Netflix Film Reviews “Eye for an Eye” a.k.a. “Quien a Hierro Mata” (2019) #NetflixReviews

if you can suspend your disbelief … enjoy the ride

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Mario (Luis Tosar), a nurse in an old folks’ home, and Antonio Padin (Xan Cejudo), a legendary drug lord now residing there, make an unlikely double act. But when they meet, they just seem to hit it off, almost as if they have a bond which runs deeper. Certainly, they’re bonded by suffering.

Mario looks forward to a bright new life with his heavily pregnant wife Julia (Maria Vazquez) whilst trying to push away demons from his past which just won’t lie. Meanwhile, our feared drug lord Antonio has interred himself in an old folks’ home and is just waiting the inevitable while his two sons, Kiko (Enric Auquer) and Tono (Ismael Martinez), busily ruin his empire.

Eye for an Eye a.k.a. Quien a Hierro Mata (‘Who Kills Iron’) is a story of pain and revenge, it has some truly shocking moments. For the most part, a believable film, but my only issue is that the entire second half hangs on a very James Bond Villain’s Speech which one character gives to another; without this speech, the film doesn’t crank up a gear, yet it was totally unbelievable that this particular character should launch into that monologue. But if you can suspend your disbelief, then you can enjoy the ride.

A great character study set against the background of a drugs deal gone awry.

4/5

© 2020-2021 Bryan A. J. Parry

featured image from https://pics.filmaffinity.com/quien_a_hierro_mata-621396350-large.jpg

Film Review: “I See You” (2019) #NetflixReviews

Horror now has a new iconic image to add to its scripture

The Harpers are struggling to deal with a recent tragedy in their family when a mysterious and evil presence begins to torment them within the sanctum of their already fractured home. A recent spate of child kidnappings adds further pressure on pater familias and local detective Greg Harper (Jon Tenney). Can Greg and his wife Jackie (Helen Hunt) and teenage son Connor (Judah Lewis) hold it together? And what is the evil force which has begun to terrorise them?

I See You is a crime-horror-thriller that thoroughly involves you in its mythology from the start. It’s also an interestingly structured and plotted film without being overwrought in the least. Split quite neatly into two halves, the second offers us a completely different perspective on the story thus far and develops the plot in unforeseen ways. Yet despite the unexpected twists, I See You is never a shlocky twistomatron, throwing up mindbending twists for the Hell of it. Quite the opposite: everything moves and develops in a completely believable way. Indeed, at the half way point where we begin to see the story from a different angle, so to speak, I felt momentarily deflated that the “reveal” was so soon. Yet this half-way point reveal was only the beginning of what was a wonderful ride indeed.

The music and sound design was thoroughly disturbing from the very beginning. It combined with the cinematography to unsettle and rivet us simultaneous. Never a boring moment. I kept waiting for the film to careen off the tracks as so many of this kind do in the second or third act. But it never happened. The writing was first rate and all the actors convinced. But the cherry on the cake? Horror now has a new iconic image to add to its scripture (see the poster above). This movie has all the traits I associate with a franchise-spawning beast, and I foretell a slew of much worse sequels coming from this bad boy.

You may have noticed that I haven’t said too much about the plot details-wise. Well frankly, I don’t want to ruin it for you. Just watch this movie. Highly satisfying in every way.

4/5

© 2020-2021 Bryan A. J. Parry

featured image from https://cdn.traileraddict.com/content/saban-films/i-see-you-2019-poster.jpg

Film Review “Live Twice, Love Once” a.k.a. “Vivir Dos Veces” (2019) #150WordReview

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a geriatric Road Trip

Live Twice, Love Once a.k.a. Vivir Dos Veces (‘Live Twice’) is the touching story of a retired university lecturer Emilio (Oscar Martinez) who, upon being diagnosed with Alzheimer’s, decides to track down the one who got away. Think of it as a geriatric Road Trip, with a less severe neurodegenerative disorder.

Funny and heart-warming, all four of our leads convince and the characters win our hearts. Emilio, a passive-aggressive and sardonic old stick-in-the-mud; Julia (Inma Cuesta), his somewhat naggy but deeping caring daughter; Blanca (Mafalda Carbonell), the cheese to her grandfather’s chalk; and Julia’s online life coach husband Felipe (Nacho Lopez), more believable and less zany than you’d think.

