Thrombey patriarch carks it (on birthday night)
In this fun whodunnit that’s a sheer delight.
Ensemble cast: so terrific.
Great direction. Wit: prolific.
… And costume design that’s a gorgeous sight.
Destiny, Ramona and co riding high (a money train) …
But the GFC puts that to a stop. Here comes pain.
Then creative chemistry skills
Restart the paying of bills.
Terrific performance from Lopez: a powerhouse hurricane.
Knockout central performance from Stenberg. Starr: a code-switcher,
Her compartmentalised life is a difficult-to-balance mixture
Of conflicting worlds. Navigating justified fury
(Police brutality, racism, an unfair jury …).
A gripping gut-punch. A timely, essential look at the ugly big picture.
Ms Israel (briefly known in the cliquey world of New York lit)
Refuses to play the game - and therefore just doesn’t fit.
The screenplay and direction here is sterling.
Grant shines, as does McCarthy (the unfurling
Life of Lee - audaciously impersonating departed writers of wit).
Powerhouse Davis’ Veronica post a life-altering eruption:
Unfathomable grief, desperation and disruption.
More than a heist. Dark and gritty
And always looming: the city
With its deep memory and ingrained curse of corruption.
There are truly outrageous plot points, but if you can run
With them, there’s some fabulous, escapist fun
To be had. Hendrick and Lively shine.
Highlights: stunning costume design,
Some music choices and a colour palette than can stun.
They’re less than stellar students, these four college guys
Who have an audacious plan (yes, it’s clearly unwise).
Riveting incarnations
Of crazy situations
Where twelve mil of rare books are the prize.
So the Ocean family traits are ingrained and lasting.
An elaborate scheme. Complex skills. In they go blasting.
It’s an enormously fun ride
Watching these cool women slide
Into a great adventure. Excellent (lead and ensemble) casting.
Billionaire Grandpa Getty: notoriously tight.
Young Paul’s missing. Cash needed. A fight.
A world-famous crime.
Williams’ work here: sublime.
Impressive film. Suitably tense. Great use of light.
Problematic script (cue: cop’s unchecked racial abuse).
Unsubtle direction. Simultaneously: morally obtuse.
Granted: McDormand’s skill is profound.
Here, dubious ‘redemptions’ abound
(Not the least of all: the bloody orange juice).
Vile, damaged March (full of poison, and new to town)
Brings on an event that’ll require the rep of the Crown.
From Thornton: extraordinary storytelling
Visually commanding, and so compelling.
Doolans: brilliant work (as a boy used to being pushed down).
Missing his scheduled rest break fills Poirot with dread. But he's needed (because: Oops! Someone's dead!) To nominate the accused. Strong cast, but under-used. Highlight: some interesting camera angles (overhead).
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Terry and Bob: inept cops, breaking rules, and lots of fights. Their Lieutenant interjects and reads them their rights. After leads they run ...
Enforcer and PI doing dangerous jobs for loot. When needed, they'll lie, scare and shoot. Often funny, and good leads rapport, But the script needed more. Highlight: Gosling drunk-acting. A hoot!
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Some dodgy dialogue (cue ear burns), Plus a number of ridiculous plot turns. But Elba's so magnetic, And the film so energetic, That it's entertaining, despite the concerns.
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Here's a true story from the world of aviation That escalated to a love triangle situation. This dramatic retelling Is extremely compelling, With a great mix of footage, interviews and narration.
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Boston crims and cops: all cloak and dagger. Towards the truth the Feds start to stagger. Depp: cartoonish as Whitey. The highlight: a mighty Performance from Edgerton (with his FBI swagger).
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After life giving her a few knocks, Tilly returns, causing some shocks. Many a tonal shift Comes too often and swift. Highlight: gorgeously designed frocks.
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