika Künzel, and directed by Fischer, _Styx_ has nothing to do with Greek mythology (despite its title), but it does present a similar dilemma to the one faced by Odysseus. However, whereas he had to weigh six guaranteed deaths against the possibility of everyone dying, in the film the choice is more clear-cut - a group of people in a boat will die unless you intervene; what do you do? And if the answer sounds obvious, what if the question is contextualised by explaining the people are African refugees trying to reach Europe illegally. And you've been explicitly ordered not to help them. Does this change anything? Should it change anything? These are the tough questions asked by _Styx_, a remarkably apolitical microcosm of white European indifference to the current refugee crisis. This isn't a white saviour narrative, it's not about a racist who realises that blacks are people too, or about a refugee proving valuable even in the face of hatred. It's a parable about a binary choice distilled down to its very essence. Functioning as both a stripped-back documentary-like depiction of reality _and_ an allegory for more existential issues, the film will probably frustrate those looking for something more dramatic, or those who dislike narratives which remain ambiguous on moral questions. However, for everyone else, this is an exceptionally well-mounted and brilliantly acted story about what can happen when the visor of indifference no longer shields our eyes from the truth.
Rike (an extraordinary Susanne Wolff) is an emergency doctor in Cologne, fulfilling a lifelong ambition to sail solo from Gibraltar to Ascension Island, a tiny South Atlantic volcanic island about half-way between West Africa and Brazil. A trip of over 5,000 kilometres, Rike is sailing on her 11-meter yacht, the Asa Gray, and her only connection to the outside world is the ship's radio. Longing to see the jungle designed by Charles Darwin and Joseph Dalton Hooker (as Rike describes it, "wild, untouched nature that was actually planned"), she is more than able to handle herself on the ocean, as she demonstrates during a storm between Cape Verde and Mauritania. However, the following morning, Rike finds herself a few hundred feet away from a damaged fishing trawler loaded with refugees, desperately calling for her assistance. As maritime law dictates, she alerts the coastguard, who promises to send help, but who warns her not to approach the trawler. Hours later, with no sign of rescue, Rike moves slightly closer in an effort to get some of her water to its dehydrated passengers, but several of the refugees jump into the water and attempt to swim to her. All but one drowns; a young boy (Gedion Oduor Weseka) whom she hauls onboard in a near-unconscious state. Tending to a nasty wound on his back, she sees from a wrist band that his name is Kingsley, and when he recovers, he uses what little English he has to explain that people on the trawler are sick and dying, and need help, including his elder sister. With the coastguard still promising help that doesn't seem to be coming, Rike is presented with a stark choice; defy the coastguard's orders and intervene, or do nothing.
Before looking at the film's politics, it's worth mentioning its extraordinary craft. It opens with a shot of Barbary macaques apparently in the wild, before a cut reveals they are living side by side with humans on Gibraltar's urbanised coastline. It's a nicely presented visual metaphor, setting the allegorical tone for what's to come; apart from the obvious Darwinian "survival of the fittest" allusion, it presents a jungle thriving right beside a city built by people, just as Rike plans to travel to a jungle built by people. The film then cuts to a car crash in Cologne. Within moments, a fleet of emergency vehicles are on the scene, one of whom is Rike. However, the scene does far more than introduce her character; here we have an almost immediate outpouring of aid for those in need, in stark contrast to what will happen on the ocean, where responsibility is shirked and rescue is never guaranteed. Again, it's a very simple scene, with the metaphorical connotations not in any way laboured or foregrounded.
Director of photography Benedict Neuenfels's work is exemplary throughout, imbuing the ocean with the most beautiful blue you can imagine. Prior to the encounter with the refugees, the film recalls the soothing minimalism of J.C. Chandor's All is Lost (2013), and it's difficult not to settle into the peacefulness which Rike herself so clearly enjoys. Later, the economy of the visual language is more taut, making important thematic and narrative points with very simple set-ups. For example, high elevation drone shots show the vastness of the ocean, and just how completely isolated Rike and the refugees are (James Cameron's Titanic (1997) features a similar shot for the same reason). These shots also speak to the film's dispassionate observational style that remains non-judgmental and almost entirely apolitical, with events presented in an informational documentarian manner, as if they are really happening. This is in direct contrast to Gianfranco Rosi's similarly themed 2016 documentary Fuocoammare, which presents real events as if staged and acted.
