Saturday Night At The Movies

[GORDONSMITH7]

Like southfieldhibby, i'm looking forward to seeing First Man when it comes out starring Ryan Gosling as Neil Armstrong. Loved Damien Cazelle's first two movies Whiplash and La La Land so hopefully this will be another great one.

I read a rave review of this at the weekend. Looks very good. On general release this Friday.

BIG G

 

[GORDONSMITH7]

One for the rude boys and auld skins to look forward to. I bought a tremendous Trojan compilation in 1973. I was turned onto all this stuff back in 1968 while still at school when I bought the splendid single It Mek by Desmond Dekker.
Click.
Rudeboy: The Story Of Trojan Records - Trojan Records


The seeds for the multicultural society we live in now were formed on the dancefloor back in the day,’ says Don Letts by way of introduction to Nicolas Jack Davies’ documentary about Trojan Records, which celebrates its 50th anniversary this year. The company was founded by Windrush immigrant Lee Gopthal, against a backdrop of rising racial hatred. Rudeboy charts the label’s evolution from 1960s ska and rock-steady to the chart-topping hits that introduced reggae to a global audience, while also recalling the prejudice that the music’s pioneering artists and producers had to overcome in London. Blending original interviews with evocative archive footage and cinematic reconstructions, the film is a timely celebration of British Jamaican working-class youth culture, style and ingenuity.

Manish Agarwal


BIG G

 

[Two Headed Boy]

I watched "I, Tonya" last night on Amazon Prime. Very entertaining biopic of controversial figure skater Tonya Harding. It's very Scorcesse esque in the way it spans three decades of a life with a jukebox soundtrack, characters talking directly to the audience etc...

Recommended.

 

[Purple & Green]

Don't go the movies to see things I want too often, usually Marvel stuff for the lad or most recent Mamma Mia with my wife. Was mildly entertaining, simply based on the young lead female character being tremendous on the eye.

The new Neil Armstrong movie looks outstanding, will be going to see it.

Interesting to hear thoughts on this, I went to see it tonight.

 

[southfieldhibby]

Interesting to hear thoughts on this, I went to see it tonight.

Saw it today. Initial reaction is I loved it, was superb. Some of the way it was filmed made he feel queezy, but that’s obviously deliberate. Brilliant movie.

 

[Bofahibee]

22 July on Netflix. Paul Greengrass’ film about Anders Brevik’s murder of 70 kids in Norway. Powerful stuff but I can’t help thinking that a few nut jobs will watch and think he was a hero.


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[beefy]

Watched this last night...

Searching

Called 'Searching'. Most engrossing film I've seen for a long long time. Innovative too.

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[GORDONSMITH7]

Watched this last night...

Searching

Called 'Searching'. Most engrossing film I've seen for a long long time. Innovative too.

Sent from my E5823 using Tapatalk

Tried to get it on Prime amigo. Not available.

 

[GORDONSMITH7]

Two tonight on Film 4 worth recording. One for Arty Fartys and one for Musos. So that's me sorted amigos.
Mr Turner (11.30)

Timothy Spall is an acting genius in my opinion.

Cert 12A; 149 mins
Dir: Mike Leigh. Starring: Timothy Spall, Dorothy Atkinson, Marion Bailey, Paul Jesson, Lesley Manville

In the new Mike Leigh film, Mr Turner, you can hardly miss the Mister. Joseph Mallord William is a sore thumb from the opening scene, where he’s sketching a windmill somewhere in rural Holland, poised like a pot-bellied stork among the rushes. The scene tells you everything you need to know about the man and the places he feels happiest: in short, it’s landscape as portrait, and Turner would have smiled at that.
Leigh’s film is a supremely enjoyable biopic of the English artist known as “the painter of light” – someone whose canvases, which revelled in the possibilities of colour and movement, could almost be early forerunners of cinema.
Turner is played by Timothy Spall, who gives the finest performance of his career to date, surpassing even his work in Leigh’s Secrets & Lies 18 years ago. It won Spall the best actor prize at Cannes this year, and the question now is just how far the role can take him: the the Baftas, almost inevitably; as far as the Oscars, very possibly. It’s a musty performance, one that gets in your clothes and hair, and that’s absolutely meant as a compliment. Spall coughs and shambles about the place like a moulting, phlegmy Gruffalo, eyes bright and hungry, bottom lip jutting proudly forward like the spout of a custard jug.
His repertoire of grunts alone comfortably extends past a hundred, and you wonder if perhaps Spall went Method for the role, living for years in a sty until he got the voice, posture and smell just right. But beyond the troughfuls of fun tics, Spall makes Turner tenderly and totally human, which has the effect of making his artistic talents seem even more God-given.

