Reviews written by registered user
|83 reviews in total|
I came to laugh, and laugh I did. "Ted 2" is a ridiculously stupid movie, the thing is, when Seth MacFarlane directs it, I like it more than the average dumb guy movie. I was gut-busting more times than I expected to. Was it as inspired and heartfelt as the first? Of course not. It would've benefited if it was, but there is only so much you could squeeze out of a pot-smoking bear, without getting more of the same.. lots of fuzz. The story is predictable, yes. Yet it stays away from being too serious, which I applaud MacFarlane for doing this time around. He divulged in some really hacky melodrama in "A Million Ways to Die in the West", and I prayed that it didn't happen here. Luckily, he doubles down on the laughs. However, he also doubles down on the offensiveness. This is a mean movie, folks. Prepare to scoff and scowl at how low it goes. Some of it does work, partially due to how Ted's racism and homophobia is humorously typical of a loud Bostonian. I'm not sure how anyone will feel about Ferguson and Charlie Hebdo, and Robin Williams death jokes. The 22.3 year rule has never applied to Seth MacFarlane. For him, it's about a 4 month rule. Putting aside all of the flaws, I can happily say that "Ted 2" delivers as a comedy. It's a vast improvement over Seth's last film, and it's making me crave third film. But if they have to put the bear to bed, so be it.
The great epic biopic, about the great epic artist himself. What's so fascinating about it, is it's style. It's refusal to be pretentious. If that's not enough, it mocks pretension by using Antonio Salieri. He's just so insufferably envious of Mozart, that he inadvertently kills him. Even after death, he can't get over how inferior he is to the master. What a great antihero. A jerk to end all jerks. Adding to the ridicule that makes Amadeus so unique, is Mozart himself. Without prior knowledge, you'd leave the film thinking that this whole time, he was an idiot savant. But perhaps, Mozart is just as colorful as his punk rock wigs... at least that would be what we all would hope for. While I don't think it's Milos Forman's best film, it's a magnificent achievement, and for the grand majority of it's 3 hours, it's engrossing.
Looks on the surface to be a typical English dark comedy/thriller in the vein of early Guy Ritchie. Watch it, and experience something absolutely phenomenal. I beg you, don't let this one pass you by. In Bruges is painfully hilarious, and painfully sad, at the exact same time. Imagine crying through your tears.. yeah, it pretty much sums this movie up. It uses it's criminal characters to observe the delicacy of life, and the excruciating consequence of one horrible mistake. Yet, these characters are so tragic, that when they go for a laugh, you're roaring. Laughter and sadness intertwine so well, isn't it a mystery why?
Wow, this movie is so much fun. I loved it. It's a better film than LS2SB, in my opinion. It's faster, funnier, crazier, smarter and tighter. None of the characters seemed conventional this time around. Ritchie takes the formula he used in his first film, and creates new, hilarious angles on them. Creativity wins in the end. We follow two mob groups, and they all intersect and scrap up within the final act of the film. There's boxing, and jewel thievery, and everyone trying to get the job done without being fed to hungry pigs (literally). While his last film was a tribute to Tarantino, this film, to me, seems like a parody of him. It works better, knowing that conventions are being made fun of, in cool ways.
The first 20 minutes or so play out like a typical, early 70's, bust-a-pimp exploitation flick, and I thought I wasn't going to like it. But then, it all gloriously changed. A 180 degree turn-around, into what I think is one of the most nail-biting crime thrillers of all time. The French Connection is a ticket into the mind of a ragtag cop, trying to make his day with the case of his life. We spend most of the film, following him as he shadows the criminals he is chasing. It's classic cinema verite. We see every sudden movement and action in this cat and mouse chase. Climaxing with the unparalleled, jaw-dropping, chase scene, above and below the train station. These day's, its become an overlooked film, and sure it's not perfect. But, The French Connection is a thrill that any fan of the Fast and Furious series need to see. I mean.. THAT CAR CHASE!
