Lots of fun, lots of twists and turns, lots of story. It's a pity that the CGI takes over. I could have done with more of the David Leitch of the first 'John Wick' and of 'Atomic Blonde'.
One can't deny the craft that went into this one, but damn, the testosterone! Tough men talking tough at each other and, when there's time for them, the women in their lives. Ridiculous but fun.
One can't imagine Elvis' story being done in any other than the Baz Luhrman way - campus and over the top. Nothing here you can't get on Wikipedia, and too long, but worth the ride. The amped-up soundtrack is brilliant, as are Tom Hanks and Austin Butler. And for the first time some justice is done to the black roots of Elvis' music.
Still one of the most underrated action films around. Its undoing, perhaps, is that it spurns choreographed fantasy in favour of grit and verisimilitude. The car chase and knocks will long remain a favourite of mine - beautifully staged and shot. This movie deserves more praise and viewing.
Hilarious. And then a moment of loss and great acting.
Lynchian in world and execution, this stylised fable is both distubing and mesmerising. Kristin Scott Thomas should play this dark more often.
They could have spent some of the lighting budget on the screenplay. Someone cranked up the heat on those puppies all the way to scorch. The same can't be said of the writing. The on-screen talent is charming but wasted. Don't go out like this, Sandy.
Not nearly as clever as one is set up to believe it's all going to be, but you're really just there for the Mark Rylance show. Pity more isn't made of the claustrophobic setting. Perhaps with smarter filmmaking...
Tries to play with the genre tropes. But fizzles despite a decent set-up and an initial whimsical tone.
Glenne Headly steals the movie and everything else.
I'm no (longer a) fan of the true-crime genre - currently enjoying a boom - but the tone of this series hooked me from episode one. Some may not like the dark comic slant, but how else can you process this level of evil, built on Trumpian audacity. Renée Zelleeger's Pam absolutely steals the show. Some touching moments, also, as the bond between members of the first victim's family painfully unravels.
It'll break your heart at times. But great performances.
Unsure how I feel about the series. It looks good, but not convinced by Anya Taylor-Joy as a 17-year old. Entertaining, but fails to capture the insecurity of the book's character. Although series does hint better at the character's daddy issues.
It's kind of entertaining. But afterwards you feel disgusted with yourself for being entertained by it because it's kind of terrible. :joy: Paul Bettany comes across as reasonably intelligent - what about this script told him that this film would be a good idea.
One of those Netflix movies where content had to be got out out overnight and no adults were around to care whether it was any good or not. Can't believe Judd Apatow wrote and directed this. And what a criminal waste of on-screen talent.
Barely eight minutes long. Too short to build up the scares.
You'd have to be a real grouch to not like this film. Sweet and wonderful. So what if it has little to do with the real world or does nothing real to elevate the art of filmmaking? Just let it sweep you away for a good cry. At least it keeps it on the respectable side of sentimentality.
As director, Branagh sadly only knows over the top.
Initially, doesn't look and feel like a Soderbergh movie but it gets there. With a huge dollop of Hitchcock. Weird.
Taking a restrained approach, the two leads carry this movie by sheer force of charm and chemistry. Also some unconventional takes within the structures of the romcom genre. And the ending is open-ended enough to leave us wondering.
Lots of atmosphere but little by way of narrative or sense.
It wallows too much in its own darkness, and once again the writers of Batman and superhero movies flaunt their poor grasp of realpolitik. But that's not the purpose of this movie and any superhero movie's. So just stock up on snacks and wallow along. Because it's damn fun wallowing. And everyone is so damn good. What's more, Batman is returned to his detective roots.
Unimaginative and lazy filmmaking. Toni Collette deserves better.
Perfect in every way. The directing, the performances, the writing, the set design, the editing, the music. Every way. :blush:
Perfectly entertaining. A good premise - hints of 'The Hateful Eight' - and decent performances. But it could have been so much more.
A conspiracy thriller that doesn't demand too much thinking. A pity that talent like Faye Dunaway is wasted on playing the helpless love interest.
Terribly sad and thoughtful about life and love, but also some quirky and fantastical moments.
This film has long appealed to me. Not least because it's got John Landis acting goofy. I'd love to remake it.
A charming little romcom with a twist. Gets a little slow in the middle parts when it loses its sense of humour (which helps with the heavy stuff, which the series wonderfully doesn't make light of), but worth sitting through. Isla Fisher and Josh Gad (he can do serious) make a great couple, and Ariel Donohue is perfectly cast. I do so hope there's a second season, even though it does have a mini series vibe.
It sets up a teasing Fargo-esque premise and colourful characters, but can't match the smarts and wit. The show starts filing up time too soon. Also riddled with editing and logical inconsistencies. The pretty lead characters are the dullest and most pointless. More time should have been given to Danielle MacDonald, Ólafur Darti Ólafsson and Damon Herriman.
