I love a good prison movie. Similarly to how I enjoy films set on trains, edgier (i.e., PG13 or greater) sports movies, alien movies, shipwreck movies, or survival movies set in the jungle, there is something about a good prison movie that perks my intrigue, keeps me interested, and has me thinking about it long after it’s over. The Shawshank Redemption, The Green Mile, The Hurricane, Rescue Dawn, Escape from Alcatraz, Lock Up, Murder in the First, Midnight Express, Brokedown Palace, Dead Man Walking, The Longest Yard, Felon, Law Abiding Citizen, Death Race, and others. So what could a prison movie offer that we haven’t seen before on the silver screen or television dramas like Prison Break or Oz or television documentary shows like Lockup or Locked Up Abroad? There are plenty of options for getting your prison fix. But you haven’t seen something in S. Craig Zahler’s (Bone Tomahawk) Brawl in Cell Block 99. Could it be that it’s the most brutal prison movie ever made? You could argue that it is. It certainly could be the goriest. If you have yet to see the horror-western Bone Tomahawk, prepare yourself. I had heard about it but still wasn’t ready for what I saw. I was not too fond of it. But I am going to go back and watch it again. And the reason for that is how much I really enjoyed Brawl in Cell Block 99.
Category Archives: Year of Release
Dunkirk (2017)
Christopher Nolan (The Dark Knight Rises, Inception) might be the best technical director we’ve ever seen. His precession is perfect. His attention to detail is unmatched. His brain operates so that it is always ahead of his actors and two steps ahead of his audience. We’ve seen technical masterpieces throughout his already storied career. At 47, he already has masterpieces like Following, Memento, Insomnia, Batman Begins, The Dark Knight, The Dark Knight Rises, The Prestige, Inception, and Interstellar all underneath his belt. According to Rotten Tomatoes, his “worst” movie is Interstellar, which still has a 71% fresh rating. That means his “worst” movie still had five out of every seven critics gave the movie a positive rating. However, for all of the positives associated with Nolan’s films (and there are many), he has failed to capture the often-needed emotional component with every single one.
Lady Bird (2017)
I think if you told someone that Saoirse Ronan (The Grand Budapest Hotel, The Lovely Bones), the actress who won audiences over with her innocent portrayal of a conflicted young Irish immigrant navigating her way through 1950s New York City in 2015’s fabulous Brooklyn (which earned her a Best Actress Nomination) is the same person playing the lead role two years later in Greta Gerwig’s Lady Bird, they’d look at you funny before looking at pictures of her from both movies, recalling scenes from each, and then of nodding their heads and saying, “Yeah, I guess that is the same actress.” While a movie I didn’t resonate with and was definitely near the bottom of the Best Picture nominees in the lackluster 2017, I did appreciate her performance. It was just as honest and genuine as the one she gave in Brooklyn. Similarly to 2015, her work in this movie is likely the third or fourth-best of the year and landed Ronan her second Academy Award nomination.
The Post (2017)
I was able to preview Steven Spielberg’s (Jaws, Saving Private Ryan) The Post two years before it was released to the public and even a year before it went into production. It was called Spotlight, and it won the Oscar for Best Picture. It was a fantastic movie. I wish I were more than kidding, and with that, I could be more positive about my viewing of what I hoped could be one of the year’s best movies. That was months ago when I only knew of the movie title and that it starred Tom Hanks and Meryl Streep. In my head, I envisioned a movie about an army outpost and was very intrigued. But then I saw the preview, and I wished the movie would have been about a post office instead. Then, when I was halfway through the movie, I wished I had been watching a movie about a bedpost, a fence post, or any other post that would have represented something far less predictable and boring than the waste of talent and time that was being projected on the screen in front of me. It was one of those times (I’ve had many recently) when I was more than grateful to have a MoviePass. The thought of paying for some of these 2017 movies is even more terrifying than the disappointing IT, which was neither scary nor good. And, except for a couple of non-Oscar nominated movies that I am still looking forward to but have yet to see (Hostiles, The Florida Project), The Post successfully ends 2017, the worst year for movies this century.
Call Me By Your Name (2017)
As the release of 2017 movies slowly (and mercifully) comes to an end, each review provides an opportunity to reflect deeper and deeper on the year that was. I’ve mentioned a few times in recent reviews that 2017 has, by far, been the worst year for movies since the inception of this blog back in 2010. Some movies may finish at the end of my year Top 5, but they wouldn’t even come close to finishing in my Top 10 in any other year. Unfortunately, for this review, Luca Guadagnino’s (A Bigger Splash, I Am Love) Call Me By Your Name did not benefit from a weak 2017. This movie has done very well with the critics and likely will earn multiple Oscar nominations, including for Best Picture, Best Actor (Timothée Chalamet – Lady Bird, Interstellar), Best Adapted Screenplay, as well as potential nominations for Best Supporting Actor (Armie Hammer – Nocturnal Animals, The Birth of a Nation) and Michael Stuhlbarg (The Shape of Water, Arrival), Best Original Song, and others, it still didn’t captivate me in the way I expected it to. For those expecting this to be the most excellent movie about gay love since Brokeback Mountain, you may be disappointed. Brokeback Mountain is an A+ movie. Guadagnino’s (A Bigger Splash, I Am Love) Call Me By Your Name is a B at best.