[Murder 2 Free Movies
Iberio Ralda
One of the most frustrating (and still to be solved) real-life crime sprees is the subject of this compelling and moody film from David Fincher. Based on former San Francisco Chronicle political cartoonist Robert Graysmith's book, it sends both the police and the press off on a hunt for the psychopath who is attacking couples around the city. With Jake Gyllenhaal as Graysmith and Robert Downey Jr. (who seriously chafed against Fincher's multi-take shooting methods) as crime reporter Paul Avery, it digs into one particular angle on the killer, who taunted the authorities with his cipher-filled missives. The open-ended conclusion means that this could be a frustrating one for those who like their murder-mysteries wrapped up by the time the credits roll, but Fincher's telling of this particular chunk of the case is so darkly diverting that you're happy to be drawn in.
Long before Kenneth Branagh (and his luxuriant 'tache) came a-calling, Sidney Lumet, working with writer Paul Dehn, brought Agatha Christie's train-based mystery to life. Albert Finney here plays a suitably slick-haired Hercule Poirot, though more understated and less ego-driven than Branagh's. The tone is much more lighthearted than the 2017 version's doomier drama, but like Branagh's, it is also loaded with a top-notch supporting cast ("the greatest cast of suspicious characters ever involved in murder," boasts the trailer) including Lauren Bacall, Ingrid Bergman, Jacqueline Bisset, Sean Connery, John Gielgud, Anthony Perkins, Vanessa Redgrave and Michael York. If Branagh brought more of a contemporary feel to his film, Lumet's offered a Poirot that wasn't seemingly clairvoyant, letting us enjoy the characters as the mystery slowly unravels.
Shrugging off the controversy and disappointment of Alien 3, David Fincher rebounded in fine style with this pitch-black story of deadly sins-inspired torture and slayings. Brad Pitt's eager Detective Mills is paired with Morgan Freeman's grizzled, weary but wisdom-filled Detective Somerset as the victims begin to pile up. The mystery itself in Andrew Kevin Walker's impressive script is almost less important than the atmospheric feel of the case. But it doesn't skimp when it comes to the big final reveal of John Doe's identity. And smartly, the filmmakers left Kevin Spacey's name and image off the marketing and opening credits so as to make it more of a surprise, and defeat the old trope of the most famous name clearly being the killer. It all, of course, comes to a head in that shocking final scene.
I can handle almost any movie except those made in the UK or Australia. I really have trouble with the dialog in those movies, even with my hearing aids. I think the problem is that they don't speak no good English there.
In Gone Baby, Gone, Patrick "shoots the child molester in the back of the head in a fit of rage," something absolutely unnecessary. But next, nothing happens to Patrick: he was not arrested, nor charged for this murder. Why?
It was basically not seen as murder by anyone, especially not the police. The way the entire thing played out was that Patrick entered the house and shot various people in self-defense, all while investigating the abduction (and ultimately murder) of a little boy. That's what everyone sees.
Of course we know it basically was cold-blooded murder from Pattrick's side, as the child molester was defenseless, it was an execution. But noone else does. The only one who also knows is Remy Bressant, but he actually believes that Patrick did the right thing. It would be absolutely no problem for the two of them to stage it as self-defense somehow, by claiming the child molester had a weapon (maybe a knife they took from the kitchen) and tried to attack Patrick or something similar, especially since Remy is a cop and people "believe in the police".
But in fact this ties back into a central theme of the entire film. Even if a more thorough investigation might have shown holes in Patrick's and Remy's story, noone actually cared that much. To everyone it was a dead child molester who killed a little boy against a brave hero who saved a cop's ass. The only one who really cares about what he did and if it was the right thing to do is Patrick himself. And you can see that he is slightly distraught when both Angie and other cops congratulate him for what he did. He himself isn't so sure it's worth congratulating.
And this ties right back to the ending of the film, where Patrick is the only one who does not think that the end justifies the means. And his experience with what happened in the house back then and that he might still not be over what he did might actually have contributed to his decision of following the law at the end, even against everyone else's pledges to just leave things be.
