Reviews written by registered user
|25 reviews in total|
Innocence is a unique film that defies typical description and ignores
filmmaking conventions. If you like films that confuse and surprise,
you just might love this. If you need something loud, viscerally
exhilarating or explicit, look elsewhere. Innocence is a film that
plays with our preconceived notions about underage female sexuality. If
you enjoy Suspiria of (the real) Alice in Wonderland this little-seen
French gem comes highly recommended. However, this film does not
glorify in cute girls dancing or wandering through fantastical
dreamworlds. Yes, it is dreamlike and mystifying, but this is not Dario
Innocence approaches Picnic at Hanging Rock's dreamlike quality. What it manages to achieve is presenting what is both natural but unfamiliar through the eyes the young girls experiencing it. Innocence film is very dreamlike and doesn't rest on one main character's perspective.
Innocence is both haunting and sweet. This is a film about the loss of innocence in young girls, but it toys with our notions of innocence, sexuality and objectification. In short, what does being a woman today mean? You won't be satisfied though one viewing of this film. If watching something once only makes you want to see it again, it must be worth it.
Seek this out. Pass over the latest trending rental and add this to your Netflix queue.
You know that scene in Mission: Impossible with the helicopter chasing
the train through the tunnel? I love that scene.
The A-Team is essentially that one scene for two hours. Sure there's some talky scenes and some flirty scenes and some other scenes I don't remember, but this film is wall-to-wall over- the-top summer action. Carnahan hits all the right notes of cornball and cheese without sacrificing good old fashioned thrills. It's trash, but it knows it and doesn't try to be anything more. It's also not a condescending mess or selfishly irresponsible cash-grab (I'm talking about YOU Sex and the City 2). It's just a dumb, fun summer action flick pulled off with style.
The original Candyman is one damn good horror film. It manages to be consistently creepy and at times downright terrifying without resorting to cheap gore or jump scares. What really makes this film stand out is the unique premise of an actual urban legend needing people to believe and fear it to exist. Thank goodness someone like Clive Barker is around to throw interesting original ideas into genre films like this gem. Don't feel any need to check out the inferior sequels, just stick with the original for some scares, ideas, and some early work from Virginia Madsen. Filled with fright, hallucinatory images, a plot that will keep you riveted and some fine atmosphere, Candyman in one highly underrated horror film.
A messy satire that works because it's really pretty funny. These messy
but ambitious films always interest me, and there is plenty of
interesting commentary going on in American Dreamz. What other film
combines the war on terror with an American Idol-style show? Alongside
the usual look at the shallow entertainment industry American Dreamz
has quite a few inspired and funny political statements that include
Willem Dafoe as a Cheney-modeled Vice President controlling Dennis
Quaid's alternate-universe-Bush, a Jew, Gentile and a Muslim competing
on the show, and a season finale that walks a fine line between dark
comedy and plain distastefulness. Hey, this film is messy, like I said,
but I enjoyed it, mess included.
Quaid is really funny here, his President feels like a good-natured poke towards Bush, making him out not so much a clueless tyrant, but someone kept in the dark and used a a puppet. Dafoe's VP is the puppeteer, and his performance is pretty inspired. He never goes for the frightening, deathly feel that an actual Dick Cheney impersonation would have produced, and the film is funnier for it. Hugh Grant does a fine Simon Cowell impersonation, but thank God the film doesn't rest on his shoulders because he seems to be off his comic timing lately. Also, it's nice to see Seth Meyers in the movies
I finally re-watched this after about ten years, and it's still great
after all this time. No one can bring out the emotion and heart out of,
what in any other writer director's hands, would have been just another
romantic comedy. Crowe's script is funny, warm and thoughtful, and he
brings out the best in his cast. Cruise is as charming as ever, and
Crowe's script offers a deconstruction of the typical shark character
Cruise can play with ease by giving him a wife to not only love, but
rely and depend on. Zellweger is charming and really pulls off playing
a single mom without feeling too much like a movie star. Gooding Jr's
Oscar-winning performance is delightful, but characters like (the
perfect) Bonnie Hunt as Zellweger's "disapproving" sister or Jay Mohr
as a scum-bucket agent bring out the natural charm and joy in Crowe's
script and stop Cruise and Zellweger from turning the picture into just
What really sets Jerry Maguire apart however is the focus that a successful marriage depends on both husband and wife giving themselves over to each other completely. What a great message in a world where most big romantic films end just as the real relationship begins.