The film begins in 1826, with Turner 51 years old and in the ascendant. He works from a studio in his London town house, where his housekeeper Hannah (Dorothy Atkinson) and elderly father, William Senior (Paul Jesson), keep things ticking over.

Turner’s dealings with them both, including solemn groping of the former, are brisk and straightforward. The painting process, though, is very different: Leigh shoots it in a way that it sometimes resembles an occult ritual. Early in the film, when Turner’s father visits a paint shop to replenish his son’s supplies, you see the pigments are piled up on silver platters, like spices in a souk, or potion ingredients, begging to be mixed.

Light is what moves Turner, and he moves with the light. The film spans the quarter-century until his death in 1851, and we follow him wherever he goes. At a patron’s country estate, he tussles with a gloomy rival (Martin Savage) and tries to sing a Purcell aria – he does it amusingly badly but also tenderly, and finding the precise point of articulation between the two is pure, neat Leigh.
His repertoire of grunts alone comfortably extends past a hundred, and you wonder if perhaps Spall went Method for the role, living for years in a sty until he got the voice, posture and smell just right. But beyond the troughfuls of fun tics, Spall makes Turner tenderly and totally human, which has the effect of making his artistic talents seem even more God-given.

The film begins in 1826, with Turner 51 years old and in the ascendant. He works from a studio in his London town house, where his housekeeper Hannah (Dorothy Atkinson) and elderly father, William Senior (Paul Jesson), keep things ticking over.

Turner’s dealings with them both, including solemn groping of the former, are brisk and straightforward. The painting process, though, is very different: Leigh shoots it in a way that it sometimes resembles an occult ritual. Early in the film, when Turner’s father visits a paint shop to replenish his son’s supplies, you see the pigments are piled up on silver platters, like spices in a souk, or potion ingredients, begging to be mixed.

Light is what moves Turner, and he moves with the light. The film spans the quarter-century until his death in 1851, and we follow him wherever he goes. At a patron’s country estate, he tussles with a gloomy rival (Martin Savage) and tries to sing a Purcell aria – he does it amusingly badly but also tenderly, and finding the precise point of articulation between the two is pure, neat Leigh.
In Margate, Turner meets a friendly landlady (Marion Bailey), who comes to play an important role in his later life. At the Royal Academy, we see him buzzing around, joking with friends, dishing out advice and, in a perfect, self-contained skit, winding up John Constable (James Fleet).

The film is studded with such gem-like supporting roles, many of which are taken by regular Leigh players, including Lesley Manville and Ruth Sheen. Picking favourites is too difficult, but let’s just say the lisping writer and patron John Ruskin, hilariously played by Joshua McGuire as an oblivious smartypants, has stwuck a chord with a few of us cwitics.

In its shape, Mr Turner is very much like Topsy-Turvy, Leigh’s superb, under-seen 1999 film about the comic-opera writers WS Gilbert and Arthur Sullivan, set during the writing of The Mikado. But this is an even more ambitious work about the making of art, in which the process is not just shown as an almighty, if often very funny, strain, but something that, when done correctly, and with the stars aligned just so, can bear the artist past death and into history.

When Leigh recreates the scene that inspired Turner’s 1839 masterpiece The Fighting Temeraire, he shows the artist finding hope not in the old, exhausted warship being tugged to her last berth, but the squat, blackened tugboat in front.

“The ghost of the past,” says one of his friends, nodding sorrowfully at the larger vessel.

“No,” Turner barks. “The past is the past. You’re observing the future! Smoke. Iron. Steam!” Leigh and Spall’s genius is to show us both in one man: Turner is future and past, progress and history, tugboat and Temeraire.



BIG G

 

[beefy]

Tried to get it on Prime amigo. Not available.

Oops! I watched it on me Firestick. So many platforms nowadays

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[GORDONSMITH7]

Two tonight on Film 4 worth recording. One for Arty Fartys and one for Musos. So that's me sorted amigos.
Mr Turner (11.30)

Timothy Spall is an acting genius in my opinion.

