#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A fishing boat captain juggles facing his mysterious past and finding himself ensnared in a reality where nothing is what it seems.
Plot: The quiet life of Baker Dill, a fishing boat captain who lives on the isolated Plymouth Island, where he spends his days obsessed with capturing an elusive tuna while fighting his personal demons, is interrupted when someone from his past comes to him searching for help.
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I will always respect and appreciate the will of a director/writer in trying to do something bold and bonkers. Whether that’s a divisive plot twist, a double-faced character or even an unusual method of filming, it doesn’t really matter, as long as it succeeds. Steven Knight delivers a story that doesn’t feel right from the get-go. Everything feels strange and random, with weird dialogues and awkward hints at something underneath it all. Then, a somewhat predictable plot twist changes pretty much everything since our perspective is entirely different now. However, it sinks the movie even more and creates a whole bunch of incongruencies and plot holes.
The film wasn’t near good before the twist, and it gradually transformed itself into something jaw-droppingly bad, after it. In addition to this, the final message that Steven Knight leaves the audience with, is probably one of the worst ones since The Emoji Movie. “Doing the wrong things for the right reasons” is always going to be a controversial statement, but in this particular case, having in mind what happens in the movie and who does it involve, it’s 100% wrong and I want to believe that Knight didn’t exactly want to transmit this in the way that he did.
There’s an intriguing and meaningful story to be told deep down in this messy screenplay. Behind all of the unnecessary exposition scenes (there’s no need to describe what’s happening since the twist is quite self-explanatory) and cringe-worthy dialogues, there’s a well-structured narrative and an extraordinary concept to be explored. However, I have no idea what happened to the script nor the production and filming stages of the film, but I understand now why its original release date in October was postponed to the traditional January’s garbage. This was supposed to be an Oscar-bait movie: an Oscar-nominated director/writer plus two Oscar-winner protagonists, in a film that seems to be more than what it actually is? I guess the production companies saw this coming and they tried to prevent an even bigger flop.
I’m always the first to defend that a movie without at least “good” technical attributes is rarely one of the best of the year. However, I’m also the first to affirm that if a film fails to deliver a captivating story with compelling characters, there’s no magnificent cinematography or mind-blowing special effects that can salvage it. Serenity doesn’t even have that. Despite me feeling pleased that it was filmed in one-location and that the set design is pretty sweet, the editing is incredibly choppy. It feels like Knight had to remove several cuts in order to reduce the overlong runtime, which wasn’t performed in the best way possible. There are a lot of moments where a character is facing a side, and in the next cut, the former is already facing a completely different one (this particular thing really occurs often).
Regarding the characters, Baker and his son are definitely the ones that we learn more about since their connection is continuously addressed. Like I wrote above, there’s a relevant story behind all of this mayhem, but I did saw (even if briefly) the light at the end of this very dark tunnel. That light is instantly consumed by the darkness as new characters or subplots start to show up, and the hollowness prevails over everything else. Jeremy Strong’s character is baffling ridiculous, Diane Lane (Constance) is one of the dozens of logical reasons why the twist doesn’t work, but the one who annoyed me the most didn’t even show up. You spend a whole movie talking about this one person, like it is going to be a crucial subplot, and then you forget about it. You merely end the film, and it’s like that character was never even mentioned… Why? Why give even more reasons for someone to leave the theater frustrated?
Then, there’s the tone. It’s weird until the twist and weirder after it. Not even Matthew McConaughey or Anne Hathaway can save themselves from some awfully delivered lines. Nevertheless, it’s the cast who saves this wreckage of being an F. McConaughey is a hell of an actor and he demonstrates his outstanding range throughout the runtime. Hathaway has less to do, and I felt that her lines were the worst, but I can’t argue with her ability to deliver any emotion. Jason Clarke (Frank Zariakas) is perfect as the violent father/husband, and Djimon Hounsou (Duke) has some space to shine.
In the end, Serenity tries to go big and bold, but falls astonishingly flat. Plot holes, logical incongruencies, awful dialogues, terrible editing, hollow characters, and neglected subplots. Steven Knight had a great concept and a truly interesting thriller-mystery in his mind, but his execution is shockingly baffling, and the twist transforms everything into something way worse. The final message is the number one reason why I don’t recommend anyone to see this movie, especially if you take teens or kids with you. Matthew McConaughey is good enough to avoid a total disaster, and I know that there was something incredible behind all of this horrible mess. It’s probably going to end up as one of the worst films of 2019, unless we have a truly disastrous year in cinema.
