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Movie Reviews Search Engine: MRQE.com

Movie Reviews Search Engine: MRQE

Movie Review Query Engine (MRQE). Going to the movies is no longer an inexpensive evening’s entertainment, as we all know. We do not like to lay down our hard-earned jack for a ticket, only to end up disappointed, offended, etc., by what we see on the big screen. And the same holds true, of course, for movie rentals. Yes, there are reviews in your local paper, but maybe the reviewer’s tastes do not parallel yours. Well, you can always click around the Net and look at reviews from a number of sources — or you can save yourself a lot of time and effort by using the MRQE to cull through reviews on more than 40,000 different titles .

It’s a deceptively simple-looking website, designed and programmed by Stewart M. Clamen , a developer and systems designer who has worked as a consultant for movie review site RottenTomatoes.com . According to Clamen’s resume , MQRE’s database is populated by a Perl application that cruises the web, “automatically extracting current information from targeted review sources.” According to Clamen, “MRQE prides itself on promoting a diversity of opinion from around the (online) world – with sources ranging from mainstream media to independent individuals – in nine different languages.”

A simple keyword search box is available on the main page, as is a dropdown menu allowing you to view “precomputed lists of titles,” such as upcoming releases in the U.S. and UK, top 10 at the U.S. box office, recently released video titles, picks from the American Film Institute’s 100 Years series , festival award winners, and titles reviewed by such notables as Gene Siskel and Pauline Kael. You can see lists of the most popular titles searched for by users of the site over the past week, day, 12 hours and three hours, as well as the most reviewed films. Advanced search options include support for the Boolean AND, OR and ADJ. Results lists include direct links to full-text reviews online. According to the database statistics page , as of this past Tuesday, it contained “413461 articles of 40736 different titles, plus 51148 title aliases.”

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MOVIE REVIEW QUERY ENGINE

The Internet's largest database of movie reviews for over 100,000 titles. The continually growing site provides a searchable index of all published and available reviews, news, interviews, and other materials associated with specific movies.

The unique combination of reviews, news, and user discussion—all accessed through MRQE’s search portal—allows any user to read and add to the Internet’s most comprehensive collection of opinion about film. MRQE.com is commonly abbreviated as MRQE and pronounced “marquee.”

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‘the watchers’ review: dakota fanning gets stranded in ishana night shyamalan’s suspense-free horror debut.

Fanning plays a haunted woman who gets trapped in an Irish forest with three strangers and a parrot.

By David Rooney

David Rooney

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Eli Arenson’s camera tracks a panicked man (Alistair Brammer), hurtling through a dense forest in the West of Ireland that we’re told doesn’t appear on any map. Creeped out by a flock of CG birds, and by the ominous “Point of No Return” signs he keeps encountering, he makes various attempts to get out. But the sinister chorus of chittering woodland voices familiar to anyone who’s ever seen a horror movie set in malevolent nature means escape is unlikely. Already, at this point you know the press notes are going to refer to the forest becoming “its own character.”

The forest is said to draw in lost souls, and we know instantly that Fanning’s Mina qualifies because she works in a Galway pet shop and vapes around the animals. Also, she’s an artist, so duh. Oh, and she can’t let go of her sorrow over her mother’s death 15 years earlier, despite imploring calls from her sister Lucy, who’s later revealed to be a twin. Symbolism alert!

Stopping for gas as she’s about to enter the sprawling forest, Mina fails to catch the noticeboard plastered with “Missing Person” info. Her car breaks down soon after and she heads off looking for help as the parrot she later names Darwin croaks, “Try not to die.” After ducking out of the way of that freaky flock of kamikaze CG birds, Mina sees a witchy-looking older woman, Madeline (Olwen Fouéré), who motions her to follow.

The stranger leads her to a concrete, steel-doored shelter she calls “The Coop,” which she shares with fellow stranded travelers Ciara ( Georgina Campbell ) and Daniel (Oliver Finnegan). They inform Mina that woodland creatures known as “The Watchers” come every evening at sunset to observe them until morning as they stand in a line in front of a wall that becomes a mirror. It’s never explained how the Watchers can see through it, but whatever.

