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they all wanna be u mmmmmmmmyeah
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Reviews of movies I've seen since February 1st, 2014.
0 = You're screwed if you watch this movie...
1/2 = Horrific
* = Dreadful
*1/2 = Very weak
** = Poor
**1/2 = Inoffensively average.
*** = Rental
***1/2 = Solid
**** = Good
****1/2 = Great
***** = Terrific
Jack Ryan: Shadow Recruit - ***1/2
The Lego Movie - ****1/2
Frances Ha - **
Enough Said - **1/2
Philomena - ****1/2
Nebraska - **1/2
Jackass Presents: Bad Grandpa - **
The Square - ****1/2
Captain America: The Winter Soldier - ****1/2
Rio 2 - **1/2
The Amazing Spider-Man 2 - **1/2
Serenity - ****1/2
The Heat - **
Godzilla (2014) - **
The Monuments Men - ***
Non-Stop - *
How to Train Your Dragon 2 - *****
A Million Ways to Die in the West - **1/2
The Grand Budapest Hotel - *****
The Nut Job - *1/2
Maleficent - **1/2
Edge of Tomorrow - ****
Life Itself - ****1/2
Vampire Academy - 0
Snowpiercer - ****
Transformers: Age of Extinction - **
Dawn of the Planet of the Apes - ****1/2
The Counselor - *1/2
Capote - *****
Pain & Gain - ****
Guardians of the Galaxy - ****1/2
Divergent - ***
Noah - ****
Sabrina (1995) - **
Muppets Most Wanted - ****
Get On Up - ***1/2
Winter's Tale - *
The Expendables 3 - **
Bears (2014) - ****
Boyhood - *****
Begin Again - ****
A Simple Plan - *****
Dolphin Tale - ***
The Giver - **1/2
Blended - *1/2
Number of 2014 movies seen thus far: 31
Other nominees are presented in alphabetical order.
Other nominees are presented in alphabetical order.
All other nominees are in alphabetical order.
Other nominees are presented in alphabetical order.
"The music of the 007 saga is some of the best and most memorable in all film, and has been a staple since their debut with Goldfinger. They've covered various genres, and featured vocalists the likes of Shirley Bassey, Paul McCartney, Duran Duran, and Chris Cornell. Today, we're going to reveal what the Movie Awards voters chose as the best of all time... Or at least until Bond 24 comes out."
These songs are all ranked in order of best to worst.
The Counselor (2013)
Another blunder for Ridley Scott.
I admire Ridley Scott as much as the next guy. He's great with actors and he's a great visual artist, but if there's one vice he suffers from, it's this. Scott has a penchant for picking bad scripts to film. He's *always* been wildly inconsistent with that, not merely in his last ten years, and in plenty of non-negligible cases, has had to go so far as to use his direction to mask the flaws of the writing. This was especially the case for films like Hannibal, 1492, Legend, A Good Year, and the notorious plot holes of Prometheus. I respect him for always trying to stretch his versatility, but his scripts don't do his strengths justice, and his last decade alone has been even patchier than Tim Burton's.
The reason I say that is because The Counselor is yet another example of this. I know Cormac McCarthy is a great author (in fact, he wrote my favorite book, No Country for Old Men), but what makes him great in literature doesn't make him so in cinema. His script feels like it was originally meant for a book but trimmed for the screen, and it shows. The film expects us to immediately accept the reality of the situation, shorting us on crucial details behind the relationships of characters, something that even the awkward exposition can't fix. These characters are so middlingly established that I simply can't care about them. Another indication that it was meant for the page is that the script is incredibly busy and needlessly convoluted. It feels like several different movies are going on at once with nothing tying them together, and full of elements that go absolutely nowhere. As a book, this could be easily expanded upon and you could get away with this kind of busy structure, but in film, it's talky, dull, and loaded with redundancy (We get it, Cormac, actions have consequences). That even extends into the visuals with repeated imagery of cheetahs, no doubt to foreshadow the hungry predators about to descend upon the unwary prey of main characters... SYMBOLISM!
Ridley Scott is trying his best to wrangle it all together, but no matter how hard he tries, he just can't generate any suspense from this film, and one of the only good scenes is setting up the wire on the road, because it's one of the few moments with no unneeded dialogue. There's too few of those tense moments present in the film, and despite the best efforts of the cast members, great actors can only elevate bad material so much (none dumber and more horrendous than Cameron Diaz screwing a car), and it makes for yet another blunder for Scott.
Silver Linings Playbook (2012)
Led by David O. Russell's strong writing and direction, Silver Linings Playbook is a powerfully acted, meaningful little movie.
In 2010, director David O. Russell ended his six year absence, and returned to the big screen with his knock-out hit (No pun intended) The Fighter, which managed a grand total of seven Oscar nominations, including wins for actors Christian Bale and Melissa Leo. Flash forward two years later, and his next movie is up for a whopping eight nominations, also setting a record as one of the only movies to ever have nominations in all four acting categories. That movie is Silver Linings Playbook. I've been anticipating this one for months, ever since it premiered at the Toronto International Film Festival. Let me just say it didn't disappoint.
