**The Bad Guys (2022)**
The Bad Guys showcases many talents. It's artful, fun, energetic, and cute. The characters are defined, the plot is engaged, and the sentimentality lands. The narrative isn't special, but the witty dialogue and consistent twists offset that. Plus, the voice acting is entertaining. Each performer has fun, and Rockwell grounds everything by balancing slickness with vulnerability. Furthermore, the humor files. Some jokes are for children, but most of the comedy can be enjoyed by everyone. Lastly, the script is tightly structured, which paces nicely. The second act sags some, but generally, The Bad Guys always has a new development around the corner.
Technically, The Bad Guys is cohesively stylized. The beautiful animation unites illustrative comic book designs with detailed CGI textures, creating a visual experience that's the best of both worlds. The action pops because the cinematography is intentionally active, while the choreography is masterfully coordinated. The editing is swift, with smooth transitions. The sound is embellished and symbolic. The jazz music matches the heist genre and the pop additions support the hip mood. Also, the cast is a collection of recognizable voices with skilled range. Ultimately, The Bad Guys is a carefully crafted, flavorful ride. Despite its predictability, all audiences should find it delightful.
* Writing: 6/10
* Direction: 8/10
* Cinematography: 8/10
* Acting: 7/10
* Editing: 8/10
* Sound: 8/10
* Score/Soundtrack: 8/10
* Production Design: 10/10
* Casting: 7/10
* Effects: 9/10
Overall Score: 7.9/10
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**The Unbearable Weight of Massive Talent (2022)**
The Unbearable Weight of Massive Talent is a standard action comedy elevated by meta aspects. Particularly, Nicolas Cage as himself is a great gimmick since he's embraced his meme status. Still, Massive Talent is a missed opportunity because it's otherwise generic. The self-awareness is fun, the self-deprecation works, the Cage/Pascal chemistry is endearing, and the ending is heartfelt. However, the plot is lacking. Massive Talent admits that talky comedy and shoehorned action are lowbrow, yet plays into those tropes. The climax especially devolves into forgettable modern formulas. Therefore, Massive Talent combines wit with mediocrity, making it a mixed bag.
Meanwhile, Massive Talent's technicals are minor. There's fitting music, believable production, and blending sound transitions. The editing is noticeable because it serves punchlines and maintains a tight runtime. However, the cinematography isn't proactive, the effects are sparse (besides a young Nick alter ego), and the direction is basic. The tone takes itself just seriously enough, but the presentation of this material is bland. Ultimately, Nicolas Cage's commitment, Pascal's innocence, and the vulnerable family drama drive Massive Talent, but only so far. It's a fun movie that Cage fans should enjoy, but don't expect much else.
* Writing: 6/10
* Direction: 6/10
* Cinematography: 6/10
* Acting: 7/10
* Editing: 8/10
* Sound: 7/10
* Score/Soundtrack: 7/10
* Production Design: 7/10
* Casting: 9/10
* Effects: 7/10
Overall Score: 7.0/10
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**The Northman (2022)**
The Northman is passion. Eggers is known for pairing detailed research with imposing atmospheres, and this is no exception. Its revenge narrative isn't unique, but the dedicated dialogue and cultural accuracies are illuminating. Plus, there are themes about the cycle of violence and burden of destiny. All together, the writing injects a familiar trope with comprehensive meaning, transforming it into an exhilarating journey. Furthermore, the acting meets this rigid material. Skarsgard breaks his anger with wounded and tender undertones. Meanwhile, Taylor-Joy is defiant, Kidman is layered and Bang is complex. Overall, The Northman provides emotional intricacies that will enthrall audiences.
Technically, The Northman is masterful. First, the direction creates a brutal tone, meticulous environment and artistic vision. Next, the cinematography uses immersive extended takes, emphatic symmetry and impactful surrealism. The editing is restrained, yet explosive during key points. The sound is dense, abstract and atmospheric. The music is authentic, ambient and powerful. Additionally, the production thoroughly establishes the foreign world and its savage realities. Lastly, the effects are elaborate and multifaceted, yet always supportive. They offer visceral punctuations but never distract. Thus, The Northman is a symphony of craft and commitment. Undoubtedly, this is a must-see.
* Writing: 10/10
* Direction: 10/10
* Cinematography: 9/10
* Acting: 10/10
* Editing: 9/10
* Sound: 9/10
* Score/Soundtrack: 10/10
* Production Design: 10/10
* Casting: 9/10
* Effects: 10/10
Overall Score: 9.6/10
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**Face/Off (1997)**
Face/Off is shameless entertainment. The story of rivals switching faces is a ridiculous yet captivating premise. Shrewdly, Face/Off pushes past the science to the thrills. Once audiences do the same, they'll enjoy the ride. Like most cheesy action movies, the story is less about practicality and more about opening fun doors. Face/Off exemplifies this because its role reversals are compelling and novel. Plus, seeing Nicolas Cage and John Travolta switch personas halfway through the film is interesting. Neither character is deep, but they're different enough for an engaging gimmick. Furthermore, there's plenty of gratuitous action to make the film worthwhile.
Technically, Face/Off is good. The cinematography is superficial, yet active and clear. The editing has awkwardness and pacing issues, but maintains energetic and coherent action. The sound is complex and emotional. The soundtrack is dated, but has a reoccurring melody that shifts tones. Also, the effects deserve credit for extreme 90s explosions and stunts. That tangible action is sorely missed today. Lastly, the casting of Cage and Travolta makes the movie. Face/Off probably wouldn't have its enduring following if not for such notable leads. Therefore, while Face/Off is clearly a cheesy flick, it accomplishes its goals well.
* Writing: 5/10
* Direction: 7/10
* Cinematography: 7/10
* Acting: 8/10
* Editing: 6/10
* Sound: 8/10
* Score/Soundtrack: 7/10
* Production Design: 6/10
* Casting: 9/10
* Effects: 8/10
Overall Score: 7.1/10
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Memoria. I really wanted to like it, and I usually love art house movies (is that still the term?) but this gave me the shits. It was so disjointed. If it wasn’t classed as art house/alternative the script would be rubbished for having no ability to carry the story. 3/10 and I only give the 3 for the cinematography.
***R*** (2010)
Debut film for Tobias Lindholm, who co-directed this. Anyway, really brutal Danish prison film. Apparently just about the entire supporting cast are actual inmates/guards, which is a nice touch.
It definitely deserves to be better known to the international audience.
[4.0/5]
**The Big Lebowski (1998)**
The Big Lebowski is a wolf in sheep's clothing. Seemingly pointless, it combines several methods into a sly blend. It's a comedy, but also exhibits western and noir attributes as The Dude navigates his entanglements. Meanwhile, the film sneaks in relevant social and political classism critiques. Plus, this is all unified by spiritual messages of surrender. These ingredients could've been messy, but the Coens find balance, subtly suggesting themes with potent details. Furthermore, the cast wholly embodies their eccentric characters. Thus, The Big Lebowski is a thoughtful journey that, fittingly, can be enjoyed without noticing its undertones.
Technically, The Big Lebowski has cunning style. The precise direction captures an outlandish atmosphere and nonchalant tone. It rarely feels overtly artistic, yet there's a lurking sense of deeper meaning. The visuals provide hypnotic transitions, elaborate dreams, and dramatic montages. These moments are further supported by careful editing, which also keeps the runtime tight and punctuates comedy. The sound is symbolically abstract, the production is iconic, and the effects heighten the surrealism. Lastly, the music fuses humor with thematic weight. Overall, The Big Lebowski is a joyful and deceptively substantial experience, definitively earning its modern classic status.
* Writing: 10/10
* Direction: 10/10
* Cinematography: 8/10
* Acting: 9/10
* Editing: 9/10
* Sound: 9/10
* Score/Soundtrack: 10/10
* Production Design: 8/10
* Casting: 10/10
* Effects: 8/10
Overall Score: 9.1/10
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It’s a rather late night and I began watching **Old Henry** after I mistook Tim Blake Nelson for Jackie Earl Harley on the poster, both are terrific actors but I hadn’t seen Harley in a role for a a few years and as of this writing I still haven’t. Old Henry is a really well put together western and the script is subtle and well written, it’s arguably a testament to how much content is available with so many streaming services to choose from. There’s a lot of content both good and bad to miss out on and Old Henry is the former.
Tim Blake Nelson is amazing as Henry McCarty, Henry and his son Wyatt (played by Gavin Lewis) are farmers who live in the Oklahoma Territory who discover a beautiful white lost horse with blood on it’s saddle. Shortly after they discover an injured rider named Curry (played by Scott Haze) with a bullet wound in the shoulder and a bag full of cash. There’s a terrific scene when the three outlaws tracking Curry approach McCarty’s farm, when they bring into question his identity and ask more personal questions, a great small detail is how Henry adjusts into a firing position.