Madeline warns that the forest can cause madness-inducing hallucinations and that looking at a Watcher will have the same result. She also says to stay out of the burrows where they hide during daylight hours and never turn your back to the mirror. That last point is stressed as if it’s super-important but is never mentioned again, except in the subtextual doppelgänger sense.

At least that yields greater insights into exactly what the Watchers are, both in the menacing present and the mythic past. We also get to see more and more of them as the story progresses, from first glimpses of a gnarled hand or snarling mouth to towering humanoid figures that look like Giacometti sculptures.

But all this is only marginally more interesting than the extraneous clips from a cheesy Brit TV reality dating show, the only DVD available to watch in the Coop. We keep telling you people: “Invest in physical media!”

The group’s underground discoveries lead to a breakthrough, which might be mistaken for an anticlimactic ending if not for the fact that Big Twist is the Shyamalan family brand. Also because even though you might feel like you’ve been watching The Watchers for two hours-plus, a glance at your watch will tell you there’s roughly a half-hour to go.

What follows is a load of claptrap about the fey (the plural of faerie folk, don’t you know?) being rendered wingless and feral over the centuries. While stewing in resentment, it seems they’ve also been studying up on new modes of transformation. Mysteries are uncovered and fresh threats unleashed, but by that time, you might have stopped caring.

But unlike the forest, none of these characters really draws you in, even if Fanning is always watchable, Fouéré has a wild-eyed intensity (presumably they couldn’t get Fionnula Flanagan), and John Lynch shows up late to lend some weathered gravitas. Fans of Campbell’s fraught work in Barbarian — a movie that did know how to crank up the frights — will be disappointed by her thankless role here.

The Watchers , sadly, is less disturbing than dull, less harrowing than hackneyed, right down to a closing shot that basically announces, “Never trust a ginger.” Again, duh. As it crawled toward the finish line, all I could think was, “Try not to die.”

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The Pope and a Jesuit cardinal walk into a park. As they stroll the grounds of the Papal summer home, the cardinal, Jorge Bergoglio ( Jonathan Pryce ) attempts to serve his resignation papers. Pope Benedict XVI ( Anthony Hopkins ) either ignores his request or amusingly deflects it by involving Bergoglio in a conversation about their personal differences. The Pope is far more conservative, even questioning if it’s appropriate for the Argentinian Jesuit to partake in his country’s national dance, the Tango. He also alludes to a prior conversation between the two in the bathroom at the papal conclave, where they spoke not of the Alpha and the Omega but the ABBA. During this sequence, the first of several sharply written bits of banter in Netflix’s “The Two Popes,” one gets a distinct “Odd Couple” vibe from the duo. I almost expected a play on that TV show’s famous opening narration: “Can two Catholic men share the Papacy without driving each other crazy?”

Of course, the two men don’t share the throne of Saint Peter; Pope Benedict XVI’s resignation left him with the title of “pope emeritus” while Bergoglio is now known as Pope Francis , the current Pope. Both of their legacies feature sentences that contain the words “first” and “first since”—Pope Francis is the first non-European Pope since the 8 th  century and the first ever from South America; his predecessor is the first to resign his position since 1415. Rather than dwell on these historical details, screenwriter Anthony McCarten and director Fernando Meirelles instead craft scenes that humorously play off what we already know about the eventual paths the two men will take. The first scene at the summer estate is a fine bit of comic frustration simply because we know Bergoglio is never going to get that paper signed.

Essentially a two-hander, “The Two Popes” could have been a dry, somber affair like “ Frost/Nixon ” (which I liked, by the way). But the creative teams on both sides of the camera project a loose, sometimes flashy tone onto the material and the resulting joy is infectious. Meirelles, who directed fast-paced, jaunty takes on serious material like “ City of God ” and “ The Constant Gardener ,” employs several stylistic touches that draw attention but do not distract. His choices run the gamut from effectively using crisp, black-and-white cinematography while depicting Pope Francis’ past in Argentina to the absurd, out-of-left-field soundtrack appearance of “Dancing Queen” that’s both a needle drop and a callback to a prior moment in the film. McCarten’s script has Pope Benedict XVI wearing a FitBit-style device that constantly scolds him to “keep moving” and his dialogue is a meaty, dramatic match for the film’s two main performers.