Drew Barrymore's directorial debut doesn't score points for originality, but her cast is absolutely perfect. Everyone here has a moment or moments to stand out; from Kristen Wiig in a complete 180 change from her SNL-styled performances in past films; to Zoe Bell as a spunky roller-girl. Alia Shawkat finally gets a chance to really shine as what is basically a sidekick, but a well- written one (where are her leading roles???). Daniel Stern has some of the film's best scenes with Page as her father. Overall you know the basic mechanics of Whip It's plot (though there are one or two welcome moments that sidestep or completely change the clichés typically found in films of this genre) but the cast and Barrymore's first-class handling of them make it an incredibly fun and worthwhile ride.
Sitting through Prom Wars, I felt like I was watching a bunch of rich high schoolers who hired someone to shoot and edit a movie they wrote. This is bad. All-teen casts can bring out some fine talent, but everyone here (I'll excuse Alia Shawkat) overacts like their lives depended on it. You'd think this was a Nickelodeon TV-movie except everyone swears for no reason and a Nickelodeon movie would have better production values. Also, you're making a stupid R-rated teen comedy, with no nudity? It's not like this thing could sink any lower, might as well throw something halfway dirty in there to give it some sort of energy.
The Seventh Victim is a chilling b-horror picture with some great style that recalls other great moments in fright cinema. There is a fantastic moment that recalls the dreamlike quality of the twist in Laura, a tense pre-Psycho shower scene, and a vague essence of the menace underneath appearances from Rosemary's Baby. While these similarities make the film fun for cinephiles, it is not the most compelling aspect of the film. DP Nicholas Musuraca makes forbidding use of shadows and dark allies and hallways. The script incorporates too much (a love-angle, a mystery-angle, a psychological horror-angle, the obligatory morality-angle) but the haunting lighting and atmosphere, as well as Jean Brooks' noteworthy performance as a woman pushed to the edge of her control, keep you glued through to the dark but satisfying ending.
Some movies have great stories told compellingly through technical direction and craftsmanship. These films keep you interested even when nothing important to the story is actually happening on screen. However, some films rely solely on charm and chemistry between co-stars for success. Date Night is not the first film, it looks slick and vacant of anything worth watching except for it's two stars. As casting goes, Date Night does keep you interested with the excellent pairing of Fey and Carell as a married couple. While the script struggles to provide enough clever banter to satisfy, their chemistry and ad-libs are what keeps the film going. Marky Mark, William Fichtner, Mila Kunis and James Franco show up for some pretty funny cameos, while Ray Liotta looks like he stumbled off the set of whatever his last crappy movie was and didn't step out of character. Oh, and Kristen Wiig and Mark Ruffalo are in this for, maybe two minutes. See it if you need to see Fey and Carell together on the big screen, I did
Prince of Persia: The Sands of Time is a light, highly entertaining
popcorn flick with enough spectacle and imagination to keep you on a
movie-sugar high for two hours. It's got the pace of a Pirates of the
Caribbean flick, a plot that plays like Indiana Jones crossed with
Aladdin, and some pretty nifty time travel. My biggest complaint is the
action and editing. Newell and his editor could learn to sit back and
let their action scenes breath; audiences WANT to see the
skill/precision/choreography of a good sword or fist fight. Cutting so
rapidly not only takes away from enjoying the action, but unnecessarily
complicates the visual flow of the story. It might be to cover up
Gyllenhaal's abilities, but surely a stunt double and some CG work
could fix that?
No matter, Prince of Persia may not be high art, but it's a really fun guilty pleasure, and satisfied my fix for Indiana Jones-pulp adventure and time travel.
|Page 1 of 3:||  |