The premise is fine and it's set for an interesting sci-fi cop procedural. Hannah may be the coolest chick on TV. Aaron is the funny one. The trio is fun. Somewhere along the line, the show decides to go crazy with the story and it becomes a mess. It's a confusing mess at times. It's disengaging at other times. It is still fun for what it is. Sometimes, it finds its footing and the show keeps going. I prefer the procedural to some big mystery box especially when the box is a box inside a box inside another box and so on and so on.
This is surprisingly emotional. There are surprising turns at the end. I'm uncertain about the future prospects of the franchise but I'm also a little excited about a reunion. It would be fine if this is the end but that would be a shame. This is a great franchise. If there is one that deserves to continue, there is non better than this. As for Forky, I expected a wilder voice. His introduction is amazing. There are a few terrific journeys along the way.
Shemp returns to Three Stooges after Curly's terminal illness. It's not necessarily top level Stooges. Curly remains the best third of all times in the trio. This is still some fun physical humor. They're mostly the comedic relieve in a B-level western. They have a lot of scenes by themselves and take up about half the movie. Quite frankly, I rather just have the Stooges.
This is a sincere, inspirational, feel-good, Netflix teen drama. Sadly, the writing has a lot of flaws and the younger cast are mostly over their heads. On the plus side, I would keep the whole Kreyman family if I was to recast the movie. Zahn and Kinsey are great actors. At over six feet, I can safely say that Ava Michelle is one of the better tall teen actresses around. It's a rather limited pool. She's able to express most of the emotions and she has some charisma. She's a functional lead. The rest of the cast needs an upgrade.
As for the writing, the flaws start right at the beginning with the title and does not stop until the credits roll. First, the title is horribly on the nose. It is unimaginative. Same goes for the constant insults about the weather. The insult is bad, unimaginative, and old. It may be the writer's intention to make the mean kids unimaginative but it would be so much better to have creative insults. I would call her Jack and change Jack's name to something else. Everybody should call her Jack to annoy her. Later, it's revealed that Kimmy is the one who came up with it after they read Jack and the Beanstalk as little kids. That's not to say that the overall structure is flawed. This is a standard teen movie and that works to a good extent. The problem of the flawed writing does not stop and it eventually infects the final ending. I can appreciate ending with Jack and his crate. That could all be very cute but it comes after the jealous Jack does some awful things himself. I don't mind her ending up with Duckie but he cannot be the reason for her distress. Stig has to be the one who instigates his own inner conflict, not Jack. Love means letting go. Sacrifice is the hottest romantic move and Jack has one good move in a whole movie of bad moves. Stig has one bad move in a whole movie of good moves. It's bad romance. Also, Jack can't creep out in her room touching her hair while she's asleep. He's not a vampire. It's all bad writing.
It's the third in the series. Who are these characters? It doesn't matter. This has no meaning other than portraying the black locals as savages and have a nihilistic popcorn movie. If it could generate a compelling central character, it could be a Mad Max level film. Non of these characters matter and we are only left with a lot of car action, nothing more.
This is NOT Chucky. This is not the franchise. This is all wrong. The doll is ugly AF. Chucky is a beautiful horror icon. If one overlooks those stuff, this is actually a well-made horror movie. It seems to dabble in some camp but mostly, it's a sincere horror. Before watching it, I had full expectation of an ugly mess. The first visual is the ugly mug of the doll and it seems to be well on its way. Somehow, the camp slowly faded and it gets replaced by a competent effort in all areas. The kids are great rooting interest. Aubrey Plaza is a fine mom with an edge. I am struck by the sense that the movie is in good hands. I have never seen anything from this director but maybe I will keep an eye out for him in the future.
This Hallmark romance generates no heat. The leads have little chemistry. The meet cute is nothing which leads to the combative back and forth having no foundation. Reeser is a good Hallmark actress. Elliott seems to be a veteran workman actor but he needs to be hunkier or more charismatic. The whole movie is flat.
At no time did I think that Christian is innocent. At best, the circumstance of the murders could be interesting but Franco plays him guilty from the very beginning. With no mystery, the question becomes where the tension of the movie would come from. The theme of truth is useful with Finkel's constant modification of his relationship with the concept. Even there, losing the book deal is not enough to inject the necessary tension. Although the movie floats the idea, Christian is never threatened with release. There is simply no danger of anything. At best, it's a character study but Finkel needs to have a darker treatment. This is an intriguing story that comes to not much.
This is an Italian made movie for the English market. It's in the lesser known spaghetti espionage spoof genre. Sometimes it makes a sharp point about the world or the genre. Sometimes it's almost funny. Patrick O'Neal is not particularly funny. It takes all the premise of a 007 spoof and non of it achieves an actual laugh. Roger Moore would be funnier. O'Neal is essentially playing it straight and that could work. In the end, I don't think the humor translates except for physical comedy. The movie starts well enough but it grinds down by the non-laughs.