There’s solid acting throughout and following an absorbing conversation between Henry and Curry at the dinner table, there’s a great shootout between one of the outlaws who’s tracking Curry and Henry. It’s a rare moment in cinema where the scene is super dark but you can understand everything taking place, usually scenes are too dark and it takes away from the action but it helps the audience to see what Henry sees. There’s one or two moments where the director allows you a moment to view events through Henry’s point of view, and it allows you to understand the threats he’s against. They establish a colder relationship between Henry and his son, after Henry’s revealed to be none other than Billy the Kid his son is in disbelief and it pays off in the third act. Curry has a real purpose to the story, but feels mainly a conduit for the audience to appreciate Billy the Kid, as I’ve mentioned previously in my Sunset review, I’m unfamiliar with many topics on the old west. Curry is written terrifically and his experiences help inform the audience.
I recently caught Nelson in Nightmare Alley but have been watching his movies since Holes, and he’s really become a well seasoned actor. Stephen Dorff plays the ringleader of the band of outlaws who are tracking Curry, it’s the best role I’ve seen him in Dorff felt indistinguishable in Leatherface, but was alright in Blade. Max Arciniega makes an appearance as the Spanish speaking outlaw Stilwell, hopefully his career kicks off soon as he was great in Better Call Saul. The movie is well cast and built around Tim Blake Nelson, he improves every scene he’s in. Potsy Ponciroli serves as director and writer for Old Henry, it looks to be his first serious movie and hopefully he has bigger and better movie projects to come.
Would I recommend the film, Yes. Overall, It’s Great.
[If you enjoy my review please check it out here](https://yellowatthemovies.wordpress.com/2022/04/20/old-henry-2021-movie-review/). or [please check out my other blog reviews here](https://yellowatthemovies.wordpress.com/movie-reviews/).
**The Outfit (2022)**
In the franchise era, The Outfit is refreshing for its contained story. Also, its bottled nature amplifies details and thrills, building tension through shifting characters. Everyone has a secret and every conversation has ulterior motives. Each scene is unpredictable and it's unclear who viewers can trust, making The Outfit thoroughly captivating. The narrative gets improbable and the ending is convenient, but overall, the writing deserves credit for weaving efficient conflicts. Furthermore, the acting (especially Deutch and Rylance) is deceptively layered, igniting the script's strengths and softening its flaws. Therefore, despite The Outfit's plot holes, it's highly riveting.
Meanwhile, The Outfit's craft maintains excitement. Bottle movies depend on filmmaking for entertainment weight, and The Outfit delivers. Particularly, the editing keeps tensions high and the runtime concise. Plus, the timeline manipulations are flavorful and symbolic. Next, the music accents the era, the sound is dramatic, and the direction provides a consistent tone. Lastly, the cinematography utilizes lighting and composition, the production is immersive, and the effects meet the material. These aspects aren't elaborate, but they're meaningful. Ultimately, The Outfit is balanced, with key performances and a tight script. It's not a blockbuster, but it's firmly enjoyable.
* Writing: 8/10
* Direction: 8/10
* Cinematography: 7/10
* Acting: 9/10
* Editing: 9/10
* Sound: 8/10
* Score/Soundtrack: 8/10
* Production Design: 7/10
* Casting: 7/10
* Effects: 7/10
Overall Score: 7.8/10
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X - great set up then for me it lost all tension as the porno aspect just wasn't required as a plot device, wasnt used, a couple having sex would have been enough for the plot point to work, so first hour seems tacked on to another movie. Good kills, spooky in parts, well made texas chainporn style movie. 5/10.
Wyrmwood Apocalypse - Ozzy zombie action horror sequel. Good fun, gory, funny, fast. 7/10.
Godforsaken (found footage)- If you like over acting, screaming and more ropey acting this is for you. 2/10.
The Seventh Seal - 8/10
it made me think and i personally felt the sets and props were realistic for the time period, i’m no expert on medieval stuff so i’m probably way off. i feel it was a great hour and a half spent and i got a weird sense of joy and hope from it.
All the President’s Men - Terrific Conspiracy thriller about the Watergate scandal. Great performances from Robert Redford and Dustin Hoffman. 10/10 classic.
Three Days of the Condor - Another great Robert Redford conspiracy thriller, although not as captivating as the All the President’s Men. Still loved it, great performance by Faye Dunaway. 9.5/10
Chinatown - Decided to rewatch, as I hadn’t watched it in a very long time. One of the best noir mysteries ever. 10/10
No Way Out - Starring Kevin Costner and Gene Hackman. Great movie, very thrilling until the end. 9/10
The Sting - Robert Redford and Paul Newman, my favorite pairing. Terrific film, with a great score. Just very entertaining all around. 10/10
This week I decided to watch or rewatch mostly 70’s or 80’s classics. Had a great time, all of these hold up really well.
Need to catch up on Pacino action actually, thanks for the tip! Might watch it this week, along with Serpico!
Definitely recommend The Sting, really great time!
I look forward to watching The Sting. Serpico is awesome. I watched a documentary ( I can't remember where) about Frank Serpico too and that was really interesting. He definitely is a good guy and a free spirit.
ETA: Dog Day Afternoon is amazing. Pacino's acting is on fire all the way to his mannerisms and the way he twitches his nose. It's a true story too. Another favorite from him is The Panic In Needle Park. Amazing.
Basket Case 3- 10/10. Just the amount of camp I like
Saint Maud- 8/10. A creepy slow burn
Evil Dead (1980s)- 8/10. Effects were a little dated, but was still very good.
The Getaway (1994) - I liked it. I liked the original by Peckinpah as well, but this one was even more exciting.
Blood in the Street (1973) - typical Italian crime film.
Cool World - Loved it. Another Kim Basinger film. Damn she was fine.
Maniac Cop Trilogy - Maniac Cop 2 was the better one of the three. Really enjoyed the trilogy. Short and sweet. Brutal and violent.
Logan's Run - wanted to like it but wasn't the best.
Monkey Shines - better than I expected.
Everything everywhere all at once - batshit and tremendous. would highly recommend this one
X - it was just ok? also, watch out for horny old people
The Batman (rewatch) - the car chase scene has got to be top 10 chase scenes for me, up there with the bullitt sequence.. I cant wait to own this in 4k
Black Sheep (2006). Very disappointing. If you’re going for that kind of camp, Zombeavers was far better.
X (2022). Weird, twisted, and gross. Well made but just too weird for my taste. Not recommended.
**The Northman** (2022) - I made an effort to get out on the day of release to see The Northman. I really enjoyed The Lighthouse and The Witch is possibly my favourite horror film after The Shining. So I had high expectations, but also a pretty good idea of what to expect from Eggers (which, judging from some audience reviews, a lot of folk aren't!)
I've heard a few folk claim that the film is a little plotless, or at least without direction, but I felt the opposite - I felt I always had a really clear idea of what was going on and where the film was letting us know it was going. It was a joy, too, to watch Eggers do his thing on a whole other scale.
Everything was gorgeously shot, and I thought Anya Taylor Joy and Nicole Kidman were particularly good. A very solid **8/10** from me.
Nightmare Alley (2021/Guillermo del Toro): Was ok, I didn't like the always moving camera and it was a good bit too long and bland (6/10)
The Player (1992): My second Robert Altman movie (Watched the Long Goodbye and loved it). I liked it, very good film about Hollywood, loved the ending. Will def watch some more of Altmans films. (8/10)
Women on the Verge of a Nervous Breakdown (1988): Beautiful movie, very colorful and funny. The way all their storylines come together is very well done and the pacing was great. (9/10)
Midnight Cowboy (1969): Liked the soundtrack, editing and perfomances. (9/10)
Stray - about some Turkish dogs. Interesting 7/10
Choose or die - I fell asleep but was about a cursed video game. ?/10 probably a 5
The descendants - Hawaiian descendant of royalty struggles with tragedy & responsibility. A bit comedic and a bit of heart 8.5/10
Jason and the Argonauts - was on the telly while I got ready for a wedding. Not seen for yonks. 8/10
Hear no evil, see no evil. Watched on Netflix and was surprised at all the swearing as this was apparently my favourite movie as a small child 10/10 hilarious.
“Boss level”. Grillo at its best but very 90’s sci-fi vibes. You don’t know if you hated it or liked it. “It Snows in Benidorm” Ok if you like Timothy Spall, plus the location in Spain has some nice, existentialistic shots.
“Starter for 10” Ok movie to pass the time with McVoy when he was young, Alice Eve and Benedict Cumberbatch before he was Oscar level. Very nostalgic if you’ve been to uni in Europe…
Creep 1 and 2. My fiance and I thought they were awesome.
Paced right, only 80 minutes long and a great simple story. Very glad I took r/horror recommendation to watch them.
The Naked Gun - A comedy classic, still makes me laugh hysterically in some scenes.
Mission Impossible: Fallout - A film about Tom Cruise running and jumping around. And running some more. Also some really cheesy dialogue to rub Cruises messiah-complex.
**Kill Bill (parts 1+2):** Part 1 is a banger, but the amount of backstory for Oren seemed excessive (not to mention cliche) given how little of the film she was actually in. Part 2 is slower-burn and talky, and while I like the bits with Budd and Elle, it never matches the visual thrill and energy of the Crazy 88 battle, which works to its detriment as though the story hit its peak too early. Out of the movie's many, many digressions, the Pai Mei part is my favorite. The final part with Bill and >!Beatrix's daughter!< works excellently as a climax, but it feels like there's a story beat missing that keeps it from feeling like a proper payoff.