A crucial couple of scenes in this respect come either side of the storm. In the first, Rike is contacted by a nearby freighter who warns about the impending storm and tells her to give them a shout if she needs anything the following day. Bearing in mind that the freighter would have room for ten times as many people as are in the trawler, Rike contacts them, but the immediately uncomfortable radio operator tells her, "our employer has a strict policy [of non-intervention] in such cases. I can't risk my job", to which Rike asserts "you are obliged to." But of course, he isn't obliged to, no more than she is. This exchange introduces a further element into the narrative - economic considerations. As the second scene of the film makes clear, in European cities, thousands of Euros and hundreds of people are immediately deployed to help car crash victims. Here in the ocean, however, when the lives of over one hundred are in danger, people bicker about economic bottom-lines and responsibility is passed from one group to the next, with no one willing (or able) take charge.
Perhaps the most extraordinary thing about the film, however, is how quiet it is on the refugee crisis itself. Fischer is not concerned with finger-wagging pieties or didactic moralising, he's interested only in showing us what happens, lifting the veil, letting us come to our own conclusions regarding the morality of it all. The refugee crisis as a global situation is never even mentioned, nor do we ever learn where the trawler has come from or where it was going; such details are incidental to the individuals in the film. And this is a key point; individuals are not responsible for making the crisis, but we are responsible for how that crisis is playing out. Kingsley himself is certainly a metonym for refugees in general, but he is also a terrified young boy to whom politics are irrelevant in the face of possibly having to watch his sister die.
In terms of problems, there are a couple, but they are relatively minor. For example, to a certain extent, the disembodied voice of the coastguard is something of a token villain (even if his warnings not to approach the trawler make perfect sense), and it wouldn't have taken a huge amount to have given him just a touch more in the way of compassion. The simple binary choice faced by Rike is also perhaps a little too binary; clear-cut in a philosophy textbook kind of way. And the relationship between Rike (privileged white European) and Kingsley (suffering African refugee) is a touch over-schematised. The biggest problem, however, and for some this won't be a problem at all, is the decided lack of thrills. I've seen a couple of people talk about how the film would have worked better if the last act had more of a rescue thriller vibe to it. I agree with that. Just like I think the last act of Frank Darabont's The Green Mile (1999) would have been much better had Tom Hanks staged a guard-led raid to break Michael Clarke Duncan out of prison.
Okay, I'm being facetious, but the point is, had this turned into some kind of maritime action movie, it would have completely undermined everything it was trying to accomplish. Yes, the complete lack of anything resembling excitement will probably bother some, as will the inaction of the main character, but such lack of kinetics is much more akin to the reality Fischer is trying to depict, where seemingly unimportant events (such as Rike sunbathing) are given almost as much time as the more dramatic moments.
Tackling how the issue of indifference may not be as clear-cut as it seems on paper, Styx is a film that asks difficult moral questions, without providing much in the way of answers, avoiding didacticism, and for the most part, remaining apolitical. As Rike's journey to her own idea of paradise intersects the journey of migrants travelling to what they hope will prove to be their paradise, the film presents not a story about a white saviour, but a story about white indecision. Forcing the audience to weigh the same alternatives that Rike must weigh, Styx comes across as both heartfelt and non-judgemental. With the Asa Gray serving as a microcosm for white Europe's reaction to incoming refugees, and the attendant social, economic and political dilemmas, Fischer acknowledges that this crisis throws up exceptionally difficult questions. The answers to which are up to us as individuals and as a society.
