Movies: Last Movie You Watched and Rate It

[Arizonan God]

Been down with bronchitis, so I've just been watching movies all day

Okja (Bong Joon-ho) - 5A
Snowpiercer (Bong Joon-ho) - 7A
Being John Malkovich (Spike Jonze) - 8B

 

[Hockeyfrilla]

The Dark Tower (2017) [Blu-ray] 5/10

Suburbicon (2017) [Blu-ray] 5/10

Murder on the Orient Express (2017) [Blu-ray] 6/10

 

[Nalens Oga]

Kingsmen 2 (2017) - 6.5/10

It's passable. Action sequences are good, choreographed well. The rest is mosty tedious and unfunny but better than similar films in the genre. Also, this one's less annoying than the first.

 

[OzzyFan]

Upgrade
2.7 out of 4stars

A fun but forgettable and imperfect ride. Story is more well-crafted than it needs to be, dialogue is purposeful, action sequences are well shot, wit is sharp, and is full of commentary/messages on the future of technology (pluses/minuses) among other things. Albeit, nothing is elite and it uses a lot of past genre tools. Marshall-Green also does well in a complicated role. Would recommend, albeit if this isn't type of movie isn't your flavor, wait for the blu-ray/dvd. Even if the style has it's misses, I love the production of creative low budget movie concepts. Oh the "hits" Blumhouse has been part of producing: Whiplash, Get Out, Paranormal Activity, Insidious, Happy Death Day, The Purge, etc. And at a $3million budget, Upgrade will be profitable, and according to numbers so far, make more than that in it's opening weekend in a limited release.

 

[Arizonan God]

I really, really loved Shutter Island (2010, dir. Martin Scorsese). I know it caught a lot of flack when it came out for it's predictability, and although I predicted where the plot was going, I still loved how it played out. It's kind of a throwback psychological thriller, and is unashamed about that. Personally, I thought Leo's shtick works much better here than in Inception (both Cobb and Teddy have a number of similarities).

Also, some of my favourite dream sequences in this one. Hauntingly beautiful.

8A

 

[Osprey]

I, Tonya (2017) - 5/10

It's a biopic of Tonya Harding's life and shows her side of the story. That didn't sound interesting to me in the least, but I watched it because Allison Janney won Best Supporting Actress for her portrayal of Tonya's abusive mother and Tonya is played by Margot Robbie (enough said). Janney was both terrific and hilarious and the guy who plays Shawn, the one who orchestrates the "Kerrigan Incident," is also hilarious and steals every scene that he's in. Outside of those two performances, there isn't much to recommend. It's basically two hours of Tonya recounting her abusive upbringing, blaming it and the whole world for everything wrong in her life and taking no responsibility for anything. That gets tiresome quickly, but the direction is a bit tongue in cheek, as though the director doesn't buy the extent that she claims that she's a victim and shows us her at her worst even while her narration is professing her victimhood. That and a few of the performances make it watchable, even though the story is rather uninteresting, but, ultimately, there's little reason to watch it except to see why Janney deserved her Oscar.

 

[kihei]

First Reformed (2018) Directed by Paul Schrader 7A

Reverend Toller (Ethan Hawke), a former military man whose son died in Iraq, comes to the ministry through desperation more than faith. He is assigned a quaint "tourist" church in upstate New York and does his best to look after his very small flock. Alcoholic, despairing, and perhaps very ill, he accepts the responsibility to council a young parishioner whose wife is pregnant. The parishioner is an environmental activist deeply worried about bringing a baby into this world. Toller says all the right things, but something terrible happens anyway. The events that follow force Toller to question not so much his faith as the place of his moral beliefs in a world in which such beliefs have lost the power to influence anything important. First Reformed is an austere story told in the transcendental style that director Paul Schrader once discussed in a book that he wrote about directors Yasujiro Ozu, Robert Bresson and Carl Theodor Dreyer. Though I would never have expected the screenwriter of Taxi Driver and the director of American Gigolo to tackle such themes and such an approach, Schrader creates a masterful movie and gets a career-best performance from Ethan Hawke in the process. Everything in the film is stark and pared down--the cinematography and minimalist mise en scene complementing the serious questions of faith, hope and despair with which Reverend Toller struggles. First Reformed is one of those movies that grips hard and raises a lot of big, big questions.