And what performers we have here! I love movies like this that are basically two character affairs whose actors have clearly come to play. If the performers are at the top of their game, the results are often fascinating master classes of give-and-take, of knowing when to upstage and when to fall back. Those choices become as intriguing as the characters that result from them. And when Meirelles and cinematographer César Charlone dwarf the two actors in the frame to show the enormity of some of the Vatican rooms they inhabit, their performances scale down as well. Hopkins and Pryce are veterans of stuffy, prestigious fare as well as far less respectable crowd-pleasing attempts that border on the preposterous. “The Two Popes” falls somewhere in-between those two extremes, sometimes leaning in the latter direction but never threatening to falsely court prestige by drifting too far toward the former.

Though Hopkins’ presence looms larger simply by virtue of his stature, Pryce has the meatier role here. Ably assisted in flashback by Juan Minujín , who plays Bergoglio as a young man, Pryce shoulders much of the film’s emotional weight. Pope Francis has a sense of regret about past mistakes that influences his philosophies as an older man; Pryce plays those scenes with a heaviness of heart that is quite touching. He’s also more blatantly funny, though Hopkins has a drollness that’s delectable. “It is a German joke,” says Pope Benedict XVI after an attempt at humor falls flat, “it doesn’t require a punchline.”

Hopkins runs a small undercurrent of mischievousness under his character’s grumpy exterior. You can see it in his eyes every time he sees a chance to steal the scene from his co-star. Pope Francis ordering a pizza from the “best place in Italy” is amusing enough, but when his dinner partner attacks a slice with the voraciousness of Hannibal Lecter, you can almost see the scoreboard marking a home run for the guy who played him.

Despite its desire to entertain while crafting a love letter to Pope Francis, “The Two Popes” doesn’t shy away from some of the more unsavory elements of its time period, though some viewers may justifiably feel it doesn’t devote enough attention to them. The Catholic Church child abuse scandal is given some airtime, but Meirelles makes a stylistic choice of blocking dialogue in one scene that I thought undercut the seriousness of this topic. There are also interview scenes where people call Pope Benedict XVI “a Nazi.” While it’s understandable that a South American filmmaker would focus more on the backstory of the first Pope from his continent, I wish Pope Benedict XVI’s character had been expanded in similar fashion rather than having him be more symbolic of the old man’s lament we’ve seen more thoroughly in “ The Irishman ” and “ Pain and Glory .”

Still, as two-handers go, “The Two Popes” is a great one. Its slightly over two hour runtime flies by without lagging. The scenes involving how Popes are selected offered insight into the politics of the process and the editing kept those moments from becoming dull. Overall, the film is superbly acted and a lot of fun to watch, which I suppose is not enough hardcore critical substance to hang three and a half stars on, but there you go.

Odie Henderson

Odie "Odienator" Henderson has spent over 33 years working in Information Technology. He runs the blogs Big Media Vandalism and Tales of Odienary Madness. Read his answers to our Movie Love Questionnaire  here .

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The Two Popes (2019)

125 minutes

Jonathan Pryce as Jorge Bergoglio/Pope Francis

Anthony Hopkins as Joseph Ratzinger/Pope Benedict XVI

• Fernando Meirelles
• Anthony McCarten

Director of Photography

• César Charlone
• Fernando Stutz

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‘Under Paris’ Review: At Last, a Shark Movie Worthy of Swimming in the Wake of ‘Jaws’

Directed by Xavier Gens ('Lupin'), Netflix's thriller starring Bérénice Bejo makes the most of its premise.

By Michael Nordine

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“What if there were a shark in the Seine?” is, one can only assume, a question that Parisians ponder on a daily basis. It’s also brilliant in its simplicity, if not quite as appealingly silly a high-concept premise as “what if there were snakes on a plane?” and “what if the moon … fell?” Look no further than “ Under Paris ” for an answer to the hypothetical that surely keeps Emmanuel Macron up at night, as Netflix’s new thriller swims rather than sinks as it adds life to a genre that’s been bloodless for far too long.