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17-year-old Cyril is funny, smart and an all-round good guy. Just his somewhat overlarge nose spoils the picture. On a school trip to Berlin with Roxy, a stunning new classmate, Cyril is not the only one taken with her. Benno, the class Casanova has his eye on the girl too and makes a nasty wager. Roxy is more interested in the introverted Rick, who is not only shy but also slow. Cyril hastens with his spoken word skills to Rick's aid, and falls head over heels in love with Roxy himself. So whose brave heart will win the fair lady? The Most Beautiful Girl in the World 2018 review :
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A River Runs Through It movie synopsis A River Runs Through It the movie 1992 showtimes complete download online A River Runs Through It song, Watch A River Runs Through It full movie online now.A River Runs Through is a cinematographically stunning true story of Norman Maclean. The story follows Norman and his brother Paul through the experiences of life and growing up, and how their love of fly fishing keeps them together despite varying life circumstances in the untamed west of Montana in the 1920's.,what are A River Runs Through It movies in order A River Runs Through It synopsis full movie A River Runs Through It 1992 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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A boxer suffers a serious head injury during a fight, and must deal with the consequences. Journeyman 2018 review :
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The Usual Suspects movie synopsis The Usual Suspects the movie showtimes complete online 1995 The Usual Suspects song, Watch The Usual Suspects full movie online now.Held in an L.A. interrogation room, Verbal Kint attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor – leaving few survivors. Verbal lures his interrogators with an incredible story of the crime lord's almost supernatural prowess.,what are The Usual Suspects movies in order The Usual Suspects synopsis full movie The Usual Suspects 1995 HD Movies, Full Length Movie ========================ஜ۩۞۩ஜ==========================
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Held in an L.A. interrogation room, Verbal Kint attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor – leaving few survivors. Verbal lures his interrogators with an incredible story of the crime lord's almost supernatural prowess. The Usual Suspects 1995 review : Great movie with superb performance from Kevin Spacey, well accompanied with the rest of the cast. Keaton always said, "I don't believe in God, but I'm afraid of him." Well I believe in God, and the only thing that scares me is Keyser Soze.
The Usual Suspects is directed by Bryan Singer and written by Christopher McQuarrie. It stars Gabriel Byrne, Kevin Spacey, Kevin Pollack, Stephen Baldwin, Benicio Del Toro, Chazz Palminteri, Pete Postlethwaite, Giancarlo Esposito and Dan Hedaya. Music is by John Ottman and cinematography by Newton Thomas Sigel.
Held in an L.A. interrogation room, Verbal Kint (Spacey) attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor – leaving few survivors.
It sort of sidled into movie theatres in 1995 with no fanfare or heralded notices. Yet it wasn't long before word of mouth got around that The Usual Suspects might actually be the must see film of the year. Fledgeling director and writer - Singer and McQuarrie - produce a masterclass of crime/mystery/noir plotting in a whirl of intricate plot shifts and deft sleights of hand.
The core essence of the story is simple, just who is Keyser Soze? His reputation is one of utter fear, he may even be the devil himself. What transpires throughout the film is a number of scenes told in flashback form and narrated by Kint as the cops put the heat on him.
We are introduced to the five criminals who make up the suspects of the title, where dialogue pings with machismo laced humour. The addition of Postlethwaite's Kobayashi character, one of Soze's harbinger's of doom, further ups the ante of the story's deliciously corkscrew intrigue.
It all builds to a climax that - has you pondering just what you have watched previously. Yet here's the key as to why the pic still holds up on repeat viewings, we have been outsmarted, for as we dive in and enjoy the across the board great perfs, we have been privy to something that will stand the test of time for the genre it sits in. The repeat viewings factor still, some decades later, is as strong as ever.
The advent of time and home format releases etc have only improved the pic's own mythical status. Behind the scenes egos and dislikes on set only add further strength to the characterisations, as does one main man thinking he himself must be Soze when in fact he was way off. There's a trail of clues in the film that will reveal who Soze is - who knew!? - and on it goes. The Usual Suspects is the filmic gift that keeps on giving. 10/10
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Title : Uncut Gems Uncut Gems genre : Crime, Thriller, Drama, Comedy Uncut Gems crew : Francine Maisler, Martin Scorsese, Darius Khondji, Scott Rudin, Skip Lievsay, Emma Tillinger Koskoff, Anthony Katagas, Josh Safdie, Josh Safdie, David Koplan Uncut Gems release date : 14 June 19 8 8 Uncut Gems runtime : 136 Minutes Uncut Gems Crew : Francine Maisler, Martin Scorsese, Darius Khondji, Scott Rudin, Skip Lievsay, Emma Tillinger Koskoff, Anthony Katagas, Josh Safdie, Josh Safdie, David Koplan Uncut Gems cast : Adam Sandler, Julia Fox, Lakeith Stanfield, Idina Menzel, Kevin Garnett, Judd Hirsch, Abel Tesfaye, Tilda Swinton, John Amos, Trinidad James ========================ஜ۩۞۩ஜ==========================
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A charismatic New York City jeweler always on the lookout for the next big score makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides in his relentless pursuit of the ultimate win. Uncut Gems 2019 review : Adam Sandler's best performance? No. But it's indeed his best since Punch-Drunk Love, which continues to be the pinnacle of his talent.