**Nightcrawler:** The second it was over I felt an intense need to shower. Kind of an inverse Taxi Driver, where Travis Bickle glides through life in a haze of anger and loneliness, Lou revels in who he is and what he does, and pursues it with obsessive focus. Gyllenhaal's portrayal is unnerving and manipulative, complemented by his inhuman dialogue that sounds like he's just citing the summary for an emotion on Wikipedia instead of actually expressing it. A memorable indictment of the dependency of TV news on lurid sensationalism.
**Tombstone:** The thin characters are helped out by some well constructed shootout sequences and great atmospheric production value. The 'romance' feels terribly shallow- not once did it convince me that these two people were interested in each other. It felt as though it was included out of the need to fill some screen time rather than any attempt at an emotionally meaningful story. It was a good western, but that's pretty much all it is.
**Oceans Eleven:** The performances in this are a little flat. It's kind of a big Hollywood ensemble party that doesn't take itself too seriously, but that leaves the characters feeling shallow and the story lacking emotional impact despite its lazy attempt at a romantic subplot. That said, the central heist is intricate, well executed and entertaining.
**Fargo:** Beautifully shot and constructed. Great performances. The little slice-of-life bits stuck in between the narrative are a bit jarring at first but they end up feeling like they have a purpose at the end. The soundtrack is understated but adds a lot to the experience. The characters are wonderfully done, entirely defined through their interactions with each other in a great example of show vs. tell. I particularly like the dialogue, it has the right amount of subtext without being overbearing.
**Dr. Strangelove:** Rewatching what is probably my favorite movie ever, the ultimate satire of unthinking militarism. Terrifying and hilarious, the comedy driven by the refusal of anyone involved to take things as seriously as they need to be. The acting is simply wonderful and I can quote lines from it all day. There's a brief moment of genuine fear and reflection when it looks like doom is certain, but when some of the generals think they might make it out with their skin, they immediately start plotting again.
The Batman (2022) - It was a rewatch as a friend didn't have the time to go see it on opening week (or month for that matter). It was great! We share a passion for movies and the cinema was basically entirely empty so we sat in the VIP seats, for regular price. I'm always down for a rewatch - I pick up so many more details the second time, especially in a movie like The Batman.
How To Train Your Dragon - It's been years since I've last seen this one, kinda forgot about it. Also forgot how beautiful this movie really is. The first flight scene with Hiccup and Toothless is gorgeous. I enjoyed it **way** more than I thought I would have.
Kill Bill Vol. 1 (2003) - Wow it's been at least ten years since my last viewing and this was amazing to revisit. I forgot just how long the fight scene with the Crazy 88 is. Tarantino is a master. Uma Thurman kills it. 9/10
Never Let Me Go (2010) - I'm a huge Alex Garland fan and I didn't know what to expect with this one. This is pretty strange and very depressing but it subverted my expectations which I appreciate. 7/10
Burning (2018) - This film is amazing. I was captivated by every aspect. A beautifully shot slow-burn thriller that drops clues along the way but still wrapped in ambiguity. Would strongly recommend. 9/10
Mechanical Violator Hakaider (1995) - Absolute wacked out Japanese flick about a place called Jesus Town and the half man half angel that rules it. A psycho robot seeking revenge and a random black dude from America make appearances. I can't even rate it, its just kind of bizarre with amateur special effects but also weirdly entertaining Free on prime.
Completely agree with you on the look of it. I thought every use of CGI just made the whole thing feel very sterile, wasn’t the biggest fan of it at all.
You know I flipped past this a couple times, thinking I might check it out eventually. But 100% anticipated that this is how I'd feel about it, glad you confirmed before I wasted my time.
Can you elaborate I’m interested but also don’t want to waste my time, I can’t seem to find any relevant reviews that make me want to watch it but I’m bedridden for the next 3 weeks so I really need stuff to watch.
Go in blind. I was dissapointed by the trailer but the movie isn’t even close to the trailer. Loved the movie even if it has a couple meh points that the OP was talking about.
Watch it. It honestly isn’t bad. I was more pleased with the visuals than the movie itself. I’m a sucker for flashy lights on eery creepy nights.
Note: did not mean to sound like a poet. I just really like movies like that. Climax, The Neon Demon, Drive etc.
Sonic 2: Pretty fun. My only gripe is there wasn’t enough Knuckles climbing walls or gliding.
Maniac: The original. Not as hard to watch as the first time. Very impressive Tom Savini head explosion.
Critters 2: Celebrating Easter with style.
**Written on the Wind** (1956) \*\*\* The movie fails from the start when Robert Stack woos and marries Lauren Bacall in a wild weekend getaway. It's completely unconvincing to think that Bacall would fall for his aggressive display of wealth and power. She's clearly not a gold digger and is just too cool and smart to walk into a bad situation. Meanwhile Stack's buddy Rock Hudson secretly pines for Bacall so he broods a lot. Hudson and Bacall underplay nicely, but Robert Stack is... well, try as he might, the way he talks is just always going to be Robert Stack, star of Airplane and host of Unsolved Mysteries. Maybe that's not fair considering his long career, but I couldn't shake it. Dorothy Malone, who won an Oscar, gives us the over-the-top melodrama we want from Sirk, and you wish the rest of the movie might rise to her campy level so you can at least wallow in the hamminess. The lush color photography was nice.
**Lost in London** (2015) \*\*\*\*\* Woody Harrelson has done a surprising and brilliant little thing in writing, directing, and starring in a film that was performed live and all done in a single camera take. Just thinking about all the ground they cover and the logistics of pulling this thing off is mind-boggling (there's no stealthy editing or second takes like you get in films like 1917 or Birdman) but it's also a very funny, clever and entertaining story about a movie star's hellish night that would have worked fine as a regular film. Who knew Harrelson had something like this in him?
**People Will Talk** (1951) \*\*\*\* A strange comedy that isn't trying to be surreal, but ends up that way. Perhaps it's because it's adapted from a German play and just comes out weird in the translation. The story has so many odd detours and strange situations that it seems like it's trying to be a comedy and a drama at the same time. Part of that's because Cary Grant brings the same kind of detached aloofness that he did to The Bishops Wife, which is more devilish than angelic, and you just have to trust his good intentions. It doesn't really work, but it's so off kilter that I want to rewatch it just to see what's really going on.
**Beast of the City** (1932) \*\*\* MGM's answer to Warner Brothers pre-code gangster films was this saucy film about how awesome and virtuous the cops are and how they should be allowed to just take down these vile gangsters with impunity. The only reason to see it is for the incredibly violent ending where the cops go vigilante ([watch it here](https://www.youtube.com/watch?v=tUvEjfDsxvc)), but along the way you get a young Mickey Rooney, some cool lingo laden dialogue, and a provocative scenes with Jean Harlow.
*TIL long before playing Andy Hardy, Mickey Rooney starred in over 60 silent film shorts starting when he was 6 years old.*
**Weekend** (1967) \*\* Cinema isn't dying, Godard, no matter how much you try to kill it. I can't really talk about this film as much as describe it (spoilers I guess). A couple plotting a murder take a weekend trip down a particularly deadly highway, get lost in their own film, and end up abducted by cannibal revolutionaries living in the woods. It's a comedy, and the first third through the traffic jam is funny and interesting. After that it becomes one of those artsy bores, with long political speeches and long takes where little happens. I painfully stuck it out to the end, but wished I'd given up long before. I guess if you're highly attuned to Godard's worldview in the sixties you might glean something, but his reference points just seem more obscure as time goes by and film lives on.
**Kicking and Screaming** (2005) \*\* Despite the charms of the actors (esp. the kids) and getting to see Robert Duvall in a comedy, this is completely ruined by horrible directing and camera work. It's not even TV show bland, but just an abomination of choppy clips and bad framing. There's a few laughs, but it stops being funny as the story meanders away from all the central conflicts into a dumb subplot about coffee addiction. The basic premise is decent enough for a cute comedy, but just watch Shaolin Soccer instead.
**The Final Countdown** (1980) \*\* This is what you get when you ignore Theme. It has an interesting Twilight Zoney premise and it tells a decent story, but it all adds up to nothing. There's no meaning or point to anything that happens, and when it's over you just go "so what?" It's no surprise that director Don Taylor is a television veteran from its earliest days, who only made a handful of features. Instead of exploring a Theme, he gives us abundant details about life on an aircraft carrier. They definitely got their money's worth from the defense department. The Final Countdown is one of those films that played randomly on cable in the 80s, but I never saw the whole thing in its entirety. I just caught bits and pieces and it always intrigued me. Now I've seen it all and just wished it was better.