The change in Emilio’s very personality is poignant, and the trip (literal and metaphorical) which our characters embark on is by turns funny and touching. However, I felt there was something lacking in the somewhat forced double climax to the movie.

A lovely picture.

3/5

© 2020-2021 Bryan A. J. Parry

featured image from https://i.jeded.com/i/live-twice-love-once-vivir-dos-veces.171474.jpg

Film Review “Pieces of a Woman” (2020) #100WordReview

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Not so much a slow-burner as a slow-flickerer.

When a home birth goes tragically wrong, Marta (Vanessa Kirby) and Sean’s (Shia LaBeouf) marriage and lives spiral viciously downwards as they struggle to deal with their awful loss.

Pieces of a Woman features powerful central performances from Kirby and LaBeouf. The film was realistic and often crushingly depressing. But it also dragged. Slow to move, it wasn’t so much a slow-burner as a slow-flickerer. It was missing that little something extra. None-the-less, the brilliance of the cast, the direction, the editing, and the realism of the script make it one worth seeing.

Not so much a well-structured narrative but rather well-drawn characters.

3/5

© 2020-2021 Bryan A. J. Parry

featured image from https://cdn.traileraddict.com/vidquad/netflix/pieces-of-a-woman-poster/1.jpg

“Movie Reviews Blog” (2020) Review

the worst pandemic in a hundred years

After tragedy struck in the Autumn of 2017 forcing writer Bryan Parry (Bryan Parry) to cease work on his movie reviews blog, he had to rebuild his life. He was determined that 2020 would be his year, the year to relaunch his career and achieve success. Little did he know a global pandemic would strike. Can Bryan juggle commitments as husband and father, and power through the worst pandemic in a hundred years, to achieve his goal of online writing success, or will he succumb to the pressures of life?

Movie Reviews Blog (2020) is the long-awaited reboot of Film Movie TV Blog (2017) and the abortive reboot Film Movie TV Blog (2018). A slow-mover, the film sees Bryan slowly consolidate, expand and extend the reach of his blog, introducing new features along the way (such as social media channels Twitter and Instagram) and the Hall of Fame and Shame, and increasing production to upwards of two articles a week. His readership has increased massively, perhaps also helped along with his trademark touches of humour.

Not everyone’s cup of tea, Movie Reviews Blog is none-the-less the tale of how, even given hard circumstances, anyone can make progress. However, the story feels somewhat incomplete, almost as if the final act was missing. Perhaps the rumoured sequel Movie Reviews Blog 2021 (2021) will see our hero Bryan become a break-out success.

3/5

© 2020-2021 Bryan A. J. Parry

Netflix Film Review “Inconceivable” (2017) #NetflixReviews #150WordReview

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A good psychological thriller which is somewhat short on thrills.

When young mother Katie flees an abusive relationship with her newborn, she settles in a new town where she befriends another mum Angela. Katie seems like just what struggling Angela needs: a new best friend to help support her in her own moving on from a troubled period. But when Angela starts to notice strange things about Katie, we’re left to question is Katie all she makes herself out to be?

Inconceivable is an entertaining psychological thriller. It features good performances from Oscar winners Nicolas Cage and Faye Dunaway. However, the pacing felt somewhat plodding, the runtime seeming to stretch beyond its 105 minutes, and the key twists were resolved too early and thus deflated the tension. The main issue seems to be that the script isn’t sure what it’s trying to do. Is Katie the protagonist, or Angela? Do we live the journey of Angela’s descent into madness, or not? Is it an is-she-isn’t-she-crazy film, or not?

A good psychological thriller which is somewhat short on thrills.

3/5

© 2020-2021 Bryan A. J. Parry

featured image from https://www.netflix-nederland.nl/wp-content/uploads/2018/03/Inconceivable-Netflix-810×456.jpg

Netflix Film Review: “Fractured” (2019) #100WordReview @netflix @thefilmreview @kermodemovie @fracturedfilmUK @_SamWorthington @lilrabe

A kind of horror Flightplan

A troubled couple, Ray and Joanne (Sam Worthington, Lily Rabe), stop at a petrol station where their daughter’s arm gets Fractured in a fall. They rush to the nearest hospital, but something is terribly amiss. Pushy staff keep mentioning organ donation. And when daughter Peri (Lucy Capri) and Joanne disappear during an MRI, the hospital deny they checked in — or even exist at all. Ray must fight to save his family and prove his sanity.