While the film isn't the best talking about technique, it seems to me that its style is totally focused on making the experience an exhausting one. And Uncut Gems is an overwhelming journey full of anxiety and stress. It achieved that splendidly. That's its greatest accomplishment: To immerse you in the entire atmosphere of the environment that Sandler's character inhabits, while we witness the cascade of bad decisions he makes.
Perhaps the biggest mistake is how the directors get to over-lengthen the story, which indirectly gets to a point where Sandler's character becomes obnoxious but I think that's part of the experience, because who ever in their right mind would feel more sympathy for a person like him? I mean more than the allowed sympathy anyways.
Its ending, although predictable is certainly what he built and there's no learning in it and it doesn't need to be. After all the story was his decline while he believed that he was going to succeed. And yes for a moment he did and for a moment he savored it, but as happens many times in life, good things aren't made to last.
Another triumph for A24.
9 likes **_Watching a guy screw up for two frantic hours may not sound very compelling, but this is a fine piece of work_**
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Written by Ronald Bronstein, Josh Safdie, and Benny Safdie, and directed by the Safdies, _Uncut Gems_ is essentially two hours and fifteen minutes of watching a guy screw up in increasingly spectacular and catastrophic ways, make bad decision after bad decision, and give in to his addiction to gambling more and more. It's a film where you know from the first ten minutes that sooner or later, he won't be able to worm his way out of one of his mistakes, and at that point, his seemingly unshakable optimism and belief in his own delusions will prove ill-equipped to deal with the reckoning. So from the first act, you're on edge, and you remain there for the duration. It's a film that never stops moving at the chaotic breakneck speed with which it begins, a film possessed of energy nearly queasy in nature. So, two hours and fifteen minutes of rapidly-paced stress-inducing cinema about a deluded hustler screwing up? Sounds fun doesn't it? No, of course it doesn't. However, it has been made with such craft, the _mise en scène_ is so good, the dialogue so sharp, the acting so intense, that you may as well be watching a fly-on-the-wall documentary. It's a film made of pure sweat and anxiety, and it's about as stressful an experience as you can have at the movies. It's also superb, and I'd highly recommend it.
The film begins in 2010 in Welo Mine, Ethiopia, with the discovery of an ultra-rare black opal of extraordinary translucence. We then cut to New York in 2012, where Howard Ratner (Adam Sandler) is a charismatic jeweller who lives his life on the principle of robbing Peter to pay Paul. A serious gambling addict, he always has at least one hustle going, and he always owes somebody something. Soon after we meet him, it's revealed that he's currently in debt to his loan-shark brother-in-law Arno (the great Eric Bogosian) to the tune of $100,000, and Arno is having such a hard time with him, that he's had to hire two Boston thugs, Phil (Keith Williams Richards) and Nico (Tommy Kominik), to try to muscle Howard into paying the money back. Meanwhile, his jewellery business is doing well, not the least reason for which is his colleague Demany (Lakeith Stanfield), who helps bring in high-profile clients. The latest example of such is Boston Celtics' basketballer Kevin Garnett (a surprisingly strong performance by Garnett himself). As Garnett is browsing the store, it's revealed that Howard has smuggled the black opal into the country for an auction the following day, where he expects it will sell for up to $1 million. However, when Garnett sees the stone, he insists he is allowed to have it as a lucky charm, just for the match he's playing that night. Howard is reluctant but agrees to part with it when Garnett offers to leave his All-Star ring as collateral (which Howard immediately pawns for money to place a bet on Garnett's game). And, predictably, things quickly go awry.