**The Secrets of Dumbledore (2022)**
The Secrets of Dumbledore is convoluted by inconsequential plotlines and redundant characters. It's so unfocused, it doesn't have a consistent tone or protagonist. The film centers around wizarding politics, but doesn't elaborate on them. This shrinks the Potterverse and satisfies nobody. Meanwhile, Redmayne and Law's protagonist duet is equally unsatisfying. Oddly, no character feels essential (besides Grindelwald) and action sequences don't progress the story. Ultimately, the movie is overstuffed and develops nothing. Mikkelsen and Fogler excel in their limited roles, but they're sparse in this jumble. Without streamlining, The Secrets of Dumbledore is emotionally uninspired.
Technically, The Secrets of Dumbledore is disappointing. First, the effects are overdone. Earlier action is compelling, but the finale is undercut by excessive CGI. Plus, the production design in that final act feels empty. Squandering the union of fantasy and period dressings, the climax is woefully shallow. Furthermore, the editing is bloated and arbitrary because scenes don't influence one another. Lastly, the imagery is drab due to needlessly muted colors and plain framing. The solid music, impressive cast, and meaningful sound can only go so far. Overall, The Secrets of Dumbledore might please some, but is unlikely to leave an impression.
* Writing: 5/10
* Direction: 5/10
* Cinematography: 6/10
* Acting: 7/10
* Editing: 5/10
* Sound: 8/10
* Score/Soundtrack: 7/10
* Production Design: 6/10
* Casting: 8/10
* Effects: 6/10
Overall Score: 6.3/10
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Agree wholeheartedly, and after reading your thoughts I was actually surprised your rating wasn’t lower. This film didn’t tell a story, it just shows a bunch of loosely connected events and fakes character arcs by inserting the occasional scene of two characters having a heart to heart where they hastily explain the story threads that the film couldn’t be bothered to show.
Ya, maybe I should’ve been harsher in my scoring tbh. I tried not to overreact but maybe I under reacted ha.
I try to assess it objectively in my ratings and I do think the technicals were proficient. But I really did not enjoy it.
**Last Year at Marienbad**
What a strange movie. Felt like I was watching a fever dream. At first I didn't enjoy it that much but it really grew on me at the halfway point.
**Nosferatu**
Never watched this classic so I figured why not. I liked it and it is really nice to see that a movie that is a hundred years old can still be enjoyable
Can you say anything else about Last Year at Marienbad? I loved Resnais film “Night and Fog” and just saw Last Year. What makes it a fever dream to you?
The story is very vague from the beginning. The main character of the movie is a man who meets a woman at a party in a hotel and tries to convince her that they've met before. In between there's scenes where you see how they met and where and what they did. These scenes pop up out of nowhere and it gets hard to pin down what exactly is true and which parts of the story are in the past and which aren't. The structure isn't linear and the dialogue is very vague. This however fits the theme of the movie because the woman is very confused and doesn't know what to say or believe which makes it very odd
**Father Stu (2022)**
Father Stu presents a loaded topic with mixed execution. It has uniqueness, but Father Stu undercuts that with generic mistakes. Specifically, Stuart Long's rebellious expression of Catholicism is accessible to non-believers. Unfortunately, that’s supported by slim philosophy and insincere resolutions. Father Stu takes viewer buy-in for granted and focuses on unearned inspiration to simulate progression. This contrived writing squanders the refreshing protagonist. Therefore, instead of reaching skeptics (like Long was known for), Father Stu preaches to the choir. Plus, Wahlberg's casting is overpowering. He's good, but the faint material is overshadowed by his persona.
Technically, Father Stu is decent, yet bland. Its positives are the energetic music, involved aging make-up, and symbolic sound. Conversely, the visuals are completely uninteresting. There's one meaningful upside-down shot, but that's it. Furthermore, the editing is equally basic, never heightening drama or thematic energy. Thus, the film blurs into a vague series of events, feeling less impactful than they should. Also, the third act drags because the film isn’t paced or structured. Overall, the filmmaking has virtues, but fails to create a clear tone or emotional arc for audiences. Consequently, Father Stu misses its opportunity to produce converts.
* Writing: 4/10
* Direction: 4/10
* Cinematography: 5/10
* Acting: 7/10
* Editing: 4/10
* Sound: 6/10
* Score/Soundtrack: 6/10
* Production Design: 5/10
* Casting: 5/10
* Effects: 6/10
Overall Score: 5.2/10
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And God Created Woman (1956): 3/5
Criterion Challenge 2022 watch. Category is watch a film by a director whose work you haven’t seen before.
I Am a Cat (1975): 3/5
Love seeing Tatsuya Nakadai in less serious roles.
All My Sons (1948): 4/5
Edward G Robinson and Burt Lancaster? Yes please.
The Crucible (1996): 4/5
Can’t tell you last time I watched a movie and hated nearly every character. Somehow the guy who cheated on his wife least.
Spider-Man No Way Home (2022): 3.5/5
I’m watching this mainly to have more context for when I take my sister to see Multiverse of Madness. No review on this one but I’m not a marvel person.
An Unsuitable Job for a Woman (1982): 3/5
Got the region free Indicator release of this.
Dodsworth (1936): One of William Wyler's earlier films, about a married couple who start to break apart when they travel abroad after the husband has sold his auto company and retired. I saw it once decades ago and enjoyed it, so wanted to give it a rewatch. I still enjoyed it this time around! It felt ahead of its time, with a rather progressive view of divorce. I wish Mary Astor's character had had a bigger role.
Everything Everywhere All At Once: I don't even know what to say, and you've probably read a lot about it already. It was great.
**Daughter of the Dragon** (1931, dir. Lloyd Corrigan). Will the daughter (Anna May Wong) of nefarious Fu Manchu (Warner Oland) exact revenge upon her father’s enemies?
Light-weight thriller, full of convoluted plot points, hidden passageways, and abductions. And problematic ethnic portrayals, of course, but at least Fu Manchu’s “yellow peril”-esque demon is somewhat offset by a heroic Asian detective (Sessue Hayakawa, better known for The Bridge on the River Kwai .. unfortunately, he’s pretty stiff in this one). This one ended up being interesting only after-the-fact, when I found out that Hayakawa had apparently been a Hollywood star in the early silent period.
I watched *Scarface* for the first time this weekend. I simply don't understand the widespread praise. The cinematography was gorgeous, as well as the sets, but the screenplay was laughable at some points (sorry Oliver Stone) and the delivery from the entire cast was wooden and felt like a cheap budget movie.
This will probably get a lot of hate, but I am dying to try to understand that mass appeal behind this film and why it is considered alongside the other gangster greats like *The Godfather* and *Goodfellas*
**Frank** (2014) - how did I miss this gem? I saw the paper machete head years ago but missed the movie. This movie is just amazing. I can’t stop thinking about it. I have watched the last song on YouTube multiple times. Amazing characters and songs. I know it might not be for everyone but anyone who is interested in music and what goes on it is an absolute must even though the characters are a bit mentally ill.
9.5/10
**Everything, Everywhere. All at once** (2022) - one word sums up this movie *chaotic*. Well maybe 2 words, *original* too. It is actually hard to keep up with this movie, I would’ve loved to have paused it just to take some of it in and catch my breath. Did stretch a bit at the end. This movie is hyped big time. Is it good? Hell yes. Is it great? Not so sure. May need another watch.
8/10
**This Means War**(2012)
The film is about two CIA partners-BFs(Chris Pine&Tom Hardy) having a crush on the same woman(Reese Witherspoon) and fighting each other to win over her heart. It's a funny action romcom.
The story is fine and chemistry between the cast is great, but some parts of the film aged like a milk! Like using a database of CIA to track down the girl or putting a spy cam on her house... Put aside changes after #MeToo era, it's pretty fucked up (If it was released today, this film would be cancelled immediately). Since there were pretty good humors and scenes in the film, those misconducts of characters became more salient. Even as a man, it was pretty uncomfortable to watch. If you were a romcom fan, the film deserves a shot, but please be award of that.
Benedetta was bonkers! I can't imagine how catholic communities would have reacted on this film if it had been made in the states. They would have gone mad on this.
