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Lisa Spinelli is a Staten Island teacher who is unusually devoted to her students. When she discovers one of her five-year-olds is a prodigy, she becomes fascinated with the boy, ultimately risking her family and freedom to nurture his talent. The Kindergarten Teacher 2018 review :
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Title : THX 1138 THX 1138 genre : Drama, Mystery, Science Fiction THX 1138 crew : George Lucas, George Lucas, George Lucas, Walter Murch, Walter Murch, Francis Ford Coppola, Michael D. Haller, David Myers, Albert Kihn, Donald Longhurst THX 1138 release date : 8 May 19 4 6 THX 1138 runtime : 86 Minutes THX 1138 Crew : George Lucas, George Lucas, George Lucas, Walter Murch, Walter Murch, Francis Ford Coppola, Michael D. Haller, David Myers, Albert Kihn, Donald Longhurst THX 1138 movie cast : Robert Duvall, Donald Pleasence, Don Pedro Colley, Maggie McOmie, Ian Wolfe, Marshall Efron, Sid Haig, John Pearce, Irene Cagen, Gary Alan Marsh ========================ஜ۩۞۩ஜ==========================
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Title : Baby Driver Baby Driver genre : Action, Crime Baby Driver crew : Francine Maisler, Tim Bevan, Eric Fellner, Bill Pope, Liza Chasin, Edgar Wright, Edgar Wright, Edgar Wright, Nira Park, Steven Price Baby Driver release date : 11 April 19 5 8 Baby Driver runtime : 113 Minutes Baby Driver Crew : Francine Maisler, Tim Bevan, Eric Fellner, Bill Pope, Liza Chasin, Edgar Wright, Edgar Wright, Edgar Wright, Nira Park, Steven Price Baby Driver cast : Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Jon Hamm, Jamie Foxx, Eiza González, Flea, Sky Ferreira, Lanny Joon ========================ஜ۩۞۩ஜ==========================
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After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail. Baby Driver 2017 review : This was the most fun I’ve had watching a movie in a long time. It has everything I’m looking for in a summer blockbuster: nonstop action, amazing soundtrack (best soundtrack of the year), and hilariously funny. Oh and it’s an Edgar Wright film which has never been a let down. I’ve never seen the star, Ansel Elgort, in anything before but I know he was in the running to play Han Solo and now I’m extremely sad he didn’t make the cut – he even dresses like Solo for most of the film. Read more of my review here: https://imdgflicks.wordpress.com/2017/06/30/baby-driver-is-the-best-music-video-since-tron-legacy/ Let it never be said that "Overrated" equates to "Bad".
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._ **Don't mess with this Baby!**
One of the stylish film of the year. There's nothing special about the story, but the way it was made looks intriguing. The individual characters, music, stunts, obviously car chases. Not the best role Ansel Elgort has ever played, but in his short, beginning of the career, it quite possibly defines he's ready for the tough roles. Then the British filmmaker known for some wonderful action-comedies, one more addition to his hit kit.
A youngster who is a getaway car driver for heists, working under a criminal mastermind, is often teamed with a different crew. One of his latest job takes an unexpected twist, leaving his yet to bloom romance with a waitress in peril. His attempt to come out of that, the risk he takes, changes his life forever. The tale ends with an action packed finale.
This is the first Kevin Spacey film I'm seeing after all the allegation against him. I blame everyone equally who had let him do it all these years. But that's nothing to do with this film. He was fine as an actor as always. It's just fine to be as one-off film, but the way everything had happened looked like it could have been a great franchise. As of latest news, it is on. The sad part is, all the good characters won't return. Anyway, it is one of the must see from the year T17.
_8/10_ Extremely stylish, anime inspired superb action film. Edgar Wright knows what he's doing. Baby (Elgort) is a quiet, unassuming young man, who looks after his ailing foster parent, listens to music both out of his love for it, and a need to block out the tinnitus ringing in his ears that he was afflicted with due to a tragic accident that also took his parents. Baby also has a specific skill set, one that has him doing the bidding of a crime boss Doc (Spacey) to pay back a debt.
Baby's skill is driving, but not just any driving, the kind of skilled driving that gets Doc's crew of armed bandits away from the scene of bank hold-ups very fast, and then leads crews of police cars on a merry dance, and dodges every trick up their sleeves with a few of his own set to a killer music soundtrack from his iPod.