One of the weirder films I’ve seen recently. And I like weird, I just don’t like… This. Credit where credit’s due though, both Anne Hathaway and Jason Clarke are **one hundred percent** believable in their roles, which is impressive given the setting, and… Terrifying, given their relationship dynamic.
_Final rating:★½: – Boring/disappointing. Avoid where possible._
For entertainment value alone
Before you get mad about the score I’m giving this beautiful mess of a film, please keep in mind that I rate things on a scale of how entertained they kept me as opposed to how “good” they actually were.
That being said, this movie is not anywhere close to good. In fact, it may even be outright bad. But I’ll be damned if there was a single moment in the film where I was less than entertained. I laughed more during the course of Serenity’s runtime than I did at a good majority of last year’s intentional comedies.
The performances were attempting to evoke a noir feel but came across more John Waters and the camp factor alone was a fascinating hybrid of cringy and hysterical. From Matthew McConaughey drinking during nearly every frame of the movie to Anne Hathaway saying “daddy” every other line, I won’t forget their acting any time soon.
The plot is a convoluted mess and some of the turns it took won’t be well-received but who cares? By the time the “twists” twisted, I was already so engrossed by this deranged piece of filmmaking that I didn’t mind one bit.
Go with incredibly low expectations, try to lose yourself in the strange spell Serenity weaves, and you might just have as good a time as we did.
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Here lies the unwanted, unofficial final installment in the Matthew McConaughty sailor/treasure hunter trilogy accompanied by Sahara and Fool’s Gold. Steven Knight follows up 2013’s excellent Locke with this more ambitious (sci-fi?) melodrama. Locke being a minimal “Let’s film Tom Hardy during a car ride” effort that wowed everyone with its staying power. This film could’ve easily been “Let’s film Matthew McConaughey during a fishing trip” and would’ve been a much more compelling narrative. The “expansive” environment of the film’s world spreads the logic of the premise so thin that pores begin to appear as soon as the opening act.
McConaughey plays Baker Dill, a renegade ex-pat that takes tourists out to fish tuna. He’s also harbors a Moby Dick-esque obsession with a giant fish he calls Justice. If that sounds like a painfully obvious thematic motif, then you would be spot on. Baker’s fixation with the creature frequently jeopardizes his excursion business, which puts himself in financial potholes. Then enters the most elementary conflict possible: Our protagonist is broke, and needs to make personal compromises to become rich. Baker’s financial salvation arrives in his ex-wife Karen (Anne Hathaway) who has married up to possibly a construction tycoon (this is my best guess).
Karen reveals the history of abuse that her current husband Frank (Jason Clarke) has dished out on her and Baker’s son, Patrick. She offers Baker a proposition that would rid her of a slave master husband, and award Baker the funds to avoid prostituting his body and skills ever again. The remainder of the plot has us stuck to Baker as he goes through the rose pedal “I do it; I don’t” charade. The brevity of this review is a result of the most lazy twist in recent memory, that makes spoiling the otherwise unsatisfying turn all too easy due to its painfully early reveal.
The grand meta-plot crashes in the door midway through the second act, and blows its load suddenly and all at once. We are literally served up a character whose sole purpose is to break the twist to Baker. After some rough housing from Baker, this mysterious prophet spills the beans with zero nuance, and the film ruins itself at a blistering pace. Then (as to pull a rug over the vomit) the film has Baker questioning the prophet’s proclamation for what seems like eternity (Eternity would’ve been a more apt title upon further thought) regardless of the blatant signs plastered all around him.
Too often movies hide behind plot-twists to avoid scrutiny, and this one cowards behind a skinny palm tree rather pathetically. Knight attempts to cash in on a video game industry that he clearly has no understanding of (I promise that checks out after you *if you* subject yourself to this film). If it weren’t for the spoiler-free creed I hold myself to, then I would detail in full all the cringe-worthy missteps taken by this revision-free script. I suppose Knight wins this round, considering he has created an inscrutable film. The only winners are the viewers playing a cheeky drinking game whenever McConaughty’s ass appears on screen. Screw it. Spoiler alert: The buns appear in four separate scenes.
Original Language en
Runtime 1 hr 46 min (106 min)
Genre Drama, Mystery, Thriller
Director Steven Knight
Writer Steven Knight
Actors Matthew McConaughey, Anne Hathaway, Diane Lane, Jason Clarke
Country UK, USA
Awards 3 wins & 5 nominations.
Production Company Nebula Star, Shoebox Films
Sound Mix N/A
Aspect Ratio 2.39 : 1
Camera Arri Alexa SXT, Panavision C- and T-Series Lenses
Film Length N/A
Negative Format Codex ARRIRAW (2.8K)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format D-Cinema