Edward Norton dominates this film.
A fantastic cyberpunk action/thriller with a decent mystery. Ralph Fiennes and Angela Bassett (particularly Angela Bassett) are amazing in it. Even Juliette Lewis, despite not being the best actress in the world, is perfect for her role.
Also, the best New Year's movie ever, and a fine chaser to Christmas's Die Hard marathon. Make a new tradition today!
Awesome movie. I'm glad i forgot the ending since last time I saw it.
One of my favorites. Cast was awesome. General Hummel played by Ed Harris was excellent. Sean Connery was badass.
One of my favourites movie from Kathryn Bigelow with Point Break and K19, just before she decided to work for the army with The Hurt Locker and Zero Dark Thirty. So disappointing ...
The first half of the movie is great. But the second half.... I can't believe Quentin Tarantino really made the screenplay of this pile of crap.
This is and always will be my favorite movie.
that’s so different than i thought it would be, really loved it
I like the movie but it actually gets silly rather than better when it becomes a horror movie. I mean the band of vampires saying "F you guys, we're outta here" and suddenly just blowing up.
The concept of this movie is incredible, so incredible that you imagine it’s derived from a comic like every other superhero or anti-hero out there, and it’s not. This all came out from that magical mind of Sam Raimi, and you can feel Raimi’s presence. If you’ve ever seen his Spider-Man movies or the Tim Burton Batman films, you’ve got a good sense of what you’re watching. Danny Elfman scores this movie in a similar tone to Batman, which was a good choice, given how absolutely dark this movie is – and a lot of the physical elements and things that happen are borrowed years later when Raimi does Spider-Man, including swinging on a wire through a city and through steal beams, but the rest is super original, and such a great idea.
It’s such a great concept and premise that I’m actually shocked that there hasn’t been any remakes yet. There is a trilogy of the film, but it stars different people in the movies. When it comes to Liam’s role, that makes sense, but anyone else but Neeson as even just the voice isn’t worth it. He does a brilliant job as Peyton. That being said, the film does suffer when it comes to visuals, it’s 1990, and the graphics just don’t work anymore. You understand what they are getting at, but there’s a lot of badly designed things happening in the background – even with just a backdrop…they could use the benefits of modern technology. Also, the writing is sometimes cheesy, but that’s also Sam Raimi, so what do I know?
Darkman was one of the best superhero movies of its time, had a smart concept, a really great make-up team, and great sense of darkness when it comes to tone and feel – which other than Batman was completely unheard of for heroes back then. It could use some help with visuals and maybe writing, but overall, this is a fun movie that shouldn’t be missed. Check it out!
The film has interesting set of characters. Our hero Lenny (Ralph Fiennes) is not the typical action hero with martial prowess, instead he got his loyal, reliable friend Mace (Angela Bassett) who always come at desperate measure. It puts Lenny closer to us the audience, with us hoping Mace would come when Lenny slowly unveils the mystery he is facing.
However, with a considerable one hour-long build up, the ending to Strange Days seem to be a bit rushed and turned out the answer to the mystery pretty much simple--too simple, even. The characters involved in the mystery also don't seem to have a strong motive to be involved with the round of events to begin with. It makes the tense kinda wear off really fast and left an unsatisfying feel as the credits roll on.
One of the movies that kickstarted my passion for film and my love for Tarantino, Rodriguez & Clooney
This movie just screams 90s. And it rocks
The first hour is the most boring thing ever but then Edward Norton happens and it's just awesome.
Roy: "We were dancing Marty, we did it man we fucking did it. We're great team you and me!"
So I think the title is a bit misleading, makes you think it'll have more of an unsettling atmosphere.
Also I have an issue with the ending, not that it's bad, but it does perpetuate the stereotype that mental health issues are merely fake excuses that let criminals get away scott free, and even trained experts can be fooled.
This movie has everything, good actors, good direction, a good soundtrack... I've seen it so many times and still have fun watching it! I have never said this but... thank you Mr. Bay! :P
I effin love this movie, period. Lol.
A comic book film that while cheesy and sometimes corny gives a worthwhile and fun experience. Its a film that shows the beauty of practical effects, one liners and good music. Its a film that has been diminished by critics as a poorly made and not interesting enough film. But critics are looking at this film the wrong way. The easiest way to enjoy this film is to just appreciate what it is; A classic film for kids and adults who love TMNT.
this is actually a great movie in terms of critiquing the male gaze, rape culture and male entitlement. the message is stronger than the film itself but it still was an important subversion at a time when movies, many starring Alicia Silverstone herself, were full of fetishistic depictions of young women.
This was one of the first films I watched in the cinema. Loved it then and I still enjoy it now.
It's a really solid thriller where you can guess the nding but the journey is just as enjoyable.
Clint is excellent at being a film star. The supporting cast are solid. The story is good. The script is just a little functional though.
An 80s film made in the 90s and I cannot complain at that.
Well worth a watch if you've never seen it.
8/10
[8.4/10] Clueless is a great film in its own right. It is effervescent, funny, and light, while having enough punch and insight to stick with you as an (admittedly candy-colored) story of growth and personal epiphany, and not a mere trifle. But it’s also a great adaptation. It captures the spirit of Jane Austen’s Emma while completely reimagining the style and setting, but still integrating key details from the source material in clever, potent ways. That’s the standard all adaptations should aspire to, and one that even the most faithful translation efforts of fare as varied as classic literature and comic books, tend to fumble.