Best of ’18 so far

Foxtrot, Maoz, Israel
You Were Never Really Here, Ramsay, US
First Reformed, Schrader, US
Bye Bye Germany, Garbarsky, Germany
Annihilation, Garland, US

 

[Tkachuk4MVP]

Saw the 70mm print of 2001: A Space Odyssey yesterday, and it was majestic. Still is and will be always be a 10/10 in my book.

 

[Nalens Oga]

Silence of The Lambs (1991) - 8.5/10

I came to the realization after finishing this that Anthony Hopkins' villain is the best part of movie and much of the rest including Foster's performance is mediocre, also was Heath Ledger channeling him as the Joker? But the suspense combined with the Hopkins scene makes everything else seem better than it is including the mediocre murder mystery or the rookie agent storyline. I also appreciate the fact that it was more on the suspense side rather than horror, I can do thriller but I can't do jump-scares or full on gore. I also love the 90s look and atmosphere that thrillers like this or Se7en or Heat have, just don't see it today.

Cleo From 5 to 7 (1960ish) - 7/10

Good scenes mixed with a lot of crap. It's not as good as the better French new wave films because it's missing the same dialogue and cool factor until the last 20ish minutes. Aimless even by new wave standards imo.

 

[Puck]

Just FYI, here are Esquire Magazine's top films for 2018 (so far). I suspect their No.1 pick won't be there come December 31 (seems most Academy Award nominees are back-end loaded) and there is still lots of time left in 2018.

15 Best Movies of 2018 So Far - Top New Films to Watch of the Year

 

[kihei]

The Road Movie (2018) Directed by Dmitrii Kalashnikov 5B

One of the stranger cultural phenomena to emerge on YouTube is the Russian road dashcam video clip. First time director Dmitrii Kalashnikov has organized a whole bunch of these into a documentary length film. He has applied some organizing principles based on themes (Russian winter, for instance) and music (some of his favourite tunes), but mostly what we have is a collection of funny clips mixed in with potentially tragic clips of carnage on the Russian highway. It has its moments. Watching two guys stunned to see a tank go into a car wash ("Whose is it?" says one of the guys; "Ours. Whose else?" says the other) is fun. A few other clips, like one of a ride through a raging forest fire, held a certain fascination, too, but my interest tended to wane quickly as the emphasis shifted to drunken Russians probably killing or at least maiming each other with automobiles. Two lasting impressions: 1) to drive on Russian roads at any time of the day or night is to take one's life in one's own hands; and 2) the amount of vodka consumed by the average Russian male must truly be astounding to account for some of these brainlessly bizarre accidents. Come to think of it, vodka and lots of it may not be a bad accompaniment to this documentary either.

subtitles

 

[Diddy]

Just watched the disaster artist and it really sucks. Cameos for no reason, changing the base story for no reason, dave franco was awful. He stuttered or says "uh" in 95% of his scenes. Wasnt funny at all. If youre interested in "the room" read the book or get the audiobook .Its 150x better .

 

[Arizonan God]

Just saw 2001: A Space Odyssey, for the first time (not joking) in 70mm.

Transcendent.

10

 

[kihei]

Hereditary (2018) Directed by Ari Aster 4A

When Grandma dies, a family of four struggle to come to grips with their grief. When a second tragedy occurs, they become more and more unhinged. Then strange things start happening that can't be explained. As the family tries to cope with their collective hardship, matters become more and more extreme. Something very strange is going on and the consequences could harm everyone. I don't know how Hereditary earned a 94% fresh score on Rotten Tomatoes. It boggles my mind. Yes, there are some good scares along the way and some well directed scenes. But I kept thinking, "This better add up to something good," and it sure didn't. Casting Gabriel Byrne and Toni Collette as the parents looked reassuring on paper--serious actors generally opt out of these things. Unfortunately the two act in separate styles. Collette plays a character with a lot of issues, which keep growing by the moment, and she gives her performance the "full Redmayne" treatment, all bug-eyed intensity as the crisis nears. Taking an opposite tack, Byrne understates his performance as the father. "Understate" might be the wrong word--he looks like he hasn't a clue what his character is about (can't blame him), so he mostly just recites his lines and hopes for the best. The one time I laughed in the movie was right at the very end. Not a good sign.

 

[Better Call Sal]

Wow, I had been waiting so long to see what people were going to say about Hereditary, and that was pretty much the opposite of what I expected.