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Others include a blood-soaked Sophia emerging from the water after her own close encounter, Lilith sending one of those activists to a watery grave and a sequence set in the Catacombs you’ll have to see to believe. Gens is a visual storyteller first and foremost, which fits the material like a wetsuit. There isn’t any dialogue as instantly quotable as “You’re gonna need a bigger boat,” but as a sensory experience, “Under Paris” is never less than seaworthy.

The fact that you can already tell where this is all headed might make you smarter than the fictional mayor, but it’s unlikely to hinder your enjoyment of the inevitable climax. Syfy-esque premise notwithstanding, “Under Paris” (the original title, “Sous la Seine,” is, unsurprisingly, much more pleasing to the ear) is a smart blockbuster that would have been best experienced on the big screen — especially given how anemic the summer box office has been thus far.

If you can resist the joy of Bejo repeatedly declaring “c’est pas possible” upon being confronted with yet another seeming impossibility — such as, oh, the fact that mako sharks don’t live in freshwater — then perhaps your time would be better spent rewatching her Oscar-nominated turn in “The Artist” instead. You’d be missing out, however, as “Under Paris” is so assured in its plotting that it doesn’t even qualify as a guilty pleasure — and, for the record, there is an explanation for Lilith’s unique adaptation.

Few movies deserve the “often imitated, never replicated” designation quite like “Jaws” does, as every truly great shark movie that has followed in its wake can be counted on one hand with a few missing fingers. “Under Paris” might just be the best of them, which isn’t the faint praise it might sound like.

“Under Paris” is now streaming on Netflix.

• Production: (France-Belgium) A Netflix release and presentation of a Let Me Be production, in association with Umedia, Ufund, Kaly Prods., Program Store. Producer: Vincent Roget, Bastien Sirodot.
• Crew: Director: Xavier Gens. Screenplay: Yannick Dahan, Maud Heywang, Xavier Gens. Camera: Nicolas Massart. Editor: Riwanon Le Beller. Music: Alex Cortés, Anthony d'Amario, Edouard Rigaudière.
• With: Bérénice Bejo, Nassim Lyes, Léa Léviant, Anaïs Parello, Anne Marivin. (French dialogue)

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A new ‘Hunger Games’ book — and movie — is coming

FILE - Suzanne Collins arrives at the Los Angeles premiere of “The Hunger Games: Mockingjay - Part 1" at the Nokia Theatre L.A. Live on Nov. 17, 2014. Collins is returning to the ravaged, post-apocalyptic land of Panem for a new “The Hunger Games” novel. Scholastic announced Thursday that “Sunrise on the Reaping” will be published March 18, 2025. (Photo by Jordan Strauss/Invision/AP, File)

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NEW YORK (AP) — Inspired by an 18th century Scottish philosopher and the modern scourge of misinformation, Suzanne Collins is returning to the ravaged, post-apocalyptic land of Panem for a new “The Hunger Games” novel.

Scholastic announced Thursday that “Sunrise on the Reaping,” the fifth volume of Collins’ blockbuster dystopian series, will be published March 18, 2025. The new book begins with the reaping of the Fiftieth Hunger Games, set 24 years before the original “Hunger Games” novel, which came out in 2008, and 40 years after Collins’ most recent book, “The Ballad of Songbirds and Snakes.”

Lionsgate, which has released film adaptations of all four previous “Hunger Games” books, announced later on Thursday that “Sunrise on the Reaping” will open in theaters on Nov. 20, 2026. Francis Lawrence, who has worked on all but the first “Hunger Games” movie, will return as director.

The first four “Hunger Games” books have sold more than 100 million copies and been translated into dozens of languages. Collins had seemingly ended the series after the 2010 publication of “Mockingjay,” writing in 2015 that it was “time to move on to other lands.” But four years later, she stunned readers and the publishing world when she revealed she was working on what became “The Ballad of Songbirds and Snakes,” released in 2020 and set 64 years before the first book.