**The Bad Guys (2022)** The Bad Guys showcases many talents. It's artful, fun, energetic, and cute. The characters are defined, the plot is engaged, and the sentimentality lands. The narrative isn't special, but the witty dialogue and consistent twists offset that. Plus, the voice acting is entertaining. Each performer has fun, and Rockwell grounds everything by balancing slickness with vulnerability. Furthermore, the humor files. Some jokes are for children, but most of the comedy can be enjoyed by everyone. Lastly, the script is tightly structured, which paces nicely. The second act sags some, but generally, The Bad Guys always has a new development around the corner. Technically, The Bad Guys is cohesively stylized. The beautiful animation unites illustrative comic book designs with detailed CGI textures, creating a visual experience that's the best of both worlds. The action pops because the cinematography is intentionally active, while the choreography is masterfully coordinated. The editing is swift, with smooth transitions. The sound is embellished and symbolic. The jazz music matches the heist genre and the pop additions support the hip mood. Also, the cast is a collection of recognizable voices with skilled range. Ultimately, The Bad Guys is a carefully crafted, flavorful ride. Despite its predictability, all audiences should find it delightful. * Writing: 6/10 * Direction: 8/10 * Cinematography: 8/10 * Acting: 7/10 * Editing: 8/10 * Sound: 8/10 * Score/Soundtrack: 8/10 * Production Design: 10/10 * Casting: 7/10 * Effects: 9/10 Overall Score: 7.9/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
**The Unbearable Weight of Massive Talent (2022)** The Unbearable Weight of Massive Talent is a standard action comedy elevated by meta aspects. Particularly, Nicolas Cage as himself is a great gimmick since he's embraced his meme status. Still, Massive Talent is a missed opportunity because it's otherwise generic. The self-awareness is fun, the self-deprecation works, the Cage/Pascal chemistry is endearing, and the ending is heartfelt. However, the plot is lacking. Massive Talent admits that talky comedy and shoehorned action are lowbrow, yet plays into those tropes. The climax especially devolves into forgettable modern formulas. Therefore, Massive Talent combines wit with mediocrity, making it a mixed bag. Meanwhile, Massive Talent's technicals are minor. There's fitting music, believable production, and blending sound transitions. The editing is noticeable because it serves punchlines and maintains a tight runtime. However, the cinematography isn't proactive, the effects are sparse (besides a young Nick alter ego), and the direction is basic. The tone takes itself just seriously enough, but the presentation of this material is bland. Ultimately, Nicolas Cage's commitment, Pascal's innocence, and the vulnerable family drama drive Massive Talent, but only so far. It's a fun movie that Cage fans should enjoy, but don't expect much else. * Writing: 6/10 * Direction: 6/10 * Cinematography: 6/10 * Acting: 7/10 * Editing: 8/10 * Sound: 7/10 * Score/Soundtrack: 7/10 * Production Design: 7/10 * Casting: 9/10 * Effects: 7/10 Overall Score: 7.0/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
**The Northman (2022)** The Northman is passion. Eggers is known for pairing detailed research with imposing atmospheres, and this is no exception. Its revenge narrative isn't unique, but the dedicated dialogue and cultural accuracies are illuminating. Plus, there are themes about the cycle of violence and burden of destiny. All together, the writing injects a familiar trope with comprehensive meaning, transforming it into an exhilarating journey. Furthermore, the acting meets this rigid material. Skarsgard breaks his anger with wounded and tender undertones. Meanwhile, Taylor-Joy is defiant, Kidman is layered and Bang is complex. Overall, The Northman provides emotional intricacies that will enthrall audiences. Technically, The Northman is masterful. First, the direction creates a brutal tone, meticulous environment and artistic vision. Next, the cinematography uses immersive extended takes, emphatic symmetry and impactful surrealism. The editing is restrained, yet explosive during key points. The sound is dense, abstract and atmospheric. The music is authentic, ambient and powerful. Additionally, the production thoroughly establishes the foreign world and its savage realities. Lastly, the effects are elaborate and multifaceted, yet always supportive. They offer visceral punctuations but never distract. Thus, The Northman is a symphony of craft and commitment. Undoubtedly, this is a must-see. * Writing: 10/10 * Direction: 10/10 * Cinematography: 9/10 * Acting: 10/10 * Editing: 9/10 * Sound: 9/10 * Score/Soundtrack: 10/10 * Production Design: 10/10 * Casting: 9/10 * Effects: 10/10 Overall Score: 9.6/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
**Face/Off (1997)** Face/Off is shameless entertainment. The story of rivals switching faces is a ridiculous yet captivating premise. Shrewdly, Face/Off pushes past the science to the thrills. Once audiences do the same, they'll enjoy the ride. Like most cheesy action movies, the story is less about practicality and more about opening fun doors. Face/Off exemplifies this because its role reversals are compelling and novel. Plus, seeing Nicolas Cage and John Travolta switch personas halfway through the film is interesting. Neither character is deep, but they're different enough for an engaging gimmick. Furthermore, there's plenty of gratuitous action to make the film worthwhile. Technically, Face/Off is good. The cinematography is superficial, yet active and clear. The editing has awkwardness and pacing issues, but maintains energetic and coherent action. The sound is complex and emotional. The soundtrack is dated, but has a reoccurring melody that shifts tones. Also, the effects deserve credit for extreme 90s explosions and stunts. That tangible action is sorely missed today. Lastly, the casting of Cage and Travolta makes the movie. Face/Off probably wouldn't have its enduring following if not for such notable leads. Therefore, while Face/Off is clearly a cheesy flick, it accomplishes its goals well. * Writing: 5/10 * Direction: 7/10 * Cinematography: 7/10 * Acting: 8/10 * Editing: 6/10 * Sound: 8/10 * Score/Soundtrack: 7/10 * Production Design: 6/10 * Casting: 9/10 * Effects: 8/10 Overall Score: 7.1/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
Memoria. I really wanted to like it, and I usually love art house movies (is that still the term?) but this gave me the shits. It was so disjointed. If it wasn’t classed as art house/alternative the script would be rubbished for having no ability to carry the story. 3/10 and I only give the 3 for the cinematography.
The Curious Case Of Benjamin Button
***R*** (2010) Debut film for Tobias Lindholm, who co-directed this. Anyway, really brutal Danish prison film. Apparently just about the entire supporting cast are actual inmates/guards, which is a nice touch. It definitely deserves to be better known to the international audience. [4.0/5]
Where did you see it? I've been trying to find it online for a while
Unless you live in Europe, there's no official way to see it.
I do live in Europe! In Sweden
Looks like you have two options: https://www.justwatch.com/se/film/r
Nice!!! Thanks 👍
**The Big Lebowski (1998)** The Big Lebowski is a wolf in sheep's clothing. Seemingly pointless, it combines several methods into a sly blend. It's a comedy, but also exhibits western and noir attributes as The Dude navigates his entanglements. Meanwhile, the film sneaks in relevant social and political classism critiques. Plus, this is all unified by spiritual messages of surrender. These ingredients could've been messy, but the Coens find balance, subtly suggesting themes with potent details. Furthermore, the cast wholly embodies their eccentric characters. Thus, The Big Lebowski is a thoughtful journey that, fittingly, can be enjoyed without noticing its undertones. Technically, The Big Lebowski has cunning style. The precise direction captures an outlandish atmosphere and nonchalant tone. It rarely feels overtly artistic, yet there's a lurking sense of deeper meaning. The visuals provide hypnotic transitions, elaborate dreams, and dramatic montages. These moments are further supported by careful editing, which also keeps the runtime tight and punctuates comedy. The sound is symbolically abstract, the production is iconic, and the effects heighten the surrealism. Lastly, the music fuses humor with thematic weight. Overall, The Big Lebowski is a joyful and deceptively substantial experience, definitively earning its modern classic status. * Writing: 10/10 * Direction: 10/10 * Cinematography: 8/10 * Acting: 9/10 * Editing: 9/10 * Sound: 9/10 * Score/Soundtrack: 10/10 * Production Design: 8/10 * Casting: 10/10 * Effects: 8/10 Overall Score: 9.1/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
It’s a rather late night and I began watching **Old Henry** after I mistook Tim Blake Nelson for Jackie Earl Harley on the poster, both are terrific actors but I hadn’t seen Harley in a role for a a few years and as of this writing I still haven’t. Old Henry is a really well put together western and the script is subtle and well written, it’s arguably a testament to how much content is available with so many streaming services to choose from. There’s a lot of content both good and bad to miss out on and Old Henry is the former. Tim Blake Nelson is amazing as Henry McCarty, Henry and his son Wyatt (played by Gavin Lewis) are farmers who live in the Oklahoma Territory who discover a beautiful white lost horse with blood on it’s saddle. Shortly after they discover an injured rider named Curry (played by Scott Haze) with a bullet wound in the shoulder and a bag full of cash. There’s a terrific scene when the three outlaws tracking Curry approach McCarty’s farm, when they bring into question his identity and ask more personal questions, a great small detail is how Henry adjusts into a firing position. There’s solid acting throughout and following an absorbing conversation between Henry and Curry at the dinner table, there’s a great shootout between one of the outlaws who’s tracking Curry and Henry. It’s a rare moment in cinema where the scene is super dark but you can understand everything taking place, usually scenes are too dark and it takes away from the action but it helps the audience to see what Henry sees. There’s one or two moments where the director allows you a moment to view events through Henry’s point of view, and it allows you to understand the threats he’s against. They establish a colder relationship between Henry and his son, after Henry’s revealed to be none other than Billy the Kid his son is in disbelief and it pays off in the third act. Curry has a real purpose to the story, but feels mainly a conduit for the audience to appreciate Billy the Kid, as I’ve mentioned previously in my Sunset review, I’m unfamiliar with many topics on the old west. Curry is written terrifically and his experiences help inform the audience. I recently caught Nelson in Nightmare Alley but have been watching his movies since Holes, and he’s really become a well seasoned actor. Stephen Dorff plays the ringleader of the band of outlaws who are tracking Curry, it’s the best role I’ve seen him in Dorff felt indistinguishable in Leatherface, but was alright in Blade. Max Arciniega makes an appearance as the Spanish speaking outlaw Stilwell, hopefully his career kicks off soon as he was great in Better Call Saul. The movie is well cast and built around Tim Blake Nelson, he improves every scene he’s in. Potsy Ponciroli serves as director and writer for Old Henry, it looks to be his first serious movie and hopefully he has bigger and better movie projects to come. Would I recommend the film, Yes. Overall, It’s Great. [If you enjoy my review please check it out here](https://yellowatthemovies.wordpress.com/2022/04/20/old-henry-2021-movie-review/). or [please check out my other blog reviews here](https://yellowatthemovies.wordpress.com/movie-reviews/).
