Reviews written by registered user
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Viewed from a Distance with a Peripheral Perspective and Void of In
Depth Knowledge of the "Turtles" Comic Books, Movies, and Cartoons.
"Fun" is the Word and Everybody's Heard About the Word"...Fun Fun Fun...But Daddy's Took the Franchise and...
So this is what You get from the Corporatocracy. A Slick, Shiny, Shindig of a Movie that is Loaded from the Sky to the Sewer with Everything and More.
Every Frame is Bristling with Eye-Candy. That's its Atmosphere. Literally Sucking the Oxygen from the Film, making it Hard to Breathe, and a Feeling of Dizziness ensues.
High from the Experience it is Thrust upon the Viewer with something Akin to Hypnosis. Critical Analysis is not an Option. It just won't have any of that Intellectual Intrusion into its Silly, Fan-Based, Dumb for Fun Universe.
It's Fancy, Frantic, and Feeling Good. Nostalgic Nuances Aside and a Look at the Thing with Accepting Eyes, Going with the Flow that Hits and Misses its Beat with Regularity, it Cannot be Denied its "Bang for the Buck" Delivery.
The Fact that Tyler Perry and Megan Fox are still Getting Work, Despite all They have done is an Observation Apart from the "Turtles" Mythology, that should be Questioned.
Overall, the TMNT are an Anomaly of the Super Hero kind that only comes along Once in a Generation and should be Celebrated for the Unlikely Phenom that They are. From Their Humble Black & White Indie Comic Beginnings as a Fan-Boy Lark, to Cultural Icons, the Boys are not just "Turtle and Pizza Power", They are Really-Cool in a way that Only They can be.
Director Ridley Scott's Output is Inconsistent. He has made some Great
Award Winning Films and a Substantial Number that are Not.
The Gangster Genre has its Modern Era Royalty..."The Godfathers" (1972-90)..."Scarface" (1983), Goodfellas (1990) etc. and the Director Knocks on the Castle Door with this Epic, but some say that He was Denied Entry.
The Film is Rich with 1970's Culture, has Two Powerhouse Leads (Denzel Washington, Russell Crowe), a Budget to Kill for ($100 million), a Fine and Respected Screen Writer (Steven Zaillian), and a Sprawl of Characters and Locations. It Looks Great, has an Enormous Running Time (157/176 min), and Gangster Culture is almost Always Box-Office Booty when done on this Level.
It's a Good Movie, with its Attention to Detail Rewarding, the Big Cast List is Populated with A-List Character Actors, and the Story is True Life Legend. Professional comes to Mind when the Movie Unreels. But it somehow lacks the Spark of the New that the Kings of the Genre have in Common.
While it Fails to Ignite, it does Blow By some of its more Mediocre Contemporaries. However, the Film is too Conventional in a Category that is so Common, so Ingrained in American Culture, it takes more than just Professionalism to make it Rise to the Top.
"American Gangster" is Not one of the Director's Least Inspired Projects, it's Better than quite a few of His Recent Films. There is much to See here and while it didn't make it into the "Gangster Court" of the Truly Greats of the Genre, it's No Slouch Either.
A Horror Film by Title and Motivation but it is so Layered on Top with
Gorgeous Models, Striking Color, Vibrant and Pulsating Images, and a
Bizarrely Numbing Tone, that the Horror which is Horrifying to be sure,
is almost Incidental and Covered Up.
It is Covered Up with something akin to Graveyard Dirt, a Dense Layer that gets in the Last Word. It makes the Deconstruction of the Story perhaps Inconsequential. Because although the Back Story is of the Occult, it's only an Afterthought after one Stops Feeling all the other Stimulation on Screen.
It's a Vanity Project for NWR. His most Vain to Date, and You Wallow right alongside the Director...or NOT. It was Booed off the Screen at the "Cannes Film Festival", and other more Novice Moviegoers have Voiced Loud Outrage at its Casual use of Taboos and Tabloid Titillation.
But this Fringe Film Maker is not out to Please the Masses, maybe the Critics, but Certainly not the Main Stream. He has his Fans and Disciples. Going into a Movie (this His 10th) by this Eye-Poker, it is Best to Understand what One is in for.
Narcissism, Necrophilia, Cannibalism, Buckets of Blood, Aberrant Sexual Behavior, Sophomoric Philosophy, Perverted People, and an Obsession with the Pathologically Pathetic, all Pictured with Hypnotic Hubris.