Cert 12A; 149 mins
Dir: Mike Leigh. Starring: Timothy Spall, Dorothy Atkinson, Marion Bailey, Paul Jesson, Lesley Manville

In the new Mike Leigh film, Mr Turner, you can hardly miss the Mister. Joseph Mallord William is a sore thumb from the opening scene, where he’s sketching a windmill somewhere in rural Holland, poised like a pot-bellied stork among the rushes. The scene tells you everything you need to know about the man and the places he feels happiest: in short, it’s landscape as portrait, and Turner would have smiled at that.
Leigh’s film is a supremely enjoyable biopic of the English artist known as “the painter of light” – someone whose canvases, which revelled in the possibilities of colour and movement, could almost be early forerunners of cinema.
Turner is played by Timothy Spall, who gives the finest performance of his career to date, surpassing even his work in Leigh’s Secrets & Lies 18 years ago. It won Spall the best actor prize at Cannes this year, and the question now is just how far the role can take him: the the Baftas, almost inevitably; as far as the Oscars, very possibly. It’s a musty performance, one that gets in your clothes and hair, and that’s absolutely meant as a compliment. Spall coughs and shambles about the place like a moulting, phlegmy Gruffalo, eyes bright and hungry, bottom lip jutting proudly forward like the spout of a custard jug.
His repertoire of grunts alone comfortably extends past a hundred, and you wonder if perhaps Spall went Method for the role, living for years in a sty until he got the voice, posture and smell just right. But beyond the troughfuls of fun tics, Spall makes Turner tenderly and totally human, which has the effect of making his artistic talents seem even more God-given.

The film begins in 1826, with Turner 51 years old and in the ascendant. He works from a studio in his London town house, where his housekeeper Hannah (Dorothy Atkinson) and elderly father, William Senior (Paul Jesson), keep things ticking over.

Turner’s dealings with them both, including solemn groping of the former, are brisk and straightforward. The painting process, though, is very different: Leigh shoots it in a way that it sometimes resembles an occult ritual. Early in the film, when Turner’s father visits a paint shop to replenish his son’s supplies, you see the pigments are piled up on silver platters, like spices in a souk, or potion ingredients, begging to be mixed.

Light is what moves Turner, and he moves with the light. The film spans the quarter-century until his death in 1851, and we follow him wherever he goes. At a patron’s country estate, he tussles with a gloomy rival (Martin Savage) and tries to sing a Purcell aria – he does it amusingly badly but also tenderly, and finding the precise point of articulation between the two is pure, neat Leigh.
His repertoire of grunts alone comfortably extends past a hundred, and you wonder if perhaps Spall went Method for the role, living for years in a sty until he got the voice, posture and smell just right. But beyond the troughfuls of fun tics, Spall makes Turner tenderly and totally human, which has the effect of making his artistic talents seem even more God-given.

The film begins in 1826, with Turner 51 years old and in the ascendant. He works from a studio in his London town house, where his housekeeper Hannah (Dorothy Atkinson) and elderly father, William Senior (Paul Jesson), keep things ticking over.

Turner’s dealings with them both, including solemn groping of the former, are brisk and straightforward. The painting process, though, is very different: Leigh shoots it in a way that it sometimes resembles an occult ritual. Early in the film, when Turner’s father visits a paint shop to replenish his son’s supplies, you see the pigments are piled up on silver platters, like spices in a souk, or potion ingredients, begging to be mixed.

Light is what moves Turner, and he moves with the light. The film spans the quarter-century until his death in 1851, and we follow him wherever he goes. At a patron’s country estate, he tussles with a gloomy rival (Martin Savage) and tries to sing a Purcell aria – he does it amusingly badly but also tenderly, and finding the precise point of articulation between the two is pure, neat Leigh.
In Margate, Turner meets a friendly landlady (Marion Bailey), who comes to play an important role in his later life. At the Royal Academy, we see him buzzing around, joking with friends, dishing out advice and, in a perfect, self-contained skit, winding up John Constable (James Fleet).

The film is studded with such gem-like supporting roles, many of which are taken by regular Leigh players, including Lesley Manville and Ruth Sheen. Picking favourites is too difficult, but let’s just say the lisping writer and patron John Ruskin, hilariously played by Joshua McGuire as an oblivious smartypants, has stwuck a chord with a few of us cwitics.

In its shape, Mr Turner is very much like Topsy-Turvy, Leigh’s superb, under-seen 1999 film about the comic-opera writers WS Gilbert and Arthur Sullivan, set during the writing of The Mikado. But this is an even more ambitious work about the making of art, in which the process is not just shown as an almighty, if often very funny, strain, but something that, when done correctly, and with the stars aligned just so, can bear the artist past death and into history.