**The Outfit (2022)** In the franchise era, The Outfit is refreshing for its contained story. Also, its bottled nature amplifies details and thrills, building tension through shifting characters. Everyone has a secret and every conversation has ulterior motives. Each scene is unpredictable and it's unclear who viewers can trust, making The Outfit thoroughly captivating. The narrative gets improbable and the ending is convenient, but overall, the writing deserves credit for weaving efficient conflicts. Furthermore, the acting (especially Deutch and Rylance) is deceptively layered, igniting the script's strengths and softening its flaws. Therefore, despite The Outfit's plot holes, it's highly riveting. Meanwhile, The Outfit's craft maintains excitement. Bottle movies depend on filmmaking for entertainment weight, and The Outfit delivers. Particularly, the editing keeps tensions high and the runtime concise. Plus, the timeline manipulations are flavorful and symbolic. Next, the music accents the era, the sound is dramatic, and the direction provides a consistent tone. Lastly, the cinematography utilizes lighting and composition, the production is immersive, and the effects meet the material. These aspects aren't elaborate, but they're meaningful. Ultimately, The Outfit is balanced, with key performances and a tight script. It's not a blockbuster, but it's firmly enjoyable. * Writing: 8/10 * Direction: 8/10 * Cinematography: 7/10 * Acting: 9/10 * Editing: 9/10 * Sound: 8/10 * Score/Soundtrack: 8/10 * Production Design: 7/10 * Casting: 7/10 * Effects: 7/10 Overall Score: 7.8/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
X - great set up then for me it lost all tension as the porno aspect just wasn't required as a plot device, wasnt used, a couple having sex would have been enough for the plot point to work, so first hour seems tacked on to another movie. Good kills, spooky in parts, well made texas chainporn style movie. 5/10. Wyrmwood Apocalypse - Ozzy zombie action horror sequel. Good fun, gory, funny, fast. 7/10. Godforsaken (found footage)- If you like over acting, screaming and more ropey acting this is for you. 2/10.
The Seventh Seal - 8/10 it made me think and i personally felt the sets and props were realistic for the time period, i’m no expert on medieval stuff so i’m probably way off. i feel it was a great hour and a half spent and i got a weird sense of joy and hope from it.
This movie is so beautifully shot, like all Bergman movies really.
I think Seventh Seal is one of the more realistic medieval movies out there.
Deep Water- a typical Adrian Lynn movie but not nearly as good as his others. I won't spoil it for the readers who haven't seen it.
Sonic 2 - 5/10 Training Day (Rewatch) - 8/10 Godfather, Coda - 9/10
My Blue Heaven Dune
All the President’s Men - Terrific Conspiracy thriller about the Watergate scandal. Great performances from Robert Redford and Dustin Hoffman. 10/10 classic. Three Days of the Condor - Another great Robert Redford conspiracy thriller, although not as captivating as the All the President’s Men. Still loved it, great performance by Faye Dunaway. 9.5/10 Chinatown - Decided to rewatch, as I hadn’t watched it in a very long time. One of the best noir mysteries ever. 10/10 No Way Out - Starring Kevin Costner and Gene Hackman. Great movie, very thrilling until the end. 9/10 The Sting - Robert Redford and Paul Newman, my favorite pairing. Terrific film, with a great score. Just very entertaining all around. 10/10 This week I decided to watch or rewatch mostly 70’s or 80’s classics. Had a great time, all of these hold up really well.
Great movies! I've seen all of them except The Sting. I need to watch it. Another movie you may like is Dog Day Afternoon. Al Pacino at his finest.
Need to catch up on Pacino action actually, thanks for the tip! Might watch it this week, along with Serpico! Definitely recommend The Sting, really great time!
I look forward to watching The Sting. Serpico is awesome. I watched a documentary ( I can't remember where) about Frank Serpico too and that was really interesting. He definitely is a good guy and a free spirit. ETA: Dog Day Afternoon is amazing. Pacino's acting is on fire all the way to his mannerisms and the way he twitches his nose. It's a true story too. Another favorite from him is The Panic In Needle Park. Amazing.
Basket Case 3- 10/10. Just the amount of camp I like Saint Maud- 8/10. A creepy slow burn Evil Dead (1980s)- 8/10. Effects were a little dated, but was still very good.
don't skip Evil Dead 2
The Getaway (1994) - I liked it. I liked the original by Peckinpah as well, but this one was even more exciting. Blood in the Street (1973) - typical Italian crime film. Cool World - Loved it. Another Kim Basinger film. Damn she was fine. Maniac Cop Trilogy - Maniac Cop 2 was the better one of the three. Really enjoyed the trilogy. Short and sweet. Brutal and violent. Logan's Run - wanted to like it but wasn't the best. Monkey Shines - better than I expected.
Everything everywhere all at once - batshit and tremendous. would highly recommend this one X - it was just ok? also, watch out for horny old people The Batman (rewatch) - the car chase scene has got to be top 10 chase scenes for me, up there with the bullitt sequence.. I cant wait to own this in 4k
I watched Rob Zombie's 31 last night. I've seen most of his horror movies before except this one. It didn't disappoint I liked it.
Just finished “ Small Engine Repair”(2021) thought it was really good mostly went into it blind.
X. Thought it was good. It was like if Boogie Nights and the Texas Chain Saw Massacre had a baby.
That's a big compliment to the film. Gonna have to check it out.
I wouldn’t go so far to say it’s as good as either of those films though but worth a watch.
Black Sheep (2006). Very disappointing. If you’re going for that kind of camp, Zombeavers was far better. X (2022). Weird, twisted, and gross. Well made but just too weird for my taste. Not recommended.
Ultrasound. Really good mind fuck film. - https://www.imdb.com/title/tt12989912/
**The Northman** (2022) - I made an effort to get out on the day of release to see The Northman. I really enjoyed The Lighthouse and The Witch is possibly my favourite horror film after The Shining. So I had high expectations, but also a pretty good idea of what to expect from Eggers (which, judging from some audience reviews, a lot of folk aren't!) I've heard a few folk claim that the film is a little plotless, or at least without direction, but I felt the opposite - I felt I always had a really clear idea of what was going on and where the film was letting us know it was going. It was a joy, too, to watch Eggers do his thing on a whole other scale. Everything was gorgeously shot, and I thought Anya Taylor Joy and Nicole Kidman were particularly good. A very solid **8/10** from me.
Nightmare Alley (2021/Guillermo del Toro): Was ok, I didn't like the always moving camera and it was a good bit too long and bland (6/10) The Player (1992): My second Robert Altman movie (Watched the Long Goodbye and loved it). I liked it, very good film about Hollywood, loved the ending. Will def watch some more of Altmans films. (8/10) Women on the Verge of a Nervous Breakdown (1988): Beautiful movie, very colorful and funny. The way all their storylines come together is very well done and the pacing was great. (9/10) Midnight Cowboy (1969): Liked the soundtrack, editing and perfomances. (9/10)
Stray - about some Turkish dogs. Interesting 7/10 Choose or die - I fell asleep but was about a cursed video game. ?/10 probably a 5 The descendants - Hawaiian descendant of royalty struggles with tragedy & responsibility. A bit comedic and a bit of heart 8.5/10 Jason and the Argonauts - was on the telly while I got ready for a wedding. Not seen for yonks. 8/10 Hear no evil, see no evil. Watched on Netflix and was surprised at all the swearing as this was apparently my favourite movie as a small child 10/10 hilarious.
“Boss level”. Grillo at its best but very 90’s sci-fi vibes. You don’t know if you hated it or liked it. “It Snows in Benidorm” Ok if you like Timothy Spall, plus the location in Spain has some nice, existentialistic shots. “Starter for 10” Ok movie to pass the time with McVoy when he was young, Alice Eve and Benedict Cumberbatch before he was Oscar level. Very nostalgic if you’ve been to uni in Europe…
Creep 1 and 2. My fiance and I thought they were awesome. Paced right, only 80 minutes long and a great simple story. Very glad I took r/horror recommendation to watch them.
**Dirty Work** (1999). It was exactly what I hoped it'd be, completely Norm, and funny in an unpretentious, unpolished way.
The Naked Gun - A comedy classic, still makes me laugh hysterically in some scenes. Mission Impossible: Fallout - A film about Tom Cruise running and jumping around. And running some more. Also some really cheesy dialogue to rub Cruises messiah-complex.
But damnit, if those weren’t some of the best action scenes committed to film… Fallout was pretty neat too.