"My Mother called me dangerous."...says Elle Fanning playing the Lead along with a Bevvy of Beauties in the Cast. NWR could have said the Same Thing and it would be Believable, because making all of this Ugliness Look so Attractive could be Called Dangerous.
Note...The whole Cast does a good job, but Jena Malone is outstanding.
Well Acted and Suspenseful Psychological Thriller that is held Down by
an Obvious Ending that is Telegraphed in the Second Act. There is No
Twist to that and once the Twist is No Longer a Twist, everything is
Less than it could be.
The Ending is also Drawn Out like it Thinks You didn't see it coming. Oh My! Didn't Everyone? So the Third Act is a Ho Hum, get it Over with affair. It isn't a Bad Movie just one that is Short on Surprises and in a Psycho-Thriller that's a Death Sentence.
The Cast tries hard and the Emotional Dial in set at 10 most of the Time and it makes for some Engagement and Intrigue, but it really has Nowhere to Go after the Middle. The Movie is Shot with some Style, but the Familiarity with the Story is its Premature Problem.
Overall, Worth a Watch but Ultimately a Let Down for those accustomed to this Type of Thing. A Good Effort Overall, but Average or just Slightly Above.
"Whose guns are they? Whose guns are they? Whose guns are they? Whose
guns are they?"......"Open the door! Open the door! Open the door! Open
You know there's Trouble Brewing when Lines of Dialog are Repeated over and over and over again, bringing everything to a Screeching Halt.
Nic Cage and Elijah Wood are Teamed Up in this Clunky, Unsatisfying Cop/Heist Movie that Never finds its Tone and Relies heavily on the "Charisma" of the two Stars to Carry this Ill Conceived, Badly Written, Poorly Paced Misfire of a Movie.
The Ending gets all the Grief from Audiences and Critics, but Truth be Told, the Film was Dying way before that. It's Oddball Humor is mostly Cringe Inducing and all of the Side Characters are even Worse than the Cage/Wood Matchup.
Sky Ferreira as a Hostage has Her Face Hidden by Ruffled Hair almost the Entire Running Time. Why? Who knows! Just one more Thing that tries to pass for Edgy in this Awkward attempt. You want some more Awkward. How about Jerry Lewis showing up for Two completely Random, out of place Scenes that serve absolutely No Purpose.
The Movie has an Ending that just looks like They ran out of Money and as a whole it has a feel as though Huge and Important Scenes are Missing.
Elijah Wood is Miscast and Cage is just being Cage, mostly just Walking Through the Thing with His "Oscar City" of Las Vegas in the Background, totally Ignored and Underused.
Below Average, borderline Embarrassing, and Fans of both Stars can Miss this without Missing much.
Relentlessly Grim Prison-Pic from a Play by John Wexley who also Wrote
the Script. It's of the "Reform" Type with its Critical Eye on "Death
Row" and Specifically the "Death Penalty".
The First Half is the most Dated and Tough to get Through Today with its Heavy Melodramatics, Over Acting, and Exaggerated Mental Anguish Displays. There's some Bite to the Dialog but the Performances Suffer from Stagy Emoting and Projection.
But the Second-Half Kicks in and the Movie becomes Engaging, Suspenseful, Violent, and even more Poignant. Some of the Imagery, while Confined by a Low-Budget and its Stage Play Roots, still manages to be very Atmospheric and Gloomy.
It's an Artifact of its Era for sure, but that makes it Relevant as a Time Capsule of both Cinema and Social Concerns. It can be Powerful at times and is Definitely Worth a Watch.
The Title is Metaphorical. There are Four Stories in this Amicus
Anthology, a Horror Sub-Genre that was Popular in its Era.
A Very Good Cast including Christopher Lee, Peter Cushing, Denholm Elliott, Jon Pertwee, and Ingrid Pitt are Interspersed Throughout the Stories. The not really Creepy House is the Lynchpin that Connects the Tenants in the Tales.
Everyone has Their Favorites, but Truth be Told all are Equally Mediocre but Worth a Watch for the Twists, the Cast, and some Colorful Style.
Overall, Horror Fans should get a Kick out of it, while Others may Find the whole Thing quite Unremarkable. Professionally Done and somewhat Interesting but Never Intriguing. The kind of Stuff that Writer Robert Bloch probably Dashed Off in a Week or so.
Note...Although a different medium it should be noted that the Pre-Code E.C. Comics were the best at this sort of thing.