And all of this is to say nothing of his contemptuous wife Dinah (Idina Menzel), who has grown to loathe him over the years and considers their marriage a sham; his naïve but kindly colleague and mistress Julia (Julia Fox), with whom he shares an apartment; his father-in-law Gooey (Judd Hirsch), who always seems to see the best in him; and his children, Marcel (Noa Fisher), Eddie (Jonathan Aranbayev), and Beni (Jacob Igielski), none of whom have any illusions about who their father is.
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In this sense, the film is an especially astute study of addiction, although this theme is never foregrounded – no one accuses Howard of being a gambling addict, and he certainly doesn't seem to think of himself as one. This is not a cautionary tale about the perils of addiction. Indeed it even goes so far as to play up (if not necessarily glamorise) the gambler's high – the precarious sense of everything being on the line, consequences be damned, the sense that if one thing goes wrong, everything collapses, but if everything goes right… However, if you're paying even the slightest bit of attention, you can't help but see just how hopelessly consumed Howard is by his addiction (never once does he give the impression that he wants to stop gambling). It has wormed its way into every facet of his life, to the point where it has become his life, or certainly a hugely important part of that life. This is why delusion is such a major component in his psychological make-up – addiction and delusion form an ever-tightening feedback loop that becomes more difficult from which to escape, the more self-sustaining they become.
In terms of aesthetics, it's worth noting that two of the three writers (Bronstein and Benny Safdie) are also credited as the editors, and this is crucial insofar as the frenetic pace of the narrative isn't achieved only by the cutting, but by the script as well – this is a film written by people with at least one eye on the editing rhythms. The first scenes in New York, for example, immediately establish the chaotic energy – Howard speaking rapidly into his mobile, dialogue overlapping almost unintelligibly as multiple characters interact and talk over one another, at least three things always happening, each one of which would occupy our complete attention in a more conventional film. Here, it's almost like everything is a background to everything else, with nothing ever given a sustained sole focus. The opening scenes establish the pace as blistering, and that never really changes. It's the kind of film where there's perpetual propulsive momentum – because the characters never stop moving, neither does the story, even if the characters never actually manage to get anywhere. The score, by Oneohtrix Point Never, is also excellent. Obviously inspired by Tangerine Dream's electronic scores for Michael Mann's early films, most notably _Thief_ (1981), it's an unexpectedly crucial element of the film, adding to the overlapping cacophony of sounds and enhancing the general sense of twitchy chaos.
As for problems, the pace of the film will certainly put some people off. There are no down-moments here, no scenes designed to let the audience breath. This is as anxiety-inducing a film as you're likely to see, and that simply won't be to everyone's taste. Partly because of this, the tone never really varies. There are some comic beats (Howard getting dumped naked into a car trunk during his daughter's school play is particularly funny), but by and large, the tone is perpetually dark, ominous, and exhausting. Which, again, won't be for everyone. And there will, of course, be people who just can't get past the presence of Adam Sandler, which I can understand. Personally though, I loved _Uncut Gems_. It's certainly not the subtlest of films, nor the most thematically complex, but as character studies go, this is exceptionally good work from everyone involved and a genuinely unique piece of cinema. “This is how *I* win.”
One of the most stressful movie experiences I’ve had in awhile.
This whole movie runs entirely on acid and how the series of events unfold was particularly stressful. People constantly talking or yelling over each other while the brilliant sound work made the space around them feel so tight, but incredibly claustrophobic.
While I like ‘Good Time’ a little more, but man what a rush.
Adam Sandler is absolutely terrific as the greedy and sleazy Howard Ratner. If he's working with a good director, a strong supporting cast, and an interesting concept, Sandler will thrive. We follow Howard Ratner, a jewelry store owner in New York with a serious gambling problem that makes the hole his standing in deeper and deeper. Despite every terrible decision his character made...I still felt sorry for him. I think it has to do with Sandler's devilish charm that won me over into pitting such a petty crook. He isn’t a loser, he’s a winner who doesn't win. It’s one of his best performance right beside ‘Punch Drunk Love’.
Benny and Josh Safdie are such vibrant directors that can inject so much style while also having a harsh look to it, which ties in with the slimy side of business. The Safdie Brothers are building a solid career for themselves. Darius Khondji outstanding cinematography is the glue that holds this high tension of a movie together.