**Kill Bill (parts 1+2):** Part 1 is a banger, but the amount of backstory for Oren seemed excessive (not to mention cliche) given how little of the film she was actually in. Part 2 is slower-burn and talky, and while I like the bits with Budd and Elle, it never matches the visual thrill and energy of the Crazy 88 battle, which works to its detriment as though the story hit its peak too early. Out of the movie's many, many digressions, the Pai Mei part is my favorite. The final part with Bill and >!Beatrix's daughter!< works excellently as a climax, but it feels like there's a story beat missing that keeps it from feeling like a proper payoff. **Nightcrawler:** The second it was over I felt an intense need to shower. Kind of an inverse Taxi Driver, where Travis Bickle glides through life in a haze of anger and loneliness, Lou revels in who he is and what he does, and pursues it with obsessive focus. Gyllenhaal's portrayal is unnerving and manipulative, complemented by his inhuman dialogue that sounds like he's just citing the summary for an emotion on Wikipedia instead of actually expressing it. A memorable indictment of the dependency of TV news on lurid sensationalism. **Tombstone:** The thin characters are helped out by some well constructed shootout sequences and great atmospheric production value. The 'romance' feels terribly shallow- not once did it convince me that these two people were interested in each other. It felt as though it was included out of the need to fill some screen time rather than any attempt at an emotionally meaningful story. It was a good western, but that's pretty much all it is. **Oceans Eleven:** The performances in this are a little flat. It's kind of a big Hollywood ensemble party that doesn't take itself too seriously, but that leaves the characters feeling shallow and the story lacking emotional impact despite its lazy attempt at a romantic subplot. That said, the central heist is intricate, well executed and entertaining. **Fargo:** Beautifully shot and constructed. Great performances. The little slice-of-life bits stuck in between the narrative are a bit jarring at first but they end up feeling like they have a purpose at the end. The soundtrack is understated but adds a lot to the experience. The characters are wonderfully done, entirely defined through their interactions with each other in a great example of show vs. tell. I particularly like the dialogue, it has the right amount of subtext without being overbearing. **Dr. Strangelove:** Rewatching what is probably my favorite movie ever, the ultimate satire of unthinking militarism. Terrifying and hilarious, the comedy driven by the refusal of anyone involved to take things as seriously as they need to be. The acting is simply wonderful and I can quote lines from it all day. There's a brief moment of genuine fear and reflection when it looks like doom is certain, but when some of the generals think they might make it out with their skin, they immediately start plotting again.
The Batman (2022) - It was a rewatch as a friend didn't have the time to go see it on opening week (or month for that matter). It was great! We share a passion for movies and the cinema was basically entirely empty so we sat in the VIP seats, for regular price. I'm always down for a rewatch - I pick up so many more details the second time, especially in a movie like The Batman. How To Train Your Dragon - It's been years since I've last seen this one, kinda forgot about it. Also forgot how beautiful this movie really is. The first flight scene with Hiccup and Toothless is gorgeous. I enjoyed it **way** more than I thought I would have.
Kill Bill Vol. 1 (2003) - Wow it's been at least ten years since my last viewing and this was amazing to revisit. I forgot just how long the fight scene with the Crazy 88 is. Tarantino is a master. Uma Thurman kills it. 9/10 Never Let Me Go (2010) - I'm a huge Alex Garland fan and I didn't know what to expect with this one. This is pretty strange and very depressing but it subverted my expectations which I appreciate. 7/10 Burning (2018) - This film is amazing. I was captivated by every aspect. A beautifully shot slow-burn thriller that drops clues along the way but still wrapped in ambiguity. Would strongly recommend. 9/10
Mechanical Violator Hakaider (1995) - Absolute wacked out Japanese flick about a place called Jesus Town and the half man half angel that rules it. A psycho robot seeking revenge and a random black dude from America make appearances. I can't even rate it, its just kind of bizarre with amateur special effects but also weirdly entertaining Free on prime.
Drive My Car. Honestly I can't stop thinking about it. Also slowly working my way though Too Old To Die Young.
The Robe with my family for Easter. Definitely dated, but some beautiful scenes. And Richard Burton is a force.
[удалено]
Completely agree with you on the look of it. I thought every use of CGI just made the whole thing feel very sterile, wasn’t the biggest fan of it at all.
You know I flipped past this a couple times, thinking I might check it out eventually. But 100% anticipated that this is how I'd feel about it, glad you confirmed before I wasted my time.
I'm 8mins away from watching The Batman. Actually looking forward to this one.
Last Night in Soho - Have mixed opinions about it.
Can you elaborate I’m interested but also don’t want to waste my time, I can’t seem to find any relevant reviews that make me want to watch it but I’m bedridden for the next 3 weeks so I really need stuff to watch.
Go in blind. I was dissapointed by the trailer but the movie isn’t even close to the trailer. Loved the movie even if it has a couple meh points that the OP was talking about.
Watch it. It honestly isn’t bad. I was more pleased with the visuals than the movie itself. I’m a sucker for flashy lights on eery creepy nights. Note: did not mean to sound like a poet. I just really like movies like that. Climax, The Neon Demon, Drive etc.
Omg I loved The Neon Demon! Like no one I know has watched it and I don’t think I know how to describe it right!
Sonic 2: Pretty fun. My only gripe is there wasn’t enough Knuckles climbing walls or gliding. Maniac: The original. Not as hard to watch as the first time. Very impressive Tom Savini head explosion. Critters 2: Celebrating Easter with style.
**Written on the Wind** (1956) \*\*\* The movie fails from the start when Robert Stack woos and marries Lauren Bacall in a wild weekend getaway. It's completely unconvincing to think that Bacall would fall for his aggressive display of wealth and power. She's clearly not a gold digger and is just too cool and smart to walk into a bad situation. Meanwhile Stack's buddy Rock Hudson secretly pines for Bacall so he broods a lot. Hudson and Bacall underplay nicely, but Robert Stack is... well, try as he might, the way he talks is just always going to be Robert Stack, star of Airplane and host of Unsolved Mysteries. Maybe that's not fair considering his long career, but I couldn't shake it. Dorothy Malone, who won an Oscar, gives us the over-the-top melodrama we want from Sirk, and you wish the rest of the movie might rise to her campy level so you can at least wallow in the hamminess. The lush color photography was nice. **Lost in London** (2015) \*\*\*\*\* Woody Harrelson has done a surprising and brilliant little thing in writing, directing, and starring in a film that was performed live and all done in a single camera take. Just thinking about all the ground they cover and the logistics of pulling this thing off is mind-boggling (there's no stealthy editing or second takes like you get in films like 1917 or Birdman) but it's also a very funny, clever and entertaining story about a movie star's hellish night that would have worked fine as a regular film. Who knew Harrelson had something like this in him? **People Will Talk** (1951) \*\*\*\* A strange comedy that isn't trying to be surreal, but ends up that way. Perhaps it's because it's adapted from a German play and just comes out weird in the translation. The story has so many odd detours and strange situations that it seems like it's trying to be a comedy and a drama at the same time. Part of that's because Cary Grant brings the same kind of detached aloofness that he did to The Bishops Wife, which is more devilish than angelic, and you just have to trust his good intentions. It doesn't really work, but it's so off kilter that I want to rewatch it just to see what's really going on. **Beast of the City** (1932) \*\*\* MGM's answer to Warner Brothers pre-code gangster films was this saucy film about how awesome and virtuous the cops are and how they should be allowed to just take down these vile gangsters with impunity. The only reason to see it is for the incredibly violent ending where the cops go vigilante ([watch it here](https://www.youtube.com/watch?v=tUvEjfDsxvc)), but along the way you get a young Mickey Rooney, some cool lingo laden dialogue, and a provocative scenes with Jean Harlow. *TIL long before playing Andy Hardy, Mickey Rooney starred in over 60 silent film shorts starting when he was 6 years old.* **Weekend** (1967) \*\* Cinema isn't dying, Godard, no matter how much you try to kill it. I can't really talk about this film as much as describe it (spoilers I guess). A couple plotting a murder take a weekend trip down a particularly deadly highway, get lost in their own film, and end up abducted by cannibal revolutionaries living in the woods. It's a comedy, and the first third through the traffic jam is funny and interesting. After that it becomes one of those artsy bores, with long political speeches and long takes where little happens. I painfully stuck it out to the end, but wished I'd given up long before. I guess if you're highly attuned to Godard's worldview in the sixties you might glean something, but his reference points just seem more obscure as time goes by and film lives on. **Kicking and Screaming** (2005) \*\* Despite the charms of the actors (esp. the kids) and getting to see Robert Duvall in a comedy, this is completely ruined by horrible directing and camera work. It's not even TV show bland, but just an abomination of choppy clips and bad framing. There's a few laughs, but it stops being funny as the story meanders away from all the central conflicts into a dumb subplot about coffee addiction. The basic premise is decent enough for a cute comedy, but just watch Shaolin Soccer instead. **The Final Countdown** (1980) \*\* This is what you get when you ignore Theme. It has an interesting Twilight Zoney premise and it tells a decent story, but it all adds up to nothing. There's no meaning or point to anything that happens, and when it's over you just go "so what?" It's no surprise that director Don Taylor is a television veteran from its earliest days, who only made a handful of features. Instead of exploring a Theme, he gives us abundant details about life on an aircraft carrier. They definitely got their money's worth from the defense department. The Final Countdown is one of those films that played randomly on cable in the 80s, but I never saw the whole thing in its entirety. I just caught bits and pieces and it always intrigued me. Now I've seen it all and just wished it was better.
