FF+ The Exorcist: Believer

There is no need at all for this film to connect directly back to the original and how it chooses to do so is a complete waste of time (and Ellen Burstyn’s talent). But David Gordon Green does a great job of capturing parental fear and the unique angle of dual possessions in girls with parents from different beliefs systems makes this a fresh, intriguing story all the way to its scary and thought-provoking ending. Conceptually better than it is deep, but still very entertaining.

Powered by RedCircle

Follow & Subscribe

Aaron

Patrick

Feelin’ Film

Join the Facebook Discussion Group

Join the Discord


Music: Upbeat Party – Scott Holmes Music

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

If you like the show you can support us through Paypal. Select the link below and make your one-time or recurring contribution.

Episode 352: Glass Onion: A Knives Out Mystery

The great detective Benoit Blanc is back to solve another mystery alongside a cast of eccentric characters, and we’re here to discuss how well Rian Johnson’s puzzle box works in this entertaining new series entry.

* Note – full spoilers in effect for entire episode *

Follow & Subscribe

Aaron

Patrick

Feelin’ Film

Join the Facebook Discussion Group

Join the Discord

Powered by RedCircle


Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

If you like the show you can support us through Paypal. Select the link below and make your one-time or recurring contribution.

Episode 268: One Night in Miami

We continue the Kemp Powers story love this week and welcome back Caless Davis to discuss Regina King’s directorial debut which envisions the conversations four iconic and important African-American men may have had about civil rights and friendship on one special night in Miami in 1964.

One Night in Miami Spoiler Review – 0:10:46

The Connecting Point – 1:14:17

Follow & Subscribe

Caless

Aaron

Patrick

Feelin’ Film

Join the Facebook Discussion Group

Powered by RedCircle

Support us on Patreon & get awesome rewards

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Minisode 31: Murder on the Orient Express

In this minisode we discuss Agatha Christie’s often adapted book to film, Murder on the Orient Express, directed by and starring Kenneth Branagh, along with Johnny Depp, Daisy Ridley, Michelle Pfeiffer, Josh Gad, Penelope Cruz, Leslie Odom Jr., Willem Dafoe, and a handful of other people potentially accused of murder. This story is special for a reason and we enjoy talking about the ethics and morality at play, while also gushing over a beautiful visual aesthetic in the film.

Contact

Join the Facebook Discussion Group

Powered by RedCircle


Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: MURDER ON THE ORIENT EXPRESS

Murder on the Orient Express (2017)

GOING IN

In all my years of devouring classic literature, I never read a single Agatha Christie novel. A travesty, I know. Arguably her most famous work, Murder on the Orient Express features the famous reoccurring detective Hercule Poirot. The story tells of thirteen stranded strangers on a luxurious train ride, one of them a murderer who Poirot must discover and stop before they kill again. As intriguing as the story is, I’ve intentionally avoided reading the novel or seeing the 1974 film that came before, and therefore will be able to go into this mystery spoiler-free. Branagh’s work is never short on panache and the all-star cast assembled points to an exciting cinematic game of whodunit, reminiscent of the board game Clue.


COMING OUT

For me, the success of movie mysteries is largely measured by the answer to two questions: “was it entertaining” and “did it keep me guessing until the end? ” Unexpectedly, the film is very much not a thriller. The style is theatrical in nature, which should be no surprise with Branagh directing, combined with some modern stylish cinematography. It felt very much like Branagh’s tone in Cinderella and made for a weird experience, which to be honest, did not always work for me. At many times I expected the energy of the film to increase as suspects were considered and the investigation grew nearer to resolution, but aside from one or two scenes this felt more like a stage play minus the heightened drama. And that leads into question number two, because despite not knowing the story and end result, I was certainly not guessing until the end. I’ll admit that I did not know every detail until Poirot’s classic reveal speech, but the clues were easy enough to read that it felt more like I was watching to discover how the detective would deal with the outcome versus whether he would learn the truth or not. The “whodunit” simply wasn’t filmed in such a way that lived up to my expectations for an exciting mystery and at times was downright boring.

So far, by my standards, Murder on the Orient Express does not succeed. What saved the experience for me, however, was the story itself. Though I don’t feel like this is a great adaptation, I was definitely intrigued by the moral implications that arose once the killer’s identity was revealed. The questions about justice, and what is right versus wrong, were compelling and it is easy to see why this is one of Agatha Christie’s most beloved stories. Talking through the implications of the ending on the drive home with my 14-year old made for great conversation.

With regards to the stellar cast, I feel a bit cheated. We simply don’t get enough time with each of the many characters to establish much of a connection. The acting is fine, although I’m quite tired of Johnny Depp as a gangster at this point, but no one really stands out because all of the characters are equal and overshadowed by the hero detective. Branagh really just can’t help himself here and his camera keeps Poirot in focus in almost nearly every scene. Those he isn’t in are filmed from his perspective.  There are so many closeups and monologues that the film starts to feel much more about him and less about the mystery. Branagh is no doubt a stellar actor and his presence serves the character well,  but his direction creates an unevenness to the style in Murder on the Orient Express that makes it feel awkward.

Verdict

I’m glad that I now know the story of Murder on the Orient Express. Christie’s tale is fantastic and is a unique scenario in murder mysteries. It brings up questions about justice, judgment, and forgiveness. Branagh’s adaptation is good, and I don’t regret seeing it, but instead of wanting to re-watch it, I am more compelled to seek out the source material and previous adaptations. Murder on the Orient Express is just an okay film. You can see better, but you could also see a whole lot worse.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.