Plot: Penny (Carson Meyer) has always loved Johnny (Noah Centineo), and finally they found their way to each other. Now they finished school and summer stretches before them. Johnny is housesitting Keanu Reeves’ beach house and invites Penny. Since Penny assumes, hopes and fears that this will mean that they will finally have sex, she asks her cousin Camilla (Bianca A. Santos) along as moral support. Things get complicated afterwards, though. Young musician Ash (Jackson White) who is camping at the beach, joins them and Penny and he have an instant connection. Johnny is generally distant, trying to figure out where to head next. As is Bianca, who is afraid that nobody takes her serious. As the summer draws on and they learn to surf together, decisions have to be made.
SPF-18 is a mess with some nice cameos. I got the distinct impression that this was made by somebody so privileged, they live in a world entirely unlike mine, and it shows in pretty much everything. It’s a film utterly removed from the reality of most people – and doesn’t even know it.
Plot: Mike (River Phoenix) and Scottie (Keanu Reeves) are hustlers, living in the streets of Portland. Scottie has been living this way for longer than Mike and shows Mike the ropes a little, introducing him to Bob Pigeon (William Richert) who is something between a pimp and a father figure for a lot of more or less homeless hustlers in the city. Scottie also takes care of Mike when he has one of his narcoleptic spells. Despite their closeness, there’s a chasm between Mike and Scottie as Mike doesn’t have many choices to live the way he does, while Scottie comes from a rich family and chose to hustle to embarrass them.
I saw My Own Private Idaho around 20 years ago and I understood very little of it back then. Seeing it now, opened up the film to me much more. That in itself is already a beautiful experience, but even without that part of the experience, the film is wonderful.
Arlen (Suki Waterhouse) is released into the Texan desert, a wasteland where all of the undesirables are sent to and have to weather not only the harsh climate but also each other to survive. It doesn’t take long and Arlen is captured by cannibals led by Miami Man (Jason Momoa). But even though she doesn’t escape unharmed, Arlen does manage to escape and find her way in this cruel world.
Tom Ludlow (Keanu Reeves) is an undercover cop. He is successful, but he rarely sticks to the law. Neither does his superior, Jack Wander (Forest Whitaker), which is how Tom got away with it for years. But now Internal Affairs in the form of James Biggs (Hugh Laurie) have started to investigate, just as Ludlow’s colleague Terrence Washington (Terry Crews) has espressed doubts about Ludlow and his methods. It doesn’t take long for things to go from bad to worse for Ludlow.
Street Kings is an utterly grueling film, and not in a good way at all. While the cast promises much, the script doesn’t deliver and what you get is a boring film filled with unlikeable characters.
After John Wick (Keanu Reeves) finished his quest of vengeance and made sure that there will be no continuation of a blood feud, all he wants is to get back to his life of peace and quiet. But his reappearance in the world of assassins hasn’t gone unnoticed and there is still a debt John owes to Santino (Riccardo Scarmarcio) – and Santino has come to collect. John wants to refuse, but if he does, he goes against one of the central principles of this world – and his life will be up for grabs.
John Wick: Chapter 2 may not have blown me away quite as much as the first film (which may be due mostly to my higher expectations now), but it is definitely a more than worthy sequel.
John Wick (Keanu Reeves) used to be a hitman. The best hitman. But he gave it all up for is wife (Bridget Moynahan) and went straight. But now he lost her after a long illness and he’s lost without her. When a little puppy arrives on his doorstep, courtesy of his wife who didn’t want him to lose his ability to love, he is immediately taken by it. But then he is robbed by Iosef Tasarov (Alfie Allen), a young thug who happens to be the son of mafia boss Viggo Tasarov (Michael Nyqvist). Iosef wants to steal John’s car, but can’t leave it at that: he kills John’s dog. That is the last straw for John who decides to get back into business and take his revenge on Iosef and anybody who stands in his way.
Before seeing the sequel, I knew I had to re-watch John Wick. And also on re-watching it’s a beautiful, amazing, wonderful action movie that I simply adore.
Jesse (Elle Fanning) just moved to L.A., dreaming of a career as a model. She meets photographer Dean (Karl Glusman) and make-up artist Ruby (Jena Malone) who both take a shine to her and try to help. Since there is something about Jesse, that seems barely necessary though – her career is definitely off to a good start. But young girls like Jesse are quickly swallowed by the fashion world and grow older too fast – which is what happened to Gigi (Bella Heathcote) and Sarah (Abbey Lee), who can’t stand Jesse waiting in the wings to take their place.
The Neon Demon is a hypnotizing film that manages to conjure up an intriguing atmosphere that kept me glued to my seat. But – as with Drive – it only worked for me because I read it completely different from what Refn apparently intended to say.
The Victome de Valmont (John Malkovich) and the Marquise de Merteuil (Glenn Close) are thick as thieves, united in their love to manipulate and destroy the people around them, a skill they have so artfully mastered that their ploys don’t fall back on them. Both have a new project: Valmont is trying to seduce Madame de Tourvel (MIchelle Pfeiffer) who is staying at his aunt’s (Mildred Natwick) summer home and who is widely known for her morals and her loyalty to her husband. The Marquise, on the other hand, is looking for revenge on an ex-lover who just got engaged to the naive Cécile (Uma Thurman) who has spent practically her entire life in a convent. So she enlists Valmont’s help to completely corrupt Cécile.
After having so recently seen the play that was the starting point for the film, I must say that I was very much disappointed by the movie. I thought John Malkovich was miscast and the film never really finds its step. Michelle Pfeiffer is a sparkling star in it, though.
Johnny Utah (Keanu Reeves) just aced his FBI training and is ready to go into the field. He is assigned to long-served, cranky Pappas (Gary Busey) who is less than happy about having to take care of this newbie. But in Johnny, Pappas finds somebody not only willing to listen to his theory that a string of successful bank robberies is committed by a group of surfers, but to do something about it. Johnny starts to learn to surf with the help of Tyler (Lori Petti) and gets closer with the charismatic Bodhi (Patrick Swayze) who soon becomes their prime suspect.
Point Break has many strengths, though it isn’t a perfect film. But both Swayze and Reeves are perfectly cast (which, especially in Reeves’ case is important). Their chemistry together make the film as worthwhile as it is.
Evan (Keanu Reeves) has the perfect life. He is successful, rich, has a beautiful wife in Karen (Ignacia Allamand), they are in love and have two cute children and a dog. When Karen and the kids leave for the weekend and Evan has to stay back to work, all hell breaks loose though. It starts with two girls ringing Evan’s door in the pouring rain looking for another house. Evan lets Genesis (Lorenza Izzo) and Bel (Ana de Armas) in and that is all the invitation they need to fuck him over.
Knock Knock is a very stupid film. Entertaining enough while it lasts but it falls apart at any glance that is even slightly more than passing.