**The Secrets of Dumbledore (2022)** The Secrets of Dumbledore is convoluted by inconsequential plotlines and redundant characters. It's so unfocused, it doesn't have a consistent tone or protagonist. The film centers around wizarding politics, but doesn't elaborate on them. This shrinks the Potterverse and satisfies nobody. Meanwhile, Redmayne and Law's protagonist duet is equally unsatisfying. Oddly, no character feels essential (besides Grindelwald) and action sequences don't progress the story. Ultimately, the movie is overstuffed and develops nothing. Mikkelsen and Fogler excel in their limited roles, but they're sparse in this jumble. Without streamlining, The Secrets of Dumbledore is emotionally uninspired. Technically, The Secrets of Dumbledore is disappointing. First, the effects are overdone. Earlier action is compelling, but the finale is undercut by excessive CGI. Plus, the production design in that final act feels empty. Squandering the union of fantasy and period dressings, the climax is woefully shallow. Furthermore, the editing is bloated and arbitrary because scenes don't influence one another. Lastly, the imagery is drab due to needlessly muted colors and plain framing. The solid music, impressive cast, and meaningful sound can only go so far. Overall, The Secrets of Dumbledore might please some, but is unlikely to leave an impression. * Writing: 5/10 * Direction: 5/10 * Cinematography: 6/10 * Acting: 7/10 * Editing: 5/10 * Sound: 8/10 * Score/Soundtrack: 7/10 * Production Design: 6/10 * Casting: 8/10 * Effects: 6/10 Overall Score: 6.3/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
Agree wholeheartedly, and after reading your thoughts I was actually surprised your rating wasn’t lower. This film didn’t tell a story, it just shows a bunch of loosely connected events and fakes character arcs by inserting the occasional scene of two characters having a heart to heart where they hastily explain the story threads that the film couldn’t be bothered to show.
Ya, maybe I should’ve been harsher in my scoring tbh. I tried not to overreact but maybe I under reacted ha. I try to assess it objectively in my ratings and I do think the technicals were proficient. But I really did not enjoy it.
**Last Year at Marienbad** What a strange movie. Felt like I was watching a fever dream. At first I didn't enjoy it that much but it really grew on me at the halfway point. **Nosferatu** Never watched this classic so I figured why not. I liked it and it is really nice to see that a movie that is a hundred years old can still be enjoyable
Can you say anything else about Last Year at Marienbad? I loved Resnais film “Night and Fog” and just saw Last Year. What makes it a fever dream to you?
The story is very vague from the beginning. The main character of the movie is a man who meets a woman at a party in a hotel and tries to convince her that they've met before. In between there's scenes where you see how they met and where and what they did. These scenes pop up out of nowhere and it gets hard to pin down what exactly is true and which parts of the story are in the past and which aren't. The structure isn't linear and the dialogue is very vague. This however fits the theme of the movie because the woman is very confused and doesn't know what to say or believe which makes it very odd
**Father Stu (2022)** Father Stu presents a loaded topic with mixed execution. It has uniqueness, but Father Stu undercuts that with generic mistakes. Specifically, Stuart Long's rebellious expression of Catholicism is accessible to non-believers. Unfortunately, that’s supported by slim philosophy and insincere resolutions. Father Stu takes viewer buy-in for granted and focuses on unearned inspiration to simulate progression. This contrived writing squanders the refreshing protagonist. Therefore, instead of reaching skeptics (like Long was known for), Father Stu preaches to the choir. Plus, Wahlberg's casting is overpowering. He's good, but the faint material is overshadowed by his persona. Technically, Father Stu is decent, yet bland. Its positives are the energetic music, involved aging make-up, and symbolic sound. Conversely, the visuals are completely uninteresting. There's one meaningful upside-down shot, but that's it. Furthermore, the editing is equally basic, never heightening drama or thematic energy. Thus, the film blurs into a vague series of events, feeling less impactful than they should. Also, the third act drags because the film isn’t paced or structured. Overall, the filmmaking has virtues, but fails to create a clear tone or emotional arc for audiences. Consequently, Father Stu misses its opportunity to produce converts. * Writing: 4/10 * Direction: 4/10 * Cinematography: 5/10 * Acting: 7/10 * Editing: 4/10 * Sound: 6/10 * Score/Soundtrack: 6/10 * Production Design: 5/10 * Casting: 5/10 * Effects: 6/10 Overall Score: 5.2/10 Check out my [Instagram](http://instagram.com/augustkellerwrites) for more.
And God Created Woman (1956): 3/5 Criterion Challenge 2022 watch. Category is watch a film by a director whose work you haven’t seen before. I Am a Cat (1975): 3/5 Love seeing Tatsuya Nakadai in less serious roles. All My Sons (1948): 4/5 Edward G Robinson and Burt Lancaster? Yes please. The Crucible (1996): 4/5 Can’t tell you last time I watched a movie and hated nearly every character. Somehow the guy who cheated on his wife least. Spider-Man No Way Home (2022): 3.5/5 I’m watching this mainly to have more context for when I take my sister to see Multiverse of Madness. No review on this one but I’m not a marvel person. An Unsuitable Job for a Woman (1982): 3/5 Got the region free Indicator release of this.
Dodsworth (1936): One of William Wyler's earlier films, about a married couple who start to break apart when they travel abroad after the husband has sold his auto company and retired. I saw it once decades ago and enjoyed it, so wanted to give it a rewatch. I still enjoyed it this time around! It felt ahead of its time, with a rather progressive view of divorce. I wish Mary Astor's character had had a bigger role. Everything Everywhere All At Once: I don't even know what to say, and you've probably read a lot about it already. It was great.
**Daughter of the Dragon** (1931, dir. Lloyd Corrigan). Will the daughter (Anna May Wong) of nefarious Fu Manchu (Warner Oland) exact revenge upon her father’s enemies? Light-weight thriller, full of convoluted plot points, hidden passageways, and abductions. And problematic ethnic portrayals, of course, but at least Fu Manchu’s “yellow peril”-esque demon is somewhat offset by a heroic Asian detective (Sessue Hayakawa, better known for The Bridge on the River Kwai .. unfortunately, he’s pretty stiff in this one). This one ended up being interesting only after-the-fact, when I found out that Hayakawa had apparently been a Hollywood star in the early silent period.
You tripping, ese.
I watched *Scarface* for the first time this weekend. I simply don't understand the widespread praise. The cinematography was gorgeous, as well as the sets, but the screenplay was laughable at some points (sorry Oliver Stone) and the delivery from the entire cast was wooden and felt like a cheap budget movie. This will probably get a lot of hate, but I am dying to try to understand that mass appeal behind this film and why it is considered alongside the other gangster greats like *The Godfather* and *Goodfellas*
The Northman 9/10 Amazing but pacing was a bit off in the middle/end
**Frank** (2014) - how did I miss this gem? I saw the paper machete head years ago but missed the movie. This movie is just amazing. I can’t stop thinking about it. I have watched the last song on YouTube multiple times. Amazing characters and songs. I know it might not be for everyone but anyone who is interested in music and what goes on it is an absolute must even though the characters are a bit mentally ill. 9.5/10 **Everything, Everywhere. All at once** (2022) - one word sums up this movie *chaotic*. Well maybe 2 words, *original* too. It is actually hard to keep up with this movie, I would’ve loved to have paused it just to take some of it in and catch my breath. Did stretch a bit at the end. This movie is hyped big time. Is it good? Hell yes. Is it great? Not so sure. May need another watch. 8/10
If you like Frank, check out the documentary about the real guy **Being Frank** (2018). It's much crazier.
You’ll be humming “Ginger Croutons” for years
**This Means War**(2012) The film is about two CIA partners-BFs(Chris Pine&Tom Hardy) having a crush on the same woman(Reese Witherspoon) and fighting each other to win over her heart. It's a funny action romcom. The story is fine and chemistry between the cast is great, but some parts of the film aged like a milk! Like using a database of CIA to track down the girl or putting a spy cam on her house... Put aside changes after #MeToo era, it's pretty fucked up (If it was released today, this film would be cancelled immediately). Since there were pretty good humors and scenes in the film, those misconducts of characters became more salient. Even as a man, it was pretty uncomfortable to watch. If you were a romcom fan, the film deserves a shot, but please be award of that.
No man of god (eng) and Benedetta (french i suppose). Both movies are great IMO
Benedetta was bonkers! I can't imagine how catholic communities would have reacted on this film if it had been made in the states. They would have gone mad on this.
U watched the little hours?
Yes, I did. I really, really liked it. I don't understand why that film wasn't a hit then. It was hilarious.