mike_olley
Joined Feb 2007
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Reviews72
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Strange Darling is a bloody, barmy, and bizarre thriller that grips you from the first frame and never lets go. At its heart is Willa Fitzgerald, delivering a monumental performance that swings between raw vulnerability and steely resolve. She commands the screen with an intensity that anchors the film's chaotic, pulse-pounding energy.
The supporting cast is just as fierce, elevating the tension and unpredictability of the narrative. But what truly sets Strange Darling apart is its musical arrangements-a masterfully curated soundtrack that heightens every twist, every moment of dread, and every unexpected turn.
With its brutal violence, psychological mind games, and a dash of dark humor, this film isn't for the faint-hearted. But if you're up for a wild ride, Strange Darling will keep you firmly on the edge of your seat-and leave you thinking long after the credits roll.
The supporting cast is just as fierce, elevating the tension and unpredictability of the narrative. But what truly sets Strange Darling apart is its musical arrangements-a masterfully curated soundtrack that heightens every twist, every moment of dread, and every unexpected turn.
With its brutal violence, psychological mind games, and a dash of dark humor, this film isn't for the faint-hearted. But if you're up for a wild ride, Strange Darling will keep you firmly on the edge of your seat-and leave you thinking long after the credits roll.
The Gray Man
One of Netflix's most expensive productions, The Gray Man is a cinematic rollercoaster that demands your full attention. This is not a film to watch standing up-unless you have superhuman endurance to match the relentless pace. From the opening moments, the film barrels ahead with a series of dynamic, high-stakes action sequences that leave little room for a breather. For some, this constant adrenaline rush may be exhausting, perhaps even disorienting, which may explain why a few critics marked the film down. But if you can keep up, you're in for a treat.
The pacing does slow down occasionally, and these moments of reprieve bring mixed results. Chris Evans as Lloyd Hansen-a sociopathic ex-CIA agent-is undeniably memorable but for the wrong reasons. Evans leans into the role with relish, but Hansen's one-dimensional and cartoonish portrayal detracts from the more grounded elements of the film. His inverted, almost comically villainous character feels like an overreach in a movie that already treads into larger-than-life territory. That said, Evans doesn't derail the film; he just leaves a noticeable dent.
On the other hand, Ana de Armas delivers a standout performance, proving once again that she's a force to be reckoned with. Her portrayal is equal parts fiery and sultry, perfectly calibrated for the role. As Dani Miranda, she brings energy and charisma to every scene, matching Ryan Gosling's stoic yet magnetic presence as Six, the rogue CIA operative at the film's heart. De Armas proves she's not just a supporting player but a star capable of commanding the screen in her own right.
Billy Bob Thornton is another highlight, turning what could have been a throwaway role into something much more engaging. Playing Six's handler and mentor, Thornton brings gravitas and emotional depth to a character that might have otherwise been overshadowed by the spectacle.
The plot? It's serviceable-a classic tale of espionage, betrayal, and redemption, with just enough twists to keep things interesting. Let's be honest, though: you're not watching The Gray Man for a carefully woven narrative masterpiece. The film doesn't aim to deliver documentary-level realism or intricate storytelling. It's a surreality-infused action epic, where operatives like Ryan Gosling's Six make the idea of a standing army seem obsolete. The script has its clichés and occasional lapses in logic, but they're easy to forgive when the action is this entertaining.
The ending? Predictable, but who cares? By the time you reach the climax, you've been so thoroughly immersed in this fast-paced world that the destination matters less than the ride. If anything, the predictability feels like a comforting payoff in a genre where shock twists can sometimes feel forced.
Visually, The Gray Man is stunning. Directors Anthony and Joe Russo (of Avengers: Endgame fame) deliver sleek cinematography and choreograph the action with precision. From rooftop chases to explosive confrontations, the set pieces are nothing short of spectacular. However, the musical score falls short of leaving a lasting impression. It's adequate but ultimately forgettable, missing the chance to elevate the film's most dramatic moments.
Despite its flaws, The Gray Man remains a thrilling, escapist ride. It's not a film designed to be dissected or debated; it's meant to be enjoyed in the moment. If you're a fan of high-octane action and larger-than-life characters, this is one Netflix original you won't want to miss. Just don't try to keep up without taking a few breaths along the way.
One of Netflix's most expensive productions, The Gray Man is a cinematic rollercoaster that demands your full attention. This is not a film to watch standing up-unless you have superhuman endurance to match the relentless pace. From the opening moments, the film barrels ahead with a series of dynamic, high-stakes action sequences that leave little room for a breather. For some, this constant adrenaline rush may be exhausting, perhaps even disorienting, which may explain why a few critics marked the film down. But if you can keep up, you're in for a treat.
The pacing does slow down occasionally, and these moments of reprieve bring mixed results. Chris Evans as Lloyd Hansen-a sociopathic ex-CIA agent-is undeniably memorable but for the wrong reasons. Evans leans into the role with relish, but Hansen's one-dimensional and cartoonish portrayal detracts from the more grounded elements of the film. His inverted, almost comically villainous character feels like an overreach in a movie that already treads into larger-than-life territory. That said, Evans doesn't derail the film; he just leaves a noticeable dent.