Inspired by Matthew Quick's book, Silver Linings Playbook follows Pat Solitano Jr. (Bradley Cooper), a man released from a stay in a mental institution after catching his wife cheating on him, and beating her lover to near death. He's staying with his caring and worrisome mother Dolores (Jacki Weaver), and his obsessive compulsive Eagles fan father (Robert De Niro). Pat is hopeful, despite a restraining order, that he'll be able to reconcile his marriage, and that's only one of the problems that are running around in his mind.
As bad as Pat's problems are, he's got nothing on Tiffany (Jennifer Lawrence), a recently widowed woman with whom Pat finds a kindred spirit. Tiffany strikes up a deal. If pat will compete in a dance competition alongside Tiffany, she'll deliver a letter to his wife explaining about his current situation.
Much like our central character, the movie is understandably prone to certain mood swings, balancing out between personal drama and laces of dark humor. This is a very personal movie for Russell, known for his own history of off screen controversy. The ease with the dramatic pace of this movie, the issues of familial turmoil, our main character's quest to reconstruct his life, the well timed wit, and a whole slew of fascinating characters is only part of what's done excellently by Russell, who drew upon his own experiences and that of his own son in writing the script. The mental issues are met properly, but through Russell's eyes, we also get to witness the vices of many of the other characters here, which ensure that the movie never gets boring.
Just as strong as he is a writer, Russell's direction is as fantastic as always. If there's one thing that can be said of the man, even in his weaker entries, he's always had a knack for extracting terrific performances out of all of his actors. The lead character on paper is only as good as his actor, and Bradley Cooper expresses every believable ache out of Pat Jr. Robert De Niro and Jacki Weaver are typically strong as his parents, while Chris Tucker works with a nice little comic relief role.
But I know who you all really want to ask me about: Jennifer. Lawrence. I can say absolutely nothing about her that hasn't already been said. She steals this movie, serving as that perfect match for Cooper. The best parts of this movie are when we get to see the irresistible chemistry between these two, and Lawrence sells them all convincingly. This is such a peculiar, but very warm, sincere, and charming performance. One of her strengths is how well she conveys Tiffany's emotion, but at certain times, she'll even play it up to convey several at one time. She has one specific scene in a diner that left me unsure of how to feel towards her. Pitying, tickled, intimidated, uncomfortable? It's not common when I find a performance like that that makes me feel so many different things all at once. Lawrence is far and away one of the best performances of the year!
As such, Silver Linings Playbook is one of the best movies of the year, allowing O. Russell to stretch his legs with a challenge, and unqualified success. It's a sweet and meaningful little movie that should resonate deeply with many a member of its audience. Now if only Ernest Hemingway would stop triggering such negative reactions...
***** / *****
Very good examination. I just wish it were stronger.
With Bully, director Lee Hirsch gets down to the uneasy topic of bullying in high schools. The movie follows several students, as well as the families of these students, who go through this routine of suffering from verbal and emotional abuse, physical contact, and even so far as bigotry because of same sex preferences. Those kids who don't have the strength to shake it off or stand up for themselves have simply accepted it as an everyday occurrence, bring weapons in defense of themselves, or have gone so far as to kill themselves, seeing no other way out.
Bullying is an important issue that a lot of people acknowledge, but few seem to genuinely take action against. While it doesn't get down to the issue of why bullying is around, there's no denying that the footage here is powerful, and that it bears a ring of truth. The movie points fingers at teachers and officials sweeping the issue under the rug, a lack of consistent ethics and guidelines, as well as intolerance for those with differences, and it doesn't shy away from these, at least not enough to criticize it for.
All in all, Bully is a film that should be mandatory viewing for all schools. I'm not saying it isn't an unpleasant issue, but it shouldn't be ignored. It should be talked about, strongly so in fact. And it shouldn't even stop there. Take action, start support groups, help a friend in need, and talk to that friend so that friend doesn't feel alone, because no child should have to feel like there's no way out.
STAND FOR THE SILENT!
**** / *****
En kongelig affære (2012)
Strong, superbly acted, and actually quite smart drama.
Denmark's recent nominee for the Oscar for Best Foreign Language Film didn't really have me too eager to see it. Before watching it, I would have mistakenly written it off as just another stuffy and self-important costume drama, but after seeing it, that would have been a disservice. Granted, it is a bit stuffy, and they could have picked up the pace, but this is still quite the elegant, competently filmed and produced period piece set within 18th century Denmark, in which the queen is involved in a love triangle with the king and a doctor, while the king is fighting for new laws of liberation in the country. For these roles, there are a group of such strong performances, none more hard hitting than that of breakout star Alicia Vikander, who is far and away the movie's standout quality.
**** / *****
Seven Psychopaths (2012)
Martin McDonagh's follow up to In Bruges is just so hilarious.
In Bruges is a fantastic movie that doesn't get nearly as much recognition as it should. When I heard that Martin McDonagh was going to be following that movie up with Seven Psychopaths, I knew I had to see it. A comedy that successfully mixes together several elements, it follows a struggling Hollywood writer and the acquaintances around him, two of which kidnap dogs and collect the reward money for a living, not knowing that their latest target is the prized Shih Tzu of a ruthless gangster.