A kind of horror Flightplan, we are kept guessing until the end: abducted family, or imagined family?

Unsettling, thrilling, but slightly shlocky. A good romp.

3/5

© 2020-2021 Bryan A. J. Parry

featured image from https://rue-morgue.com/framework/uploads/2019/09/Fractured_1x1-1024×1024.jpg

Netflix Review: Under the Shadow (2016) #100WordReview #Netflix @UTSFilm @KermodeMovie #UnderTheShadow

Where Babadook was a nerve-shredding slowburn, Under the Shadow was just a patience-shredding slow.

Under the Shadow (2016) sees a mother struggle to maintain a normal family life in war-torn 1980s Tehran amidst Iraqi bombs and a mysterious evil presence.

BAFTA award-winning, foreign language, original setting, social commentary, Mark Kermode-approved: everything a latte-supping cosmopolitan liberal like myself loves. Yet this Iranian The Babadook doesn’t quite work.

Where Babadook was a nerve-shredding slowburn, Under the Shadow was just a patience-shredding slow. Babbadook‘s is-it-isn’t-it-real psychological terror has been replaced with going-nowhere social commentary on feminism in post-revolutionary Iran. A truly scary “monster” and creepy apartment building can’t hide the lack of focus or peril. Disappointing.

© 2017-2021 Bryan A. J. Parry

featured image from https://upload.wikimedia.org/wikipedia/en/1/18/Under_the_Shadow_%28poster%29.jpg

Netflix Review: Under The Shadow (2016) @UTSFilm @KermodeMovie #UnderTheShadow #NetflixReview

everything that a latte-supping cosmopolitan liberal like myself should love…

Under the Shadow (2016) depicts a mother and daughter struggling to maintain a normal life in war-torn 1980s Tehran. After their father and husband is conscripted, Iraqi bombs start raining down. In a visually striking moment, one bomb lodges in the building’s roof: it doesn’t explode, but it seems to bring a mysterious evil with it that begins to tear the family apart.

This BAFTA award-winning horror has long been on my “must watch” list. Sadly, I’m no longer a freeloading undergraduate with cash and time to spare, so I couldn’t catch it at the cinema. Luckily, Netflix bought it — a surefire sign that the film was gold — and I got to watch it this weekend.

Called an “Iranian Babadook” due to its slow build and psychological horror element, this film holds a 7.0 on IMDB and 98% fresh on RottenTomatoes — rarely heard of scores for a horror. Foreign language? Check. Original setting? Check. Social commentary? Check. Mark Kermode approved? Check. It’s everything that a latte-supping cosmopolitan liberal like myself should love. And how I wanted to love it. But this was the single-handed most disappointing film experience I have had in years.

Where The Babadook was a nerve-shredding slowburn, Under the Shadow was just a patience-shredding slow. 82 minutes never felt so long. The film wasn’t awful: jaunts to the basement bomb shelter were creepy, the sound design was at times deeply unsettling, and the evil presence was original and truly scary. But unlike The Babadook which nigh-on perfectly balanced psychological terror, monster scares, and possible mental breakdown in a is-it-isn’t-it-real stylee, Under the Shadow just felt like a going-nowhere social commentary on the state of women in post-revolutionary Iran with a bit of bump-in-the-night thrown in. Tension wasn’t maintained, the film didn’t feel like it was headed anywhere, and our mother and daughter, strangely, never truly seem imperilled by the menacing presence. The picture juggles several themes, yet never delivers on any of them. Smaller productions often suffer from fewer rewrites, Under the Shadow is no exception: this is a screenplay crying out for another round or two of redrafting. It never fulfils the ample potential it hints at.

However, the acting, direction, clever construction, and originality save the film somewhat. Memorable, note-worthy, but sadly Under the Shadow just doesn’t hang together.

© 2017-2021 Bryan A. J. Parry

featured image from https://www.thestateofthearts.co.uk/wp-content/uploads/2016/10/under-the-shadow-movie.jpg

Upcoming Movie and TV Reboots: 5 #spoof

image

Back to the Future (20??)

Nooooooo. I can’t even bring myself to joke about this. But I just know it’s going to happen! Despite what Robery Zemeckis says, money talks; just ask Judas. How dare they will have going to have rebooted this classic! Sad face. Possibly justified as someone having gone back to the past from the future and changing the timelines in some kind of Star Trek reboot stylee.

No. Seriously. This will happen.

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