Reviews written by registered user
|418 reviews in total|
3 Days to Kill turns out to be an annoying story wherein Kevin Costner, each time he's about to duct-tape some guy's mouth shut, must stop to answer his cell phone. This is to give the idea of how the movie is. In my opinion it never finds a way to blend the emotional aspect and the action into one believable package. Costner gets to escape with his long- time and ever lasting charisma playing the scenes being a real and genuine. All things considered he's one (there are not many of them) of the greatest movie stars to arrive after the 1970s, and he'll certainly be great again. But not with this strange flick which won't leave god memories..
Great idea, great cast, a thrilling real-life story behind it all but The Monuments Men isn't more than this. This was the kind of film that, six months ago, you wouldn't have looked foolish staking on it as an Oscar winner. So where'd it all go wrong? It sticks to the facts perfectly but it bores as we spend too much time watching Stokes put his team together and that's too long. Cast is simply impressive but it's not enough to make a really good story out of it, because actors don't match one another that much, with Goodman and Dujardin being a funny double act and with Matt Damon's terrible French. It's probably an accurate look at how a unit like this operated, but in a film like this accuracy is well down the wish list.
A drama resounding with powerful and universal themes. The sole actor on screen (other extremely original trick) Tom Hardy, gives a terrific performance and the real innovation lies in the way writer-director Steven Wright chooses to tell the tale real time and a tightly constrained space. The story blurs the line between theater and film in a very unconventional manner. Audiences are introduced to Locke as he drives along a safe speed, on an urgent mission. The contrast and contradiction between his calm demeanor, controlled voice and the upcoming catastrophe developing around him makes it all the more heartbreaking. It's no accident his job involves large quantities of concrete. All the dialogue occurs during hands-free phone calls inside Locke's car. Hardy's is the only face seen on screen for the whole duration of the movie, as we hear his conversations with key characters who are genuinely alive from the sound of their voices. The story has no flashbacks, voice-over narration or cuts, so that the audience is subject only to the conversations heard within the time Locke is on the road.
Johnny Depp, Rebecca Hall's acting are almost perfect and they both took roles suiting them. But the overall sensation is there is not a great emotional impact, plus the interactions between man and machine are not deep and intense as it should be. Furthermore, the thrills do not thrill, the action sequences are not that exciting and the special effects don't break new ground. When all is said and done, when the plot nears the end and the movie is about to reach the conclusions (already offered in the first few minutes, to tell the truth..), I had somehow the feeling all the story is more like dial-up than broadband, and not something that's in any way transcendent, no way..
Movie goers have a sort of fascination with watching less-than-smart people do really stupid thing, exactly what drives film noir and many of the best crime dramas. "The Square," from Australia, certainly fits that reasoning. We watch the bottom drop out of the lives of many different characters destroying each other and themselves, with things going wrong for everyone. Edgerton is brilliantly merciless in moving the story forward, as along the way, we'll encounter blackmail, murder (unintentional and otherwise) and more, some of it brutal, some of it weird. Roberts makes for a most worried-looking protagonist, seemingly wearing each new disaster with a deeper furrow in his brow. Van der Boom is effective at never letting us really know what she's thinking, while Hayes is nicely creepy as the no-good Smithy.
A very sensitive, intelligent and ambitious variation on the traditional going-straight story. Mark Wahlberg is just out of prison and determined to keep off troubles but inevitably runs into them when getting involved in the sabotage and in the unforeseen murder. In terms of conventional suspense, the film is too much muted and sombre in order for it to deliver the goods convincingly but as a character study and an exploration of different notions of family, friendship, duty and loyalty, the careful attention to detail pays off. A great cast (Phoenix and Theron perfect as wheel) does help, as does the strongly surprising use of good music.
Lone Survivor is a brutally effective movie, made by people thinking they're serving their country. However these people make the audience coarser and more self-centered. They perpetuate the kind of propaganda that sent the heroes of the Seal Team 10 to death. The film is intense though but balanced by the moments of surprising tenderness, among the men themselves and also in the field. The ensemble cast delivers properly, working with a screenplay telling the story with considerable force. The story itself is not just about a fire fight with the enemy, it regards more the sense of brothers in arms helping each other to survive. This is what makes the film powerful and somewhat satisfying in a terrible sort of way.
A low-key story about fathers, mothers and brothers as well as life and death. Its characters are contradictory and rich. There's a lot of small-town satire here, with a melancholy-comic tone. Director Alexander Payne ("Sideways," "The Descendants") makes movies about people, not superheroes. He takes his time, allowing the viewer to observe and form opinions about men and women in all their frayed and imperfect humanity. They do the ordinary things that people do eat, travel about, find places to sleep and we gather a lot from those everyday ordinary actions. His films are both surprising and logical, and "Nebraska" is one of his best.
"Disconnected" is a judiciously told story about Internet dangers like bullying, identity theft and sexual exploitation, a powerful tale about the dangers of spending a lifetime online or losing one's self to online fantasies or ideals. Overall an immensely compelling and taut thriller, trying (succesfully) to plug in to real emotions, with a cast acting in a superlative way (though with no bombastic names). These are all stories that could be told in separate films but work as a very cohesive unit here, since they all talk to the same online dangers that we see in the news. In the end a strong and powerful tale, one of the rare films directly responding to and expressing modern anxieties.
Judi Dench., the legendary Judy Dench, is perfect as usually. The story's based on true events chronicled in the book but the script allows the pathos of this search to proceed without ever being excessively "sugary". The actions of the nuns are horrifying, reminding a lot of another film about Catholic nuns "The Magdalene Sisters". However Philomena treats the subject more gently. There's an odd couple's comedy vibe about two totally different characters tracking down leads and ending up in the United States. Coogan's Sixsmith is a delightful and perfect foil to Philomena/Judy Dench. He's annoyed at first by her ramblings as they travel on their quest and also surprised and frustrated she isn't angry about how the way she was treated. However, he comes to realize that there is great strength in her quiet determination, as the spectators understand. A story of heartbreak told in the form of a moving road trip, Philomena allows Judi Dench to prove once again that she is a cinematic treasure, a genius.
|Page 1 of 42:||          |