With light at the end of the tunnel, Baby has a chance encounter with cute diner waitress Debora (James), where the chemistry between the two is instant. He sees this as his road to freedom, and a bright new future. This new future is brought to rude halt by Doc who was not yet done with Baby.
This film is all about the music soundtrack, and what a soundtrack indeed. With songs like Nowhere to Run by Martha and the Vandellas, to the quintessential driving song Radar Love by Golden Earring, you'll be tapping your toes as well as being thrilled by the action, plus the classy, and slick driving by Baby.
The performances in this film are all stand out, relative new comers Elgort, James, and González do really well in their respective roles. The scene stealing performances by Spacey, Hamm, and Foxx are great in support to Elgort. While Spacey, as he generally does, plays cool, and mellow. Hamm, and Foxx do it with charm, and evil menace as Buddy, and Bats. Jon Bernthal's cameo as the suspicious, and hot-headed Griff was also a delight to watch.
Written, and directed by cult favourite Edgar Wright, this film has all the elements that make this a great addition to the tradition of other heist films like Drive, The Getaway, and Heat.
Baby Driver is probably the most fun I had at the cinemas this year along with Wonder Woman, and Spider-Man Homecoming. The moment you catch feelings is the moment you catch a bullet.
Baby Driver is written and directed by Edgar Wright. It stars Ansel Elgort, Jon Bernthal, Jon Hamm, Jamie Foxx, Kevin Spacey, Flea, Lily James and Eiza González. Music is by Steven Price and cinematography by Bill Pope.
In debt to a crime boss, a young getaway driver with tinnitus finds himself taking part in a heist that could spell doom for all involved.
Lets get it out the way, I'm a big fan of Edgar Wright, I find him refreshing for still shooting on film. That he has beautiful camera actions and for the fact his cutting is smooth and not a incomprehensible video game mess like so many other action movie directors these days. So obviously I love Baby Driver for sure.
The choreography is high quality, the stunt work equally so, while the varied soundtrack (given to us via Baby's personal player) is one of the best in many a year. Cast are bang on form, where naturally they are given a zinger of script to work from (it pays to watch more than once to catch some lines again). While the thrill of the extended action scenes are joyous.
It was a film long in gestation for Wright, and you can see he has given it his undivided attention. He may be divisive as per his output, but the monster success of Baby Driver (both critically and commercially) speaks volumes about the quality of the work on show. One of the best films of 2017. 8.5/10
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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_
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- 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.
Filmed on the open sea on a working yacht (it probably helped that Wolff is an accomplished sailor), the only parts of the film shot in a controlled environment was the storm, which was shot in a tank in Malta. During the writing of the screenplay, Fischer consulted Sea Watch (a civil search and rescue operation in the Mediterranean), Médecins sans Frontières (an international medical organisation), Borderline Europe (who work on Europe's external borders to provide aid and advice to refugees), and MOAS (Migrant Offshore Aid Station, a Maltese group who provide aid to refugees across the globe). The film is named after the Styx, the river in Greek mythology that separated the human world and the Underworld. However, in a connotation that many critics seem to have missed, one can only cross Styx if one can pay Charon, the ferryman, for passage. If one cannot pay, one's soul must wander the shores for a hundred years. So, only those privileged enough to afford it can (legally) travel to the next life, an obvious comment on the economic plight of refugees.
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.
Thematically, Styx covers a lot of ground, without being too explicit about anything. For example, it's never mentioned that Rike's journey to a manmade forest is interrupted by a manmade conflict. Similarly, as an emergency physician, Rike knows the first rule of such circumstances: always ensure your own safety first. This is never spelt out, but it becomes important when she realises she can't sail over to the trawler and offload the refugees, as they would overwhelm the Asa Gray. Of course, the circumstances seem tailor-made for a white saviour narrative - a privileged white European comes to the aid of a group of imperilled African refugees, deifying bureaucratic inaction, and in the process teaches us all about the importance of compassion and not to take our privileges for granted. Even the storm scenes seem to be setting up for this, depicting Rike as capable and strong, someone who can handle herself in a crisis. Fischer, however, is not interested in such a story, and Rike is no more a hero than the average person on the street. Indeed, she doesn't have much in the way of a character arc; once she spots the refugees, she does relatively little except watch in horror, with her most salient characteristic being indecision. Quite opposite to the clichéd white saviour narrative this could have become, the longer Rike does nothing, the more she comes to embody European indecision and irresponsibility; however well-intentioned it may be, the "someone else will do something" attitude that allows us to be outraged without having to act.
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.