Collins has drawn upon Greek mythology and the Roman gladiator games for her earlier “Hunger Games” books. But for the upcoming novel, she cites the Scottish Enlightenment philosopher David Hume.

“With ‘Sunrise on the Reaping,’ I was inspired by David Hume’s idea of implicit submission and, in his words, ‘the easiness with which the many are governed by the few,’” Collins said in a statement. “The story also lent itself to a deeper dive into the use of propaganda and the power of those who control the narrative. The question ‘Real or not real?’ seems more pressing to me every day.”

The “Hunger Games” movies are a multibillion dollar franchise for Lionsgate. Jennifer Lawrence portrayed heroine Katniss Everdeen in the film versions of “The Hunger Games,” “Catching Fire” and “Mockingjay,” the last of which came out in two installments. Other featured actors have included Philip Seymour Hoffman, Josh Hutcherson, Stanley Tucci and Donald Sutherland.

“Suzanne Collins is a master storyteller and our creative north star,” Lionsgate chair Adam Fogelson said in a statement. “We couldn’t be more fortunate than to be guided and trusted by a collaborator whose talent and imagination are so consistently brilliant.”

The film version of “Songbirds and Snakes,” starring Tom Blyth and Rachel Zegler, came out last year. This fall, a “Hunger Games” stage production is scheduled to debut in London.

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‘Tuesday’ Review: Expiration Point

Julia Louis-Dreyfus journeys from denial to acceptance in this imaginative fantasy-drama about grief and motherhood.

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By Jeannette Catsoulis

Before a word of dialogue is spoken in “Tuesday,” a series of magical images introduce Death in the form of a greasy-looking bird as it visits the dying. The beast’s head clamors with their suffering, their terror and bargaining, the sick and the simply worn out. Young and old, human and animal, they call to him before breathing their last beneath the shadow of his gently raised wing.

In this fantastical first feature from the Croatian filmmaker Daina O. Pusic, striking special effects and a richly textured sound design lend a cosmic chill to a simple story of maternal grief. The mother in question is Zora (a very fine Julia Louis-Dreyfus), so deep in denial about her daughter Tuesday’s terminal illness that she can’t handle being alone with her. Creeping out of the house each morning, pretending to go to work, Zora wanders from coffee shop to park bench, ignoring Tuesday’s calls.

Yet Tuesday (beautifully played by Lola Petticrew) understands. Unable to walk and struggling to breathe, she’s a bright teenager who seems ready when Death appears. Out of sight of her pragmatic nurse (Leah Harvey), Tuesday bonds with Death, requesting time to prepare her mother, and these scenes have a lightness that prevents the film from becoming an extended moan of unrelieved sadness. Like many of us, Death, it turns out, enjoys a joke and the music of Ice Cube. It seems fitting that his taste is vintage .

As voiced, quite wonderfully, by Arinzé Kene, the bird — not the expected raven, but a macaw — is a digital star that the human actors must constantly negotiate with for visual and narrative space. Swelling and shrinking in size, he switches in an instant from cute to monstrous, amusing to terrifying, the voices in his head briefly silenced as he confesses that he hasn’t spoken in 200 years.

“I am filthy,” he growls, coughing up words like hairballs and flapping his blackened wings, as if the darkness of his mission has stained his once-bright feathers with the dirt of the grave. Yet while Tuesday seems perfectly at ease with her grim visitor, Zora responds with an increasingly hysterical campaign to — literally — swallow her greatest fear.

Without much to distract from the three central characters, “Tuesday” can feel overlong and a little claustrophobic. Yet this compassionate fairy tale works because the actors are so in sync and the imagery — as in one shot of the bird curled like an apostrophe in a dead woman’s tear duct — is often magical. Alexis Zabé’s cinematography is both intimate and expansive, reaching beyond the characters’ emotional struggles to show the apocalyptic consequences if Death should be vanquished. The sum is a highly imaginative picture that, while considering one family’s pain, also asks us to ponder the possibility that a life without end means nothing less than a world without a future.

Tuesday Rated R for pejorative language. Running time: 1 hour 51 minutes. In theaters.

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