Clueless reimagines Emma Woodhouse of Highbury as Cher Horowitz of Beverly Hills, but keeps the well-intentioned, but ultimately miscalculated efforts of Cher’s Regency equivalent delightfully intact. Like fellow genre-mate 10 Things I Hate About You the film adapts the classic comedy of manners tropes to the hustle and hierarchy of high school, breathing new life into it for a later generation. The film expertly conveys Cher’s mastery of her secondary school ecosystem, her search for love and self-discovery, and the clash between her spoiled naivete and her genuinely kind heart. It nicely covers her efforts to help (while remaking) the transfer student who becomes her new friend, Tai; to joust and disprove the bon mots of her naysaying step brother Josh, and to navigate the innumerable obstacles of high school, both real and imagined, with her best friend Dion.
The film has a knowing quality that makes it work from start to finish. It manages to walk the line between consistently poking fun at Cher and sympathizing with her, without ever harboring anyi contempt for her. It features one of the best uses of voiceover as a regular device in a movie. Often, that type of narration can be a crutch, but Clueless doesn't just use it to orient the audience to Cher’s little world and grease the wheels of plot progression; it uses her descriptions and observations to subtly illustrate the distance between things as they are and things as Cher perceives them. That helps her grand epiphany about Josh and about her desire to make good on her do-gooding land when the little world that she’s constructed unexpectedly shatters from the seemingly minor bumps of a failed driving test and an ill-timed barb from a one time protege.
The film doesn't shy away from ribbing its protagonist for her shallower pursuits or her presumed mastery of all things, but it also revels in them. The fact that Cher’s grand self-realization about the object of her affections and the better aim for her altruistic impulses is punctuated by an “ooh, I wonder if they have that in my size” captures that brilliantly. It’s funny, but not belittling, just an acknowledgment that Cher is who she is -- a fashion-forward, high school matchmaking, shopaholic -- but that doesn't make her flighty or airheaded. There’s some amusing and even trenchant gags about her perception of what’s normal or her privileged existence, but Clueless is always on Cher’s side, and that helps the audience to be too.
What also helps is the way that Cher is always trying to make things better, even if she can be a little self-serving and a lot naive about it. The show deftly communicates, in Cher’s dialogue and in her actions, how she pushes back against Josh’s nudges and criticisms that she should take an interest in the wider world beyond Beverly Hills and aim toward a greater good, she also subtly takes them to heart. The way she repeats the watchword of his critique when deciding to take on Tai as a personal project is a great signifier of her Tevye-esque propensity to challenge the bringer of some new idea only to turn around, adopt it, and even sell it in her own terms.
The film also not only adapts the broad strokes of Emma’s epiphany and redirection well, but also manages to incorporate the smaller details of the original novel well. Cher’s photography session with Elton and Tai does a nice job replicating Emma’s sketching abilities in a modern setting. Tai’s scary episode with some jerks at the mall makes for a nice stand-in for Harriet Smith’s run-in with some would-be roadside acosters. And even the key conversation between Cher and her father, where he compares his daughter’s robust, do-gooding spirit to her mother’s, feels like an approvable echo of the warm relationship between Emma and Mr. Woodhouse. (Although Mr. Horowitz could stand to expound on the virtues of gruel a little more for my personal amusement.)
The film does have some artifacts from the deeply 1990s atmosphere it inhabits. Beyond the numerous needle-drops that take old-timers like me back in time, the film embodies a view of high school, relationships, and the world that is very much of its time. And yet, the much ballyhooed fashion of the film is both iconic enough to be its own form of timeless, and a way that the film communicates character. Between the contrast of Cher’s meticulously-designed outfits and Josh’s more casual sartorial choices, and Tai adopting conspicuously more Cher-like designs and patterns as she becomes more like her mentor, the clothing is far more than an accessory here.
That goes for almost all of the film’s choices. In lesser hands, Clueless could be a frivolous film. But writer-director Amy Heckerling uses the high school fashion club operator perspective to give the movie a tasty candy coating, while putting something deeper and more resonant inside, with the two meshing perfectly. Clueless is, like its predecessor, a story of someone both aspirational and provincial, who learns to bridge the gap between her altruism and her myopia through the help of a few choices stumbles and a needler who nonetheless sees the best in her. That the film manages to embrace the soul of its source material, while moving it into such drastically different environs, is nothing short of magic, a yardstick that every adaptation, no matter how staid or imaginative, should hope to measure up to.
Faith Justin: You know one of the ways movies are still better than playback? The music comes up, there's credits, and you always know when it's over... [turns to look at Lenny] IT'S OVER!
what the fuck did i just watched
This is what amounts to a high-profile grindhouse flick or B-movie. Much has been made of this taking a left turn half way through to the point of it becoming two different movies. The cast of stars seem to be having an awfully good time.
I like the ending quite a bit and it's funny that George Clooney never became an action hero because he played an awfully good one here. It's a movie full of gore and copious violence but it's done for laughs which is the key to its success.
It's a by the numbers thriller with a "twist" you can see a mile off.
Watch it for EN's performance not necessarily for the story.
Edward Nortan is fucking amazing in this role. Bravo:clap::clap::clap:
"I'm everyone - and no one. Everywhere - nowhere. Call me... Darkman."
Liam Neeson is fantastic as Peyton Westlake. Love the way he moves around and how he's so determined to get that pink elephant for his girlfriend. Sam Raimi's style also perfecty fits this film. Love the idea too. Taking on appearances of your enemies to confuse them and even murder each other. The story is simple though, Peyton is out for revenge to get the people that destroyed his lab and lab partner. For me the film also really has a classic kinda Universal Monster sense to it. Can't describe it. Might be the look of Darkman?
Anyway glad I finally decided to watch this one. Been long due and it was a lovely watch.