When Leigh recreates the scene that inspired Turner’s 1839 masterpiece The Fighting Temeraire, he shows the artist finding hope not in the old, exhausted warship being tugged to her last berth, but the squat, blackened tugboat in front.

“The ghost of the past,” says one of his friends, nodding sorrowfully at the larger vessel.

“No,” Turner barks. “The past is the past. You’re observing the future! Smoke. Iron. Steam!” Leigh and Spall’s genius is to show us both in one man: Turner is future and past, progress and history, tugboat and Temeraire.



BIG G

The other following this is....

The Possibilities Are Endless (0215)
Henry Barnes
James Hall and Edward Lovelace’s documentary is about the post-stroke recovery of Edwyn Collins, the singer/songwriter who fronted the Scottish alt-rock band Orange Juice. There’s a disjointed beauty in this visualisation of a man struggling to recollect the facts of his life; a lot of power in the fight to rebuild the link between brain and location. Hall and Lovelace have skirted the temptation to make a conventional documentary; instead they immerse us in the experience, as confusing and frightening as it is. They dig beauty out of tragedy without being too neat about it and have made a remarkable film.



BIG G

 

[moathibby]

I went to see a film called 1945 a couple of days ago,it's a Hungarian film with subtitles.But don't let that put you off,it was very good.The plot was two Jews turn up at a train station in Hungary and start heading towards a small town with two trunks seemingly full of cosmetics.This sets the whole town into turmoil as dark secrets are revealed.The film is beautifully shot in black and white,with some excellent performances.I should imagine this will upset Victor Orban and his ruling party.Good!Go see.

 

[GORDONSMITH7]

I went to see a film called 1945 a couple of days ago,it's a Hungarian film with subtitles.But don't let that put you off,it was very good.The plot was two Jews turn up at a train station in Hungary and start heading towards a small town with two trunks seemingly full of cosmetics.This sets the whole town into turmoil as dark secrets are revealed.The film is beautifully shot in black and white,with some excellent performances.I should imagine this will upset Victor Orban and his ruling party.Good!Go see.

I read several good reviews of that film Moaty.

BIG G

 

[moathibby]

I've not read all the posts.But I notice there was some talk about Rudeboy. Which I want to see when I can.I notice it has been commented about by Don Letts.Whom I believe has some connection with Rude Boy the film about the Clash.
I hope there are not too many mix ups with the similar titles.Although I would imagine if a punter who gets the wrong film as a pressie won't be too dissapointed with the results.
On a completely different note I am looking forward to seeing Peterloo which is set to come out soon.I hope that it has the same sort of impact that I Daniel Blake had earlier.

 

[Bofahibee]

I've not read all the posts.But I notice there was some talk about Rudeboy. Which I want to see when I can.I notice it has been commented about by Don Letts.Whom I believe has some connection with Rude Boy the film about the Clash.
I hope there are not too many mix ups with the similar titles.Although I would imagine if a punter who gets the wrong film as a pressie won't be too dissapointed with the results.
On a completely different note I am looking forward to seeing Peterloo which is set to come out soon.I hope that it has the same sort of impact that I Daniel Blake had earlier.

I saw a photo of Tim McInerney in Peterloo today and assumed it was from Blackadder.


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[Two Headed Boy]

Just back from seeing "Us".

Superb! I was looking forward to this after really enjoying Jordan Peele's first film Get Out and it did not disappointed at all.

Far more visceral and scary than Get Out but more subtle with its core message.

Great performances, some big laughs and it rarely goes for the easy jump scare.

If you're a horror fan its a must, but I'd recommend it to anyone who can handle their nerves being jangled.

 

[GORDONSMITH7]

Just back from seeing "Us".

Superb! I was looking forward to this after really enjoying Jordan Peele's first film Get Out and it did not disappointed at all.

Far more visceral and scary than Get Out but more subtle with its core message.

Great performances, some big laughs and it rarely goes for the easy jump scare.

If you're a horror fan its a must, but I'd recommend it to anyone who can handle their nerves being jangled.

Saw it the other night at Omni. Was chortling at some of the dark humour. Splendid.

BIG G

 

[GORDONSMITH7]

Father's Day gift from Danny. We saw the Diego Maradona film at the Cameo cinema on Monday night. Absolutely splendid. Recommended.

BIG G

 

[Greenmachine]

Going to see Rocketman this week-end which as an Elton fan I am looking forward to.

Update; Saw it tonight....fantastic.

 

[Two Headed Boy]

Saw both "toys that come to life" movies in the cinema this week. Family trip for Toy Story 4 and just me and the missus for Child's Play. Both were highly entertaining in their own way.