On the other hand, Ana de Armas delivers a standout performance, proving once again that she's a force to be reckoned with. Her portrayal is equal parts fiery and sultry, perfectly calibrated for the role. As Dani Miranda, she brings energy and charisma to every scene, matching Ryan Gosling's stoic yet magnetic presence as Six, the rogue CIA operative at the film's heart. De Armas proves she's not just a supporting player but a star capable of commanding the screen in her own right.
Billy Bob Thornton is another highlight, turning what could have been a throwaway role into something much more engaging. Playing Six's handler and mentor, Thornton brings gravitas and emotional depth to a character that might have otherwise been overshadowed by the spectacle.
The plot? It's serviceable-a classic tale of espionage, betrayal, and redemption, with just enough twists to keep things interesting. Let's be honest, though: you're not watching The Gray Man for a carefully woven narrative masterpiece. The film doesn't aim to deliver documentary-level realism or intricate storytelling. It's a surreality-infused action epic, where operatives like Ryan Gosling's Six make the idea of a standing army seem obsolete. The script has its clichés and occasional lapses in logic, but they're easy to forgive when the action is this entertaining.
The ending? Predictable, but who cares? By the time you reach the climax, you've been so thoroughly immersed in this fast-paced world that the destination matters less than the ride. If anything, the predictability feels like a comforting payoff in a genre where shock twists can sometimes feel forced.
Visually, The Gray Man is stunning. Directors Anthony and Joe Russo (of Avengers: Endgame fame) deliver sleek cinematography and choreograph the action with precision. From rooftop chases to explosive confrontations, the set pieces are nothing short of spectacular. However, the musical score falls short of leaving a lasting impression. It's adequate but ultimately forgettable, missing the chance to elevate the film's most dramatic moments.
Despite its flaws, The Gray Man remains a thrilling, escapist ride. It's not a film designed to be dissected or debated; it's meant to be enjoyed in the moment. If you're a fan of high-octane action and larger-than-life characters, this is one Netflix original you won't want to miss. Just don't try to keep up without taking a few breaths along the way.
Review: French Connection II
If ever there was a character who embodied the mantra of "too much is never enough," it's Gene Hackman's Jimmy "Popeye" Doyle in French Connection II. Hackman reprises his role with an intensity that could best be described as equal parts compelling and concerning. His relentless, almost cartoonishly excessive approach to policing makes Dirty Harry look like a yoga instructor. Popeye's antics aren't just rough-and-tumble - they're bulldozer-in-a-china-shop rough. And while this gung-ho style may have paved the way for generations of gritty cop characters, it's hard not to think that Popeye could benefit from either a few anger management sessions or a permanent holiday in a padded cell. His methods make policing in a banana republic look measured by comparison.
The film itself is a curious beast. Unlike the taut, Oscar-winning original, the sequel takes a fragmented approach, peppering the narrative with moments that feel as disconnected as Doyle himself after a few too many drinks. The cold turkey subplot, while ambitious, overstays its welcome - much like a guest who insists on recounting their detox journey in excruciating detail. Yes, it's gripping at times, but also drawn out to the point of exhaustion.
Yet, despite its flaws, there's a certain charm to French Connection II. It reflects the 1970s in all its unfiltered glory: raw, experimental, and unafraid to show its dark underbelly. And let's not forget, this was a sequel - a concept still relatively novel at the time. Its boldness deserves applause, even if its execution occasionally falters.
Ultimately, French Connection II is a reflective, uneven ride through the mind of a cop who might just be too unhinged for his own good. Entertaining? Absolutely. Timeless? Not quite. But it's an enjoyable throwback to a time when sequels were rare, and heroes like Doyle were as flawed as the stories they inhabited.
If ever there was a character who embodied the mantra of "too much is never enough," it's Gene Hackman's Jimmy "Popeye" Doyle in French Connection II. Hackman reprises his role with an intensity that could best be described as equal parts compelling and concerning. His relentless, almost cartoonishly excessive approach to policing makes Dirty Harry look like a yoga instructor. Popeye's antics aren't just rough-and-tumble - they're bulldozer-in-a-china-shop rough. And while this gung-ho style may have paved the way for generations of gritty cop characters, it's hard not to think that Popeye could benefit from either a few anger management sessions or a permanent holiday in a padded cell. His methods make policing in a banana republic look measured by comparison.
The film itself is a curious beast. Unlike the taut, Oscar-winning original, the sequel takes a fragmented approach, peppering the narrative with moments that feel as disconnected as Doyle himself after a few too many drinks. The cold turkey subplot, while ambitious, overstays its welcome - much like a guest who insists on recounting their detox journey in excruciating detail. Yes, it's gripping at times, but also drawn out to the point of exhaustion.
Yet, despite its flaws, there's a certain charm to French Connection II. It reflects the 1970s in all its unfiltered glory: raw, experimental, and unafraid to show its dark underbelly. And let's not forget, this was a sequel - a concept still relatively novel at the time. Its boldness deserves applause, even if its execution occasionally falters.
Ultimately, French Connection II is a reflective, uneven ride through the mind of a cop who might just be too unhinged for his own good. Entertaining? Absolutely. Timeless? Not quite. But it's an enjoyable throwback to a time when sequels were rare, and heroes like Doyle were as flawed as the stories they inhabited.
