Now, the film is straight-up, legit goofball nonsense. Neeson plays a man who has rode the same train every day for ten years and on the day he’s laid off from work a mysterious woman boards with him and offers him $100,000 to identify and track a mystery passenger. Just from the premise it feels a little goofy.
They’re making a big deal of the fact that this documentary be narrated by Benedict Cumberbatch. He’s in the trailer, he gets the main on end credit, he doesn’t deserve this.
So much of the time Three Billboards Outside Ebbing, Missouri feels great. Then one of its black characters enters a scene. It’s rough seeing an able movie so deftly shoot itself in the foot, cos as elegant and taut as Martin McDonagh’s plotting and dialogue feels he is totally unable to write people of colour at all.
Get this right, Gary Oldman ain’t actually a really fat dude, but in this film right here he is. Mind blowing right? That someone can just do that and make it a film. He’s not fat in real life. Wow.
I’m not sure if I were feeling particularly weak in the theatre yesterday. There was not a single point throughout Coco that I was not either laughing or crying. Lee Unkrich & Adrian Molina’s film flies straight towards the top of the Pixar canon.
I love watching drama that don’t got nothing to do with me. I’m super basic when it comes to that. It’s what made me super interested in the post-production of All the Money in the World, when I mostly try to stay impervious to insider shit.
This might properly hit harder for me if I had seen the other two movies. I don’t even know if acapella was even in in 2011. It must have been probably, these movies made bank.