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The
child who is not embraced by the village will burn it down to feel its warmth.” – African
proverb
Just trying to gather my thoughts
and emotions about this movie makes me feel like crying. Those who are high in social intelligence/empathy
will find it hard to watch this movie. It is, contrary to what some might expect,
not the origins story of a maniac supervillain who only wants to watch the world
burn. Jokes tells the story of a man who has to go through one of the worst fates,
that of an outcast rejected by society, abandoned by those whose companionship
he seeks. Full posting over at
https://irevuo.art/2019/10/11/movie-review-joker-heartbreaking For more posting like this please visit https://irevuo.art
Murphy is likable and big-hearted in this story of cult 70s
blaxploitation star Rudy Ray Moore’s rise from nightclub standup to the movies. he question of whether Eddie Murphy has got his mojo back or if it had ever gone away is probably beside the point, considering
his richly enjoyable starring role in this true showbiz story about the eternal
excitement of putting on the show right here.
Murphy plays Rudy Ray Moore, the singer, nightclub comic and
proto-rapper who in 1975 produced and starred in the cult blaxploitation comedy
Dolemite, based on the outrageously obscene character he'd created for
his standup act and bestselling LPs. The nearest Brit equivalent was probably
Derek and Clive. With never-say-die attitude, Moore battles through his ailing
career in its early days: the sometime singer and dancer has an epiphany on
seeing a garrulous homeless guy reciting rhyming tales of a legendary character
called Dolemite. Like a true artist and born entrepreneur, Moore tape records
the man's shtick, studies it, adapts it for his own club turn, and soon
he's a biggish success as a comedian, shrewdly getting a self-distributed
release on vinyl. But he yearns for the movie big time, and hires a producer,
Jerry Jones (Keegan-Michael Key), an obstreperous, highly strung director D'Urville
Smith (a hilarious role for Wesley Snipes), and a leading lady (Da'Vine
Joy Randolph), moreover roping in UCLA film school students to do... Full article - https://www.theguardian.com/film/2019/oct/11/dolemite-is-my-name-review-eddie-murphy-rudy-ray-moore-blaxploitation
So here’s the most controversial film of the year. When Joker premiered at the Venice Film Festival in August, it immediately attracted both five-star reviews and contemptuous put-downs. Time magazine denounced the movie’s “aggressive idiocy” and warned that the hero “could easily be adopted as the patron saint of incels”. Joker went on to win Venice’s top prize, the Golden Lion, nonetheless. Joker is unlike any other comic book film, deliberately hijacking the genre for its own purposes. There has never been a settled origins story for The Joker, a character introduced in the first Batman story in 1940 and originally intended to be bumped off in the second instalment. If there’s any accepted version, it’s that he fell in a vat of chemical waste and was driven nuts by the disfigurement. So the field was wide open for director and scriptwriter Todd Phillips, and his collaborator Scott Silver, to approach it as they wished, while ostensibly working within the DC Comics world. The standalone film they’ve made has nothing to do with superheroes. It’s a lurid pastiche and amalgamation of Martin Scorsese’s pulpy psychopath classics, Taxi Driver of 1976 and The King of Comedy of 1982, its star a toxic combination of Travis Bickle and Rupert Pupkin. Phillips, previously best known for the Hangover trilogy, which pushed being funny into new extremes of pain and damage, hasn’t made this Joker funny at all. This is high impact movie-making, with colours flaring in its ill-lit world, its action sequences full of dramatically framed shots from odd angles, closely modelled on cartoon images, cut together fast so they’re held only as long as you would look at them in a comic, all powered along by a thudding cello-centred score by Hildur Guðnadóttir. It’s 1981 and we’re in scuzzy Gotham City, or as it might be, Scorsese’s New York. Arthur Fleck (Joaquin Phoenix) is a mentally disturbed loner, given to boutsof manic humourless cackling, handing out a laminated card to people who are annoyed that reads “Forgive my Laughter: I have a Condition”. He lives in a miserable apartment with his cracked mother Penny (Frances Conroy) who calls him “Happy” and has told him he was put in the world to… Full article – https://www.standard.co.uk/go/london/film/joker-film-review-dangerous-clown-a4253971.html