Collette’s performance had been getting rave reviews and I’d heard a lot of praise for the direction of the film as well, but did hear it’s a very slow burn.

 

[Shareefruck]

Game Night by John Francis Daley - 1.5 (Neutral)
Way more effort, care, and attention to detail put into one of these light-hearted throwaway comedies than anyone can reasonably expect, while still not necessarily becoming anything more interesting than that. I'd hesitate to call it an outright good movie or anything, but I honestly enjoyed and thought more highly of it than I did with something like Baby Driver. They really didn't take any of the shortcuts that they easily could have to make this type of movie, and you gotta admire that.

Edit: Wow, this was directed by the kid from Freaks and Geeks?

Loveless by Andrey Zvyagintsev - 5.0 (Masterpiece)
Bleak, cold, immaculately crafted, and brilliant. Probably one of my favorite movies from the past decade. Such a simple and organic premise that isn't afraid to take its time and keep the action to a minimum, but has so many thought-provoking and perfectly communicated ideas built into it, done in such a tasteful and beautifully structured way, with absolutely no intention whatsoever of hand-holding or trying to win you over with charming characters or anything like that-- the work itself is kind of just perfect and is allowed to speak for itself. It feels like every sentiment expressed during the story ends up echoing larger themes that get emphasized again later, on multiple levels, and in a way that comes across naturally and never feels forced. Even just the simple way that the camera keeps slowly drifting away out windows works so well with many of the movie's themes/mood. It probably couldn't have ended any better, too.

I also understand that there were a lot of parallels and references to the politics of Russia, things that I vaguely had an idea of but somewhat flew over my head. Would be curious to find out more about that.

I struggled badly with Leviathan (the director's style really does not make things easy or welcoming), but this really makes me want to give it another shot.

2017
1. Loveless - 5.0 (Masterpiece)
2. After the Storm - 4.0 (Flawless)
3. The Red Turtle - 3.5 (Great)
4. Get Out - 3.0 (Very Good)
5. The Third Murder - 2.5 (Good)
6. Ladybird - 2.0 (Positive)
----
7. I, Daniel Blake - 1.5 (Neutral)
8. Blade Runner 2049 - 1.5 (Neutral)
9. The Big Sick - 1.5 (Neutral)
----
10. I Love You, Daddy - 1.0 (Negative)
11. Baby Driver - 1.0 (Negative)
12. Logan - 0.5 (Bad)
13. Spiderman Homecoming - 0.5 (Bad)
14. The Last Jedi - 0.5 (Bad)
15. Three Billboards Outside Ebbing, Missouri - 0.0 (Terrible)

Favorites From the Past 10 Years
1. Uncle Boonmee Who Can Recall His Past Lives
2. Loveless
3. Ponyo
4. Once Upon a Time in Anatolia
5. Force Majeure
6. The Assassin
7. Amour
8. Upstream Color
9. Love Exposure
10. The Tale of Princess Kaguya

 

[Trap Jesus]

Hereditary (2018) Directed by Ari Aster 4A

When Grandma dies, a family of four struggle to come to grips with their grief. When a second tragedy occurs, they become more and more unhinged. Then strange things start happening that can't be explained. As the family tries to cope with their collective hardship, matters become more and more extreme. Something very strange is going on and the consequences could harm everyone. I don't know how Hereditary earned a 94% fresh score on Rotten Tomatoes. It boggles my mind. Yes, there are some good scares along the way and some well directed scenes. But I kept thinking, "This better add up to something good," and it sure didn't. Casting Gabriel Byrne and Toni Collette as the parents looked reassuring on paper--serious actors generally opt out of these things. Unfortunately the two act in separate styles. Collette plays a character with a lot of issues, which keep growing by the moment, and she gives her performance the "full Redmayne" treatment, all bug-eyed intensity as the crisis nears. Taking an opposite tack, Byrne understates his performance as the father. "Understate" might be the wrong word--he looks like he hasn't a clue what his character is about (can't blame him), so he mostly just recites his lines and hopes for the best. The one time I laughed in the movie was right at the very end. Not a good sign.

I thought it was great; there's a point in the movie where it takes a sharp turn, and if you don't go along with that turn you'll have the reaction that you did at the end, but I thought the seeds were so well planted in the rest of the movie that it was able to do something like that.

