Queen & Slim
Once Upon a Time In Hollywood
Forgot your password?
Don't have an account? Sign up here
Got more questions about news letters?
Already have an account? Log in here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
No user info supplied.
I adore both lead actors, but this film's structure seems haphazard.
FIRST: The entire flight actually took between 1–2 hours. There are constant graphics appearing on the screen, but they're in white against the sky and difficult to read. Perhaps a clock in the corner could have helped give bearings on the time passing.
All the flourish of this film comes at the top and it seems to drift -- literally -- through to the end, where one of the lead characters is totally ignored.
As far as the music: no theme is established for ground VS airborne.
And the messages regarding the progress of the balloon flight are sent, but there's no clue if they're ever received. A lot of loose ends never get tied up: why was did one character pull out and what convinced re-engagement? There was a malfunction with the balloon in a previous flight, how was that remedied in this one? The exhaust vent that becomes very central isn't clearly delineated -- both of us thought it was in the nozzle of the balloon, which was mistaken.
THE STORY, PEOPLE, THE STORY!
I agree with most reviews, so let me focus on the magic of great casting in this film.
Installing Noah Jupe and Lucas Hedges as the same character at different ages may not on-their-faces seem like a natural choice, but in HONEY BOY it is never a question. The reputations that these two actors have for bringing genuineness and heart compliments the very personal and wild strength of the script.
I've seen Jupe's excellent work in THE NIGHT MANAGER, THE WONDER and FORD V FERRARI. His days as a lovely "little boy" are nearly over -- he's 14 and "growth spurt" is seriously underway. I'm looking forward to what he chooses next.
Lucas Hedges is an actor of surprising success. He is proof that there is still room for talent whose possessor isn't pushy, even somewhat reticent. He himself doesn't seem convinced of his talent.
Both actors are slyly enigmatic, which lends itself to the unexpected journey and characters presented in this film.
KNIVES OUT is being hailed as a nod to Agatha Christie. NOT AT ALL! Christie's films are intricate with well-developed characters. This is shrill, two-dimensional, and 4–5 characters could easily be cut. A couple of characters almost don't exist.
There are many working parts, but the film feels as if it can't get more than one or two of them working at the same time.
Ana de Armas is engaging, sympathetic and likeable. The barf joke is tedious and cheap, and HUSTERS got to play it first.
Chrisopher Plummer is excellent, except WHY are his parts played i such rapid-fire succession, when there could have been a sense of discovery?
The bombastic music score is reminiscent of MURDER BY DEATH or FAMILY PLOT, but the movie doesn't rise as high as either.
Critics are treating this film like something sacred, as if they can't risk being wrong if it's showered with Oscars. Glad I watched this on a gigantic home TV. Unfortunately the set is ultra HD and the makeup and CGI faces were distracting and weird. There is absolutely nothing new in this film -- other than the most senior ensemble, ever. This could have been an amazing launch for new talent, but Scorsese only looks backward.
I like all the actors, but would I recommend this film? Nope, it went flat for me when it ventured into DATE RAPE territory. The story arc would have worked better in the 90s, but not today. Did nobody in the production team or cast see volcanic canker sore on the face of this movie?