One of the all-time, classic thrillers of American cinema. It's, as many people have said in passing in regards to the film, the un-immaculate conception of the Antichrist on an innocent married woman. But the story isn't that simple. The great director, Roman Polanski, keeps you second guessing yourself the whole time. Is it all the work of witch craft? or is Rosemary just crazy? Was her visit from the devil just a dream? or did it really happen? You're left on edge, until the very end, when it all tragically makes sense. Polanski's direction is startlingly good. The dream sequence is nearly the best scene in the whole picture. It demonstrates Polanski merging his avant-garde roots within his first contemporary American film. Such creepy fun.
I'm not so proud to say that I belong to the "Tinder" generation. We tend to cater to the id, cutting right to the chase. It's between the sheets first, and maybe love after. I saw this film in college, where I would bank on the hook up culture thriving the most. Do you think this kind of accidental love story resonated with anyone? Will it make you think twice about being loose? Highly doubtful. For the most part, we were too busy laughing to care. Trainwreck in on track to becoming one of the most interesting, talked-about films of the year. I hope I'm not wrong. This is a new, bold, intelligent comedy from Amy Schumer. Regardless of how the rest of America will feel, she isn't going anywhere. Trainwreck manages to be a unisex comedy, that is more guy- centric than Bridesmaids... and Bridesmaids had some classic guy humor. Amy Schumer is really something to behold. She is as nasty and brutal as her "Comedy Cellar" friends, but then, she's adorable, and vulnerable. This is unique, and something we haven't seen before. This isn't just her show, however. Trainwreck features the most unexpectedly funny cast in any movie I can think of. What sticks out in my mind is John Cena and LeBron James. Two sports legends, and wouldn't you believe it, they have terrific comedic timing. Hollywood should take note, and cast people in comedies that have never done anything funny. I also have to single out praise for Colin Quinn. A great comedian, seen rarely on screen these days, and his performance is stellar. As for Judd Apatow, he's still so incredibly gifted with directing new talent, and surprisingly restraint from placing his wife Leslie Mann and his two daughters in cameo roles.. not that I don't think they're talented. This is a sweet movie. Spread it's praise.
Natural Born Killers is a film that almost doesn't need to be critiqued. It's already a critique in itself. A critique of how our hypocritical, scummy media at large sensationalizes psychopaths, murderers and serial killers. Oliver Stone rightfully gives the media a baseball bat to the head, in what I could only describe as "propoganda-murder porn". It's a 2-hour, vicious, ultra-violent montage that not even Sergei Eisenstein could've imagined in his worst nightmares. It's such an emotionally unshakeable experience, you won't be able to get your mind off of it. I don't know if I should consider Oliver Stone one of the great geniuses in all of pop culture, or a man possessed by the demon he has captured on celluloid. Be warned, at how brutal this picture is now considering the impact it has had on the impressionable sick-minds it inspired. Hauntingly, this movie accurately predicts and predates some of the worst atrocities in U.S history (ex. Columbine, Sandy Hook). To this affect, I can't say that what Stone has created amounted to any good at the end of the day.. but perhaps he knew that it wouldn't far better than we all did. It's no wonder why Quentin Tarentino wanted his name off of the picture. When you think about it, Stone took Tarentino's movement of comic brutality, flung it back in his face, with his own characters and said "checkmate".
Going into it, I wanted and expected to see a loving tribute to the greatest city in the world. I'll put it to you this way, the first scene is by far, the greatest use of New York City in film history. The movie that follows, doesn't quite live up to that. I remained interested, but I couldn't help but be repulsed by these overly privileged New Yorkers. Woody's character was the worst of them all. I hated him in this. He's literally romancing a child. This is the closest we're ever going to get to seeing Woody Allen's pedophilia in action. Not only that, it seems to be all about him here, more so than Annie Hall. If it weren't for the incredible backdrop, I would care less about everything.
It captures the spirit of the first, and both Carrey and Daniels play their characters like no time has passed, let alone 20 years. The experience for me was more or less the same experience I had with the first one. Among some very funny, very well timed, gross-out and laugh-out-loud gags, there were a few painful, cringe-worthy and uncomfortable ones. In essence, that is exactly what you should expect from this movie, a mixed-bag of stupid comedy. Not bad, but not really something I would call thoroughly hilarious or enjoyable. Now that Jim Carrey is back in the comedy saddle, I await the movie I've been waiting for him to make, Ace Ventura 3 (fingers crossed).
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