Spoiler

Acting: "overacting" for Collette was the point. She shows a ton of range in this movie, with a more subtle performance in the first act, and then going batshit crazy once she becomes a puppet for the cult. When you're thinking, "why is she hamming it up?" at a certain part, she's meant to be.

Byrne was more or less just a wet blanket in this movie. There was next to nothing for him to do, but he still seemed a bit out of place at parts (like the seance scene and his final scene). He's a completely inconsequential character so it's not a huge deal, but his performance seemed off for sure.

The end: I think so much of what can make the audience elicit a laugh at the end is simply by giving the demon a name. If you think about the imagery in that scene, the score, etc., there were some really interesting things going on that had the makings of a great scene, but when you have the line of dialogue that "King Paimon has risen" or whatever it was, it can have a bit of a hokey effect. They could easily have had everything the same and just not have that line in there, and it would have been more effective. I thought the hints dropped throughout the movie were enough to justify doing that and just letting the audience piece together what happened.

 

[Trap Jesus]

Just to expand on the above:

Hereditary

Man, I loved this. I 100% get why some people won't like it, and it will either be because they can't take how slow it is at points or, more commonly, they just straight up do not like the direction it goes in in the last act and particularly the end.

As someone who really looks forward to horror movies that aren't just your typical run-of-the-mill jump-scare fests, I thought this combined all of the best elements of those recent "critically acclaimed" horror movies that everyone always hypes up. You get that character drama that you get in The Babadook, you get that slow-burn building tension and dread from The Witch, you get that craftsmanship which lets you view things in a different lens on multiple viewings like Get Out, and you get all of the technical aspects of interesting shots/sound design/score like in It Follows. That's not to say that all of those aspects were necessarily executed as well as they were in those films, but considering it brings you all of those things, it's a pretty impressive feat.

Tonally, it had that sense of being uneasy, unsettling and surreal that reminded me of a throwback to something like Rosemary's Baby, and I also thought it did an excellent job at subverting expectations. It's by no means something like You're Next or something where they're looking to deconstruct the genre, but it throws things at you that are genuinely unexpected.

This also blends more of an arthouse feel with things you'd expect from a mainstream horror movie. While I think this movie is similar to The Witch in a lot of ways, that movie had next to nothing in it that would cater to an audience that is looking to see the next Sinister movie, or something like that. There aren't many jump scares per se in Hereditary, but there's still a ton of frightening imagery that will startle a lot of people.

What I liked:

Spoiler

- The daughter's death was so unbelievably effective in its execution, one of the best sequences I've seen in a long time. Just the death in itself is interesting as it subverts almost everyone's expectations of her being the focal point of the movie, but focusing just on the Peter character's reaction to it was such a fantastic way to do it.

- It's always nice to have an opening shot that draws you in immediately, although I wish they didn't show that off in the trailer. The trailer did A LOT right, but I think it would have been better if they saved that transition for the movie itself. Regardless, it's a shot that shows off what to expect from a technical angle, sets an eerie tone for the rest of the movie, and serves a nice metaphorical function that isn't too obvious right off the bat.

- I loved that it never felt like there was a "safe haven" in this movie. I look at something like A Quiet Place, and it's just so painfully obvious when the scary moments are going to be, along with when the "down moments" are going to be where it's just about character development, etc.

This movie had me thinking things like, "Oh shit, he's in a brightly lit classroom surrounded by people" or "Oh shit, he's eating lunch on a picnic table on a sunny day with people playing all around him". I think to do that without having any reliance on jump scares is just fantastic. This isn't a Conjuring thing where they just lure you into a false sense of security by having a bunch of people talking in a brightly lit room and you think it's just a basic exposition scene, only to throw in a scary face and loud noise to startle you. It's about building tension and a sense of dread that you shouldn't expect the characters to be safe just because things don't look inherently ominous.

You still get the walking down a dark and creepy hallway scenes, but they subvert your expectations enough in those where they keep it interesting. Even something like the kid waking up and looking over at the chair, which would seem to be your classic "red herring" scare, is executed in a way that isn't just playing you for a cheap scare. There's no crazy camera manipulation or loud noises to throw you off, it kind of just shows you the chair and lets you throw yourself off by imagining something that isn't really there.