The story is a little too sprawling. From Mexico to America and from the Castros to the Buffalo soldiers, the story is doing a lot and has a lot to do. This could be a simpler story. It could be the fight between the Castro brothers. It could be the Buffalo soldiers who don't take over until the midway point. It could be the love triangle with Ellen. It shouldn't be everything and everywhere while being a simple western. My biggest difficulty with the story is his return to the Castros without the guns. I would think that he would search far and wide for the guns, and not return to the Castros without them. I am surprised that he wasn't tortured but the fight between the brothers is a good surprise. Overall, the story meanders a little too much but compelling enough. The look of it is terrific. The cinematography is to be congratulated. On top of everything, Brady should be dead or dying at the end of the movie. It's the type of movie which requires a dark finish.
This is a TV movie on ABC. It's a dark, dark comedy considering that it's network TV. I don't know much about movies of the week back then. This seems a little dark for the medium. Normally, the ugly duckling has an inner beauty. She does not have that. She's bitter. She's needy. It's not that funny. It's hard to laugh at her and there's nothing to laugh with her. She could have kept playing in the pool hall and become one of the guys at least. Let's just say that there is more than one reason nobody is sitting next to her. She's a lot and most of it is unappealing. All of this is perfectly fine and I'm glad that it devolves into murder but it doesn't make it funny. Quite frankly, the plastic surgery is unnecessary. A murderous ugly duckling would have been also interesting.
This is fine military drama. Sidney Poitier is pushing the clueless civilian character a little too far. It's not that funny and a bit annoying. Otherwise, the actors are top notch. The story is pretty simple. The miniature action is minimalist. They do use some realistic sets and real ship action to intensify the reality of the story. This is solid.
Some of this is badly written. I don't see Mary having lunch with Diane who is a complete stranger. That scene should be the same conversation with Diane surprising Mary at her door. The writing is rather pulpy. I don't think the marriage idea works. Spousal privilege usually only starts on the wedding day. Quite frankly, I doubt that they wouldn't be convicted anyways. The movie is concentrating on the angel faced Jean Simmons set against the juxtaposition of her villainous actions. Robert Mitchum is sitting on the fence with her. He suspects her but still goes along. This may work more as a mystery if her villainy is not so in your face. As director Otto Preminger had set it up, she's like a sledgehammer pounding on the audience. It's an effective hammering without being melodramatic. I like it more than Laura.
This is essentially a Rashomon tale of a date rape allegation. It has some great possibility of drama. The first two is a story of he said, she said. That's fine. The third one goes off the deep end. I kept thinking how the creep would know what's being said inside the room. The answer is he wouldn't. It's all lies from a crazed pervert. It's supposed to be funny but humor is hard to translate especially here. I really don't see the humor although the situation is a rather modern one.
It's another hot assassin movie from Luc Besson. La femme Nikita is almost 30 years ago. He's like an old painter who keeps returning to the same style over and over again. He's trying something a little grittier and a little more real. It's not his lane. His lane is hot girl doing wild actions with simplistic story. He tries to add layers to the story. At last, he's no Graham Greene which brings to mind the acting skills of model-turned-actor Sasha Luss. She tries and the character is essentially her without the killings. She's surprisingly functional but she's no Meryl Streep. Finally, I would try to clean up the constant time-jumps in the plot. They are supposed to be shocking reveals but they mostly confuse and are unnecessary. If he does a straight forward timeline, the movie may actually gain some tension of wondering if anybody can be trusted. He's probably not capable of doing the truly gritty espionage movie. Somebody should do a film retrospective of his hot female assassin movies.
This is a horror in the vein of Turistas which was released a year earlier. It's interesting to see black cinema trying to copy a horror genre. In this case, the white folks are the first to die and that's a fun little twist on the convention. The torture is gross. It is what it is. It's torture porn. The acting is not that great but it's fine. The girls scream. I am surprised that the sheriff isn't a racist redneck. I'm glad that this movie is willing to play against some conventions but it can't escape other conventions. Then there is little white girl. It would be fine if some kind of ground work is laid down for that turn. The movie doesn't do that and it suffers.
The basic problem is that I don't buy their chemistry. The twenty years difference is a problem although it's less so back in the day. Mostly, I don't buy Lana Turner. She's young and playing baseball by the rail tracks. She doesn't look like it. Her hair is always curled up and done. She doesn't fit her character. I don't buy their courtship. This feels like a realistic take on a romance novel. I just don't see the chemistry despite the top notch actors. Without chemistry, it's a slow grind.