Toy Story 4 is easily as good as the other three in the series and managed to delight without being too surprising. Funny, great looking animation and a heartwarming story. Delivers everything you'd want from it really.

Child's Play was great fun too and is far better than I expected it to be. It wont be for everyone, but if you like gory, silly, popcorn horror flicks then you'll have a blast. Far more enjoyable than the dreary Freddy, Jason and Texas Chainsaw reboots that have surfaced over the last few years.

 

[PILTONSTANY]

Saw new Men in Black today,it’s similar to the Ghostbusters reboot in that it’s entertaining enough but just lacks the something different factor of the originals.

Bairn liked it which is main thing.

 

[Bofahibee]

Maradona is a brilliant watch. I saw Julian Temple’s Ibiza Silent Movie this week too which was really disappointing.


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[GORDONSMITH7]

The wonderful Pride on now BBC2. Pride is a 2014 British LGBT-related historicalcomedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the Lesbians and Gays Support the Miners campaign.The alliance was unlike any seen before and was ultimately successful.
If too late and you have not seen it. Get it on Catch up. Folk that new what solidarity means. Quality film.

BIG G

 

[Doc Shrink]

The wonderful Pride on now BBC2. Pride is a 2014 British LGBT-related historicalcomedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the Lesbians and Gays Support the Miners campaign.The alliance was unlike any seen before and was ultimately successful.
If too late and you have not seen it. Get it on Catch up. Folk that new what solidarity means. Quality film.

BIG G

That’s a cracking film.
Very entertaining and uplifting.

 

[NGP]

Last two films I've seen at the pictues;
Maradonna doc, focusing on his time at Napoli, superb watch.
Apollo 11, just brilliant. No narration or talking head interviews, just stunning footage with NASA & TV commentaries from the time. Great soundtrack as well. Recommend the big screen for both.

 

[Greenmachine]

Seen Yesterday on Saturday (if you know what I mean !)...great, entertaining movie with of course fabulous music.

 

[GORDONSMITH7]

That’s a cracking film.
Very entertaining and uplifting.

Which meant G that, like me you had a wee speck of grit in both eyes, when at the Gay Pride march after the strike,after the NUM and whole communities were defeated and devistated, NUM members from Wales and their families turned up at Pride in 1985 and lead the parade
Spendid article here....

When miners and gay activists united: the real story of the film Pride

In an era of raging homophobia and strident union-bashing, two minority groups made common cause in a Welsh mining community. Kate Kellaway hears their stories

www.theguardian.com

BIG G

 

[Two Headed Boy]

Another week another horror flick for me.

I saw Midsommar at the weekend. It is a slow burner that is clearly influenced by The Wicker Man, but I'd go out on a limb and say its a deeper experience than that folk-horror classic. The main character is far more involved and affected by the pagan shenanigans going on around her as opposed to Edward Woodward's unlucky polis who just experiences the strange behaviour before ultimately falling victim to it.

It's a bit gruelling , its 2hrs 30mins and most of that is concerned with building an unsettling atmosphere around 3 or 4 well earned shocks, so it wont be for everyone, but ultimately I thought it was as satisfying as it was uncomfortable.

It is absolutely stunning on a purely visual level too.

 

[Hibee Kev]

Watched Stan and Ollie recently, absolutely brilliant! Steve Coogan and John C Reilly were born to play those roles.

 

[Greenmachine]

Saw the magnificent Blinded by the light a week past Saturday. For a Springsteen obsessive like me it was fabulous and a bit like watching what happened to me in my last year at school on the big screen, except my Bruce conversion came five years previous to the main character Javed's in the film. Mine's was in 1982 rather than 1987, but just like him I also had a mate who gave me a couple of Bruce's albums and it changed my life completely as it did the guy in the film...and even more so seeing him in concert with the E Street Band for the first time in 1985. The film is a bit corny in parts but it's beautifully made and acted, the music of course is glorious, and it was incredibly moving in parts and very funny in other parts. The racism is dreadful to watch though and you just wonder how much has changed in the intervening 32 years.

I've met Sarfraz Manzoor (the journalist whose book the film is loosely based on) a couple of times over the years....once at an Edinburgh Festival thing he was doing about 9 years ago and the other time was before a Springsteen show at the Leeds Arena in 2013. I didn't really take to the guy much..thought he was a bit of an egotist to be honest...but he is a real Springsteen fanatic and has seen the Boss around 150 times...which puts my mere 24 times into perspective !