- Annie saying really cruel shit to her son. There was just something about the way she said things and the dialogue that hit REALLY hard. She's not just spewing vile things at him; they give her some humanity there where she's saying things like "I know it's difficult for you as well" during the dinner scene, or covering up her mouth after she said she "never wanted him" in the shared dream sequence. There's obviously some reliance on the vulgarity and yelling, but the writing was really on point.

- The whole Peter waking up part all the way up to the point where he closes the attic door felt like the most mainstream horror part of the movie to me, but I still love the way it was executed.

It's not like we haven't seen "crazy demon lady crawling on walls" a million times before, but I think when you put it into context of it being such a slow burn of a movie, and not really seeing anything like that for the rest of the movie, it makes it a lot more effective. Just the way she came in at first did such a good job at setting the tone for that scene. It added such a surreal element to it. You're not really thinking "Ah! Scary lady climbing on walls!" You're more thinking, "What in the actual f*** was that? Was she crawling through the air?" It's just weird in a good way, and gives it that extra flair of being even more unsettling.

I really liked her being in the background on the roof when it wasn't completely obvious (although still fairly obvious), but I wish they didn't do that change in focus and make it completely obvious to the point where it was the focal point of the shot. Her just being in the background out of focus was more than enough.

And then you get maybe the only true jump scare in the movie with her running out of the corner. You get all those clicking noises and some fairly quick shots that are semi-startling at other points, but this is the only one I can remember that had the prototypical long drawn out silence/creepy atmosphere and then hits you with a sudden jolt. I'll have to rewatch it to see if they added a sound effect, because I'm not sure if they did. I'm completely fine with that though. It was kind of like Black Philip charging the guy out of nowhere in The Witch. You get a movie with next to no reliance on startling you with jump scares, and then it hits you with a big one near the end.

The head banging at the end of that sequence was awesome as well, although another thing that could have been held back in the trailer.

- And then the best horror imagery in the entire movie, which is the floating/hanging saw part. If you're going to pick one thing from this movie and remember it as iconic, I think it has to be this. Sound design, imagery, everything was on point. Loved her blankly staring at him, how it sped up, and then also loved that they didn't feel the need to show the head actually coming off.

Things that didn't work for me:

Spoiler

- Byrne sucked in this. It's fine to have a character that is just kind of in the background as they aren't supposed to be the focus, but he legitimately brought nothing to the table. In the seance scene, his reactions were just bizarre. He had this one line of dialogue that was just so jarring to me when he said something like "What even language is that?" or something? Whatever it was just sounded bizarre, and it was just a weird bit of attempted humor thrown in that felt completely out of place. I thought that scene was easily the weakest scene in the movie, along with the scene where he burns. Both scenes just felt a bit off, and I think his performance was a HUGE reason for that.

Even in a good scene like the dinner table argument though, what function did he serve? He just made a couple weak attempts at mediating. I think he was underwritten, but he also just seemed off with how he acted the part as well.

- The very ending certainly felt off, even though there were a lot of elements about it that I liked. I like the idea of taking what seems to be a contained family drama or possession story and blowing it up into something much bigger, but it's hard not to think of a much lesser movie with how parts of that were executed. It kind of reminded me of something like Sinister, where they're spelling out the history of this demon with a lame name, when you can just let the visuals do it for you. I still think the ending worked overall, but it could definitely have been executed better.

- The way some of the backstory was handled just felt a bit heavy-handed. I think when she airs all her family's dirty laundry at the grief counselling meeting it worked fantastically on a comedic level while still not making a mockery of it, but they kind of do that again when she talks to Joan about her sleepwalking incident, and it felt more like, "Wait... what?" Didn't really work comedically if there was any intention behind that and felt a little bit sloppy.

- Just some small technical things that I felt could have been handled better. I mentioned her being on the roof earlier, but also something like Peter jumping out of the window. Felt like something you'd see in a buddy cop movie or something.

 

[Trap Jesus]

Game Night by John Francis Daley - 1.5 (Neutral)
Way more effort, care, and attention to detail put into one of these light-hearted throwaway comedies than anyone can reasonably expect, while still not necessarily becoming anything more interesting than that. I'd hesitate to call it an outright good movie or anything, but I honestly enjoyed and thought more highly of it than I did with something like Baby Driver. They really didn't take any of the shortcuts that they easily could have to make this type of movie, and you gotta admire that.