I loved the score from Daniel Lopatin, which will often drown out the dialogue as the retro rift comes blasting through. On the other hand, there’s also a slow mystical vibe that Lopatin composes that gave me a surreal feeling of levitating.
Kevin Garnett is surprisingly really good in this movie. A professional basketball player actually delivering a solid performance is almost unheard of. It kinda reminds me of Tyler Perry ‘Gone Girl’, in terms of your expectations from them vs what you got. I also couldn’t believe this is Julia Fox first acting debut, because she’s fantastic in the movie.
Overall rating: While I’m only two movies into their filmography, Safdie Brothers are upon my favorite working directors.
I hope they make another movie like 'Good Time' & 'Uncut Gems', so it can called the LSD trilogy. If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
The Safdie brothers are known for their anxiety-inducing films, and Uncut Gems follows that tradition. It’s definitely a movie meant to be divisive. At several points during the film, all a viewer wants is to yell “shut up” to everyone on screen. The frenetic pacing, the overwhelming dialogue, and the loud score serve as both praise and criticism.
Adam Sandler gives a career-best performance, but the narrative never quite grabbed me, being too repetitive and possessing a predictable yet impactful ending.
Rating: B Brothers and co-directors Josh and Benny Safdie are two of the most exciting names working in modern independent cinema, so their film “Uncut Gems” debuted alongside a shadow of grandiose expectations. The bottom line is that the film is good but far from great, and I’m comfortable going out on a limb and guessing those crowing the loudest about how fresh and original this movie is haven’t seen their far superior 2017 film, “Good Time.”
New York City jeweler Howard Ratner (Adam Sandler) is always on the lookout for the next big score. When he makes a series of high stakes bets that could lead to the windfall of a lifetime, Howard finds himself struggling to keep the balance between the growing list of adversaries, his business, his scams, and his home life. There isn’t much to the story other than a lot of cursing and ongoing scams, but there’s a decent sense of suspense that carries through the majority of the film.
The most shocking thing about “Uncut Gems” is that it lacks depth, especially when compared to “Good Time.” It’s not unfair to compare the two films, as each portray a gritty side of the city with antiheros who are close to completely hitting the skids. An effective crime thriller should have a lead character you can at least root for if not relate to, and Howard isn’t it. Sandler’s character is an irritating scumbag and while I guess that’s what he was going for in his performance, it’s shrill and unpleasant to spend time around this loser. I didn’t really care to see the end of Howard’s story because by the time it rolled around, I was completely worn down by his repeated poor decisions.
Here’s what happens in the film: Howard lies, gets cash, gambles it away, extends himself, gets a beating / stern warning / workplace visit from goons, then lies, gets cash, gambles it away, extends himself, and gets another beat down / visit from more goons. It’s an exhausting repetition of watching a sleazy scumbag spiraling out of control by digging himself deeper into a hole. His cycle of poor decisions is coupled with an indestructible optimism of a life-changing big score. Why should I care about somebody like that?
Sandler is good in the lead role, but much of the praise seems to be coming from the fact that, after a career in comedy films, his performance is unexpected. He’s a talented man, but he’s been even better in other, smaller films (like Noah Baumbach’s “The Meyerowitz Stories”). Howard is a loud, crude, unpleasant man to spend time with, but Sandler inhabits the role as a shady jewelry dealer and degenerate gambler in a way that lends the slightest glimmer of humanity to an otherwise detestable character.
The film plays like a hardcore, taxing Scorsese ripoff. It’s not very exciting, and the tension that does exist feels forced. The direction is more conventional than the material suggests, but major applause to the Safdie brothers for conveying their clear vision and having the courage to stick with it. They’ve started to corner the cinematic market on adapting the gritty side of New York for a modern era. I don’t feel the Safdies are as overrated as some other critics do, but I do think this film is bloated in all the wrong ways. Decent enough drama with Adam Sandler, though really found his character a bit too obnoxious to really care about though the ending was well done and surprisingly thrilling, but I have no problem with Sandler not getting a nod, I have seen him do better work (Punch Drunk Love for instance). Still, worth checking out even if it is a bit on the lengthier side for what it is. **3.5/5**