Even if you are not a Springsteen fan I would strongly recommend the film. It's very much needed for our current times even though it's set in 1987. A very uplifting film.

 

[Two Headed Boy]

Anyone on here who liked Get Out...

Go and see "Ready Or Not" right now.

One of the best satirical Horror-Comedies Ive seen since the 80s. Genuinely nasty and scrungy (well worth its 18 certificate) but sooooo funny and clever. And a fantastic take down of Americas masked class system to boot.

Completely unsubtle but it's gall carries from start to finish. Really impressive schlock.

 

[GORDONSMITH7]

Saw 1917 today. Brilliant, though felt utterly claustrophobic and a pit in my stomach early doors in the film. Similarly in the river sequence latterly. Splendid film. Where have all the young men gone, long time passing, when will they ever learn, when will they ever learn ?

BIG G

 

[EA2007]

Saw 1917 today. Brilliant, though felt utterly claustrophobic and a pit in my stomach early doors in the film. Similarly in the river sequence latterly. Splendid film. Where have all the young men gone, long time passing, when will they ever learn, when will they ever learn ?

BIG G

Seen it last week. First trip to the cinema for many a year due to a couple of punter reviews I read.

Well worth a watch.

 

[moathibby]

enjoyed The hurt locker

Tried to watch it on a dvd,stopped half way through to go for a pee.Got back and my remote wouldn't work.Need to go back to finish off.This was about 3 months ago.Was enjoying it too.

 

[moathibby]

Has anyone seen JoJo Rabbit?

 

[GORDONSMITH7]

I watched the epic three and a half hour long, gangster film, The Irishman last night. What can I say, tremendous, brilliant, outstanding. The best Director, directing some of the best actors in the world. The technology used to reverse ageing in flashback scenes is amazing. A bonus was to watch Martin Scorsese, Robert De Nero, Joe Pesci and Al Pacino together in conversation about the making of the film in The Irishman in Conversation for half and hour after the film.
I see that the film got 96% approval on Rotten Tomatoes the American review-aggregation website for film and television.
Coincidentally after my 4 hour journey I put BBC 1 on catching the tail end of the BAFTA awards.
Have seem both the excellent 1917 and The Irishman within a week I was absolutely astonished that the British Academy of Film and Television Arts, in their wisdom did not give the 10 nominated The Irishman a sniff.

BIG G

 

[1875]

I watched Instant Family last night, it was bland, but slightly funny, fine for Sunday night viewing with Mrs 1875.

 

[Zab]

I watched the epic three and a half hour long, gangster film, The Irishman last night. What can I say, tremendous, brilliant, outstanding. The best Director, directing some of the best actors in the world. The technology used to reverse ageing in flashback scenes is amazing. A bonus was to watch Martin Scorsese, Robert De Nero, Joe Pesci and Al Pacino together in conversation about the making of the film in The Irishman in Conversation for half and hour after the film.
I see that the film got 96% approval on Rotten Tomatoes the American review-aggregation website for film and television.
Coincidentally after my 4 hour journey I put BBC 1 on catching the tail end of the BAFTA awards.
Have seem both the excellent 1917 and The Irishman within a week I was absolutely astonished that the British Academy of Film and Television Arts, in their wisdom did not give the 10 nominated The Irishman a sniff.

BIG G

I have to say, as much as I thought I would love The Irishman, I just didn’t. I enjoyed it, but something about it just didn’t grip me the way other Scorsese films have.
I don’t think it had anything like the same number of instantly iconic scenes, lines or even characters that his other work has.

Goodfellas and The Departed are my all time favourite films, so maybe I need to watch The Irishman again.

 

[Two Headed Boy]

Watched Uncut Gems at the weekend. If you have Netflix you are duty bound to see this one.

The whole plot revolves around a few days in the life of a gambling addict making one terrible decision after another. Absolutely rattles by from start to finish. 2hrs pass like 20 minutes.

 

[southfieldhibby]

I have to say, as much as I thought I would love The Irishman, I just didn’t. I enjoyed it, but something about it just didn’t grip me the way other Scorsese films have.
I don’t think it had anything like the same number of instantly iconic scenes, lines or even characters that his other work has.

Goodfellas and The Departed are my all time favourite films, so maybe I need to watch The Irishman again.

I'm the same. Irishman was fine, but not a patch on the others you mentioned.

Saw 1917 last night and thought it was pretty good too. The way it's filmed was pretty amazing, but it sometimes made you concentrate on that rather than the film? Enjoyed it though.