In a lot of ways, Seven Psychopaths is both similar and yet completely different from that of In Bruges. The star is McDonagh's script. The comedy here is pitch black, with grim, and violently over the top humor, much of which is pure gold. At the same time, there's a surprising philosophical depth that is examined throughout. I wouldn't necessarily call this a wacky film. When you get down to analyzing it, this is a deep, incredibly idealistic movie with serious smarts that just happens to be very funny, too. The way that the script makes self references to itself through a script written by Collin Farrell's character is also clever, if taking a bit too much from Kaufman's Adaptation. Unfortunately, it also draws attention to Seven Psychopaths' most glaring flaw, its poor use of female characters amongst a mostly male cast.
These women, played by the talented likes of Abbie Cornish and Olga Kurylenko, are severely disappointing. Still, the male cast is quite entertaining. They are a bunch of attention grabbing characters that, in addition to Farrell, includes Christopher Walken, Woody Harrelson, and Sam Rockwell. Special mention goes to Rockwell's deceptive, hysterical, and unstable Billy Bickle.
****1/2 / *****
Life of Pi (2012)
A mess of a narrative, but a beauty of visual art.
Often considered a book to be ultimately unfilmable, Ang Lee faced a struggle in adapting Life of Pi. Was he successful? Well, anyway, the movie follows young Pi Patel, the lone survivor of a ship sinking, trapped for a long time on a lifeboat with a Bengal Tiger as his companion. The film highlights some weighty and thought provoking issues of faith and religion, taking a bold road rarely seen in family films. It does sound like something that would work well in the script's favor, but then I have to back up and remind myself that the narrative is uneven, diminishing the emotional impact that should be felt, and the narration and present day sequences overstay their welcome.
To be fair, for a movie that spends half the time on a boat with only a young boy and tiger on screen, Life of Pi is still a decent movie to watch. No one can accuse Ang Lee of not knowing what he wanted this film to be, for his direction is the movie's strongest point. Lee is the proper example of a director fully confidant and in control of his own vision, so I do respect the film more than I actually liked it. If nothing else, we can all marvel at the visual aspects, which are quite enchanting, if at times a wee bit too obvious.
*** / *****
In film nist (2011)
Simple, but oh so fascinating.
You may or may not know the recent struggles of Iranian film maker Jafar Panahi. In 2010, he was arrested for alleged propaganda against the Islamic Republic, set to serve a prison sentence for six years, and banned from contributing to any movie for 20 years.
Strictly speaking, This is Not a Film isn't legal. The film was shot entirely by him and friend Mojtaba Mirtahmasb. Chronicling a day in the life of Panahi, the film is a strong, bold, witty commentary on oppression of creativity and freedom of speech. There's not terribly much of a narrative, considering the simple presentation, but that doesn't make the footage any less powerful in Panahi's self-expression. It's even bolder considering it was smuggled out of the country through a hidden flash drive. Simple, yet oh so entertaining.
**** / *****
Barely taps into why Hitchcock is so interesting in the first place.
With credits full of the most enviable thrillers of all time, it's no wonder why Alfred Hitchcock has always been seen as the master of suspense. In Sacha Gervasi's Hitchcock, we see the man facing troubles with his wife Alma. At the same time, he's in action shooting his now oft regarded best film, Psycho.
Hitchcock is fairly enjoyable, but pretty average. One of the two main flaws is that the movie lacks rhythm, and the other is how dry and almost passive it comes across. The movie's attempts at comic relief miss a whole lot more than they hit. What's even more disappointing is how flat Hitch, himself, is, barely tapping into what should be a fascinating personality. While Anthony Hopkins is good, it's ironic that Hitchcock should be overshadowed by his own wife, played by the wonderful Helen Mirren. The makeup designed by Howard Berger and Greg Nicotero (both of The Walking Dead fame) is one of the few excellent qualities in this movie.
**1/2 / *****
It's formulaic, but sincere.
Inspired by a true story, The Intouchables follows the friendship between a rich man paralyzed from the neck down, and the man who aids him in his daily life.
The story itself is not overly special, and it's been done better many times before, but the movie rises above the mostly standard quality thanks mainly to the rich chemistry between the two lead actors. Their interactions are strong, humorous, and sincere, much to the film's benefit. It's a feel good movie, and just as enjoyable as a feel good movie can be.
**** / *****
The Imposter (2012)
The main figure of this movie is very fascinating.
Constantly unsettling, but impossible to switch off once started, The Imposter is a slow burning, but intense documentary that looks into the case of Nicholas Barclay, who went missing in 1994, but was thought to have been found in 1997, unbeknownst to many that he was someone else entirely. The Imposter sets itself apart with the presentation of interviews with reenactments interspersed, both a fascinating and distracting stylistic approach. Still, the strength of the subject material is all so gripping, slowly evolving from simple stolen identity to conspiracy mystery. Specifically, the main subject (whose real name I won't reveal) is a fascinating person. Whether or not anything that he says is actually true, he is a very interesting individual. It's the kind of documentary that makes you question so called "facts".
**** / *****