This Tom Tykwer Movie is Impeccably Shot with Impressive Imagery. Tom
Hanks is Affable enough Walking through this Meandering Story of a
"Fish Out of Water". Unfortunately Water is in Short Supply in Saudi
Arabia and this Film is Short on Everything but the Look of the Thing.
One Wonders what the Point of it All is and what the Hell is Going On most of the Time. It Rambles here and there with Set Pieces that mostly Fall Flat. It's Purpose is in an out of Focus just like the Titler Technology that, by the way, is Haphazardly Portrayed and is Nothing more than a Hook to Hang the Chinese.
Not much is Remarkable or Remembered as the Happy Ending seems OK if nothing to Write Home About. The Threads are Loosely Woven in this Tapestry of a Salesman Abroad. There is a Sense of Traveling to a Foreign Land as Hanks might as well be on Mars. The Culture Clash is Instantly Recognizable as Frustrating and the Root of the "Problems" with Today's Geopolitics.
But the Weight and Seriousness of this Existential Threat to World Peace is Off Handed and Addressed as a Fluff Piece of a Mildly Irritating Inconvenience. Overall the Movie is Shallow and Never Coalesces into anything Beyond a Curious Misstep with a Mainstream Motif.
Lively Sequel that is nothing if not Hyper. There is a Wild Fisticuffs
Fight Scene every Few Minutes and becomes Exhausting Excitement after a
while. When the Standard Action is not on Screen the Movie resorts to
Minimal Sets with Flat Electronics with a lot of Wheels and Levers and
a Colored Light Bulb or Two that Flash.
The SFX are Weak and Obvious Models. All of this gives the Movie a Cheesy Appeal and the 1960's Style Hair and Clothes the "Brides" wear are a Distraction to the 1920's Setting. The Cars and Planes not so.
There were Five Films in the "Fu" Series Produced in the Mid-Sixties each Trying to Install this "Yellow Peril" Menace from the 20's to Modern Audiences but the Success Waned Considerably after a Modest Profit from the First Entry "Face".
It all seemed Forced and never quite Caught On. Viewed Today it has more Camp Appeal and is a "Pulpy" kind of Escapism. Christopher Lee walked through the Series with a Deadpan Desire to become Ruler of the World.
In this one the "Brides" are really nothing but Prisoners Caged and Threatened with Horrible Painful Deaths (like a pit of snakes) to make Their Father Scientists Cooperate with "Fu". A Sadistic Tone is Ongoing Throughout the Series.
The Movies are Interesting Flops with One-Note Stories holding back the Intrigue. Nothing Near Must Watch Stuff, but those willing to Enter the World of Fu Manchu for some Goofy Fun can Enjoy these Things. Others may find even the Best of the Series (#1 & 2) quite Tiresome and Clunky.
It's a "Bronson" Film, as They say. Charles Bronson's Name is
Synonymous with Gritty, Populous Entertainment that are Big on Violence
and Action, and Short on Intellect.
This, the First Collaboration with Director Michael Winner is Defiant of these Preconceptions. The Dialog is Shaped with Sharp Old West Speak with Sub-Humans Spouting Redneck "Insights" about Indians, the Land, and God's Folly in Creating these "Aberrations" to the White Man.
Jack Palance as the Leader of a Posse on the Trail of a "Half-Breed" who had the Audacity to Shoot the Sheriff in Self-Defence, into "Chato's Land", is as close to a "Hero" the Whites can Muster in this Lynch Mob of mostly Inbred Scum. Much like the American Reasoning and Futility of Trying to Defeat the "Gooks" in the Backyard Jungles of Vietnam.
Palance is the Fulcrum Driving the Story for the Audience to stay Grounded while the Revenge Plot Violently comes to its Pre-Determined Conclusion. A Good Cast is Dispensed of in the Hard-Bitten and Brutal Style of its Era.
The Editing is Tomahawked Together with a Rhythm that Copies its Betters and none to effectively to say the least. It Smacks of Hacks that are better at Mimicking than making Art. Winner's Direction is more than Competent with a Firm Hand at the Intent of being Entertaining as well as Messaging.
Overall, an Underrated Western that is Worth a Watch Showcasing an almost Mute Charles Bronson (trademark) that does His work with little to say on the Subject except that Deeds are more Important than Words. His Gleaming, Muscled Body Shining in the Hot Sun is Unforgettable.
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