Edit: Wow, this was directed by the kid from Freaks and Geeks?

Solid is the word I'd use to describe it, which is way more than I expected. Pretty funny despite most of the actors not being naturally funny, along with the characters themselves not exactly being written to be funny with their mannerisms either, except for Jesse Plemons character (which worked for me) and the generic stupid guy (which didn't work for me).

They did some pretty interesting things visually with the movie as well, which you would never expect in basically any comedy.

 

[Shareefruck]

Solid is the word I'd use to describe it, which is way more than I expected. Pretty funny despite most of the actors not being naturally funny, along with the characters themselves not exactly being written to be funny with their mannerisms either, except for Jesse Plemons character (which worked for me) and the generic stupid guy (which didn't work for me).

They did some pretty interesting things visually with the movie as well, which you would never expect in basically any comedy.

It was kind of like.... what would typically be silly and kind of cornball/cheesy ideas/humor done sincerely, with a surprising amount of care/earnestness (the kind of thing that would be eye-rolling in most movies, but if the same thing was said/happened in real life to someone you knew and isn't thought of to be a funny person, it would probably still give you an amused chuckle), and I ended up not minding a lot of things that I normally would.

I think it was really helped out by the fact that they didn't use the typical comedic actors for the main circle of friends, and they mostly looked/felt like random people with not a lot of self awareness.

 

[OzzyFan]

Hotel Artemis
1.7 out of 4stars

Fails to deliver on almost every level: style, action, context, story, purpose, etc. The actors try at least, but it's just one cluster**** of ambiguity and underdevelopment.

 

[Arizonan God]

Definitely think I'm gunna have to check out Hereditary now

 

[kihei]

On the Beach at Night Alone (2017) Directed by Hong Sang-soo 7C

Younghee (Kim Min-hee) visits a friend in Munich. They stroll around, shop in a book store, visit German friends. Younghee mentions an affair she is having with a married man. She's waiting for him to visit her, but he never shows up. The scene shifts back to South Korea where Younghee meets with more friends, eats and drinks some more, and we realize, almost offhand, how affected she has been by this failed romance. Nothing much more than that happens in the movie. On the Beach at Night Alone may seem like a melancholy trifle, but it got under my skin. The very naturalistic, almost casual approach to film making with its great reliance on seemingly ordinary dialogue reminded me a lot of director John Cassavettes best works (Faces; Husbands; A Woman under the Influence), movies where words and what they reveal and disguise are the real action. It also helps greatly that Kim Min-hee is such a compelling, attractive presence as Younghee, a woman who is still working out her feelings about herself and what people know and don't know about the affair. She is mostly resigned to her fate, often quite charming, but there are shards of bitterness and anger that can suddenly erupt to the surface, scalding those around her. For a movie that sometimes seems insubstantial during the viewing, On the Beach at Night Alone has surprising depth of feeling.

subtitles


Best of ’18 so far

Foxtrot, Maoz, Israel
You Were Never Really Here, Ramsay, US
On the Beach at Night Alone, Hong, South Korea
First Reformed, Schrader, US
Bye Bye Germany, Garbarsky, Germany
Annihilation, Garland, US

 

[Osprey]

Death Wish (2018) - 6/10

This remake with Bruce Willis is nothing to write home about, but is better than I expected. It's basically a Taken or 'Equalizer' movie, just with Bruce Willis instead of Liam Neeson or Denzel Washington. If you're tired of those types of movies, this isn't for you, but, if they're a guilty pleasure for you, it may be. Also, if you liked the 30 minutes near the end of Unbreakable, when Bruce Willis was a do-gooder vigilante, and wanted to see a whole movie of that, this is that movie. Perhaps more than your typical Taken/Equalizer movie that focuses on action, though, this one does devote a little more time to establishing relationships, and in a less cheesy way, so you can relate to and empathize with Willis' character a bit more than, say, Neeson's character in Taken. It's not much, but the movie at least tries to establish a sentimental foundation more than the other movies of this formula. In the end, I thought that it was decent and on par with your run of the mill Liam Neeson or Denzel Washington movie, so, if you tend to like those, you might care to give this a watch at some point.

 

[Nalens Oga]

My Night At Maud's (1969) - 7.5/10

Like My Dinner With Andre but more organic and less forced or pretentious despite being French.