It's covered much better in the book, so it's more just a glossed over aspect of the movie. Basically in the book, Kenzie and Broussard set it up to cover that aspect as the molestor attacked him and he had no choice but to shoot him. They try to hold him for the murder, but he eventually walks as there is insufficient evidence and a fellow officers word that he didn't execute him.
The original Fletch is one of the best comedies of the 1980s, perfectly lampooning the sleuth genre of mystery films with a cheeky sense of humor. While the thought of anyone but Chevy Chase taking on the titular role seemed utterly implausible, Jon Hamm delivered an amazing performance in Confess, Fletch. In this iteration, Fletch is forced to look into a critical murder investigation after he becomes a suspect.
While many mystery films succeed by exploring extravagant locations, The Outfit creates tension within a contained environment. Mark Rylance delivers one of his best performances as a reclusive tailor who reveals himself to have a checkered past when a vicious mafia man (Johnny Flynn) threatens his business. In his directorial debut, Academy Award-winning screenwriter Graham Moore winds a complex web of betrayals and revelations that keeps the viewer guessing until the very end.
Steven Soderbergh has a long history of reinventing antiquated genres and updating them for modern audiences. No Sudden Move is a throwback to classic sleuth movies told from the perspective of two gangsters (Benicio del Toro and Don Cheadle) who become involved in a conspiracy involving a drug ring. The cast is absolutely stacked with Soderbergh favorites, including a terrific performance by Brendan Fraser before his major comeback with The Whale.
Few filmmakers in the last five years have announced themselves quite as Andrew Patterson did with The Vast of Night. A low-budget science fiction thriller with echoes of Close Encounters of the Third Kind and The Twilight Zone, The Vast of Night explores the steady emergence of alien life in a small town. The film does not focus on spectacle, choosing instead to show how its two young protagonists collect evidence about the peculiar occurrences that suggest a supernatural presence.
The Vast of Night does a great job at stringing the viewers along for the mystery, as Patterson is quite judicious in only giving limited details about the science fiction element of the story. Thanks to the strong performances, stylized direction, and genuinely spooky moments, The Vast of Night is one of the most rewatchable films released by Amazon Studios.
Following the success of his acclaimed hacker television series Mr. Robot, writer/director Sam Esmail took on another ambitious project with his adaptation of the hit novel Leave the World Behind. It's an existential disaster thriller that explores the mystery surrounding an apocalyptic event, addressing issues like racism, classism, media obsession, and conspiracy theories. Leave the World Behind features frightening imagery that is bound to keep the viewers up at night.
While there have been many films inspired by his most famous work, The Pale Blue Eye uses Edgar Allan Poe as a main character in its mystery storyline. Set in the mid-19th century, the film focuses on a young Poe (Henry Melling) as he teams up with a reclusive investigator (Christian Bale) to solve a series of murders at a military academy.
On her way to a party that night, one she would later find out to be her surprise birthday party, Tree is gruesomely killed by a masked murderer. Once she dies, she awakens once again in the dirty dorm room with the same headache, confused and freaked out.
The movie continues with Tree reliving her birthday every day and being murdered by the same creepy person every night. Once she figures out that she is going to continue dying, she decides to solve the mystery of who her killer is, in hopes that she can beat death and live until tomorrow.
As the movie came to a close, there was a scene that absolutely deceived me by giving me false hope with the allure of happy music, but it turned out to be a complete lie that turned my world upside down.
Overall, the movie was extremely well done and kept me entertained from beginning to end, but I still have so many unanswered questions. While the murder was solved, much of the rest of the story lies unanswered, and left me wanting a deeper storyline. I wanted more to be explained and I almost felt like the storyline had a shallower plot than I had expected.
The movie mentions that Monroeville investigators offered to help Myers get a lighter sentence in a prior murder in return for his false testimony. That murder was the killing of Vickie Lynn Pittman in nearby Brewton, Alabama. Myers and Karen Kelly, a white woman from Monroeville who was having an affair with Johnny D., were accused of committing that killing.
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