The flaws of the previous sequel are more readily apparent here as the focus shifts to the “real” world which is populated largely with uninteresting characters that were poorly developed in the previous film. As before, the film is stronger when it focuses on what is going on in the Matrix and Neo’s own struggle to understand his role and the fallout from his discoveries. It is a shame then that most of the plot centers around a large scale assault on Zion that quickly becomes tiresome as characters who we care little about face off against an overload of CGI machines that really needed cutting down. That the film grinds to a halt in its biggest action sequence says a lot about how badly thought through this part of the film was and without the juxtaposition of scenes within the Matrix that made the “real” world sequences bearable in the last film, it never really recovers from it, even if it does improve slightly as it shifts its focus back to Neo. It doesn’t help that whereas in the last film plots elements from the “real” world were rushed, here it’s the elements related to the development of the Matrix that feel rushed and forgotten about for large parts of the film which make the final sequence difficult to care about. It’s not unwatchable by any means, but as the culmination of a trilogy it can’t help but disappoint.
Denis Villeneuve is the man!
There’s only one word that came into my mind after watching it: finally.
Finally, a blockbuster that isn’t afraid to be primarily driven by drama and tension, and doesn’t undercut its own tone by throwing in a joke every 30 seconds.
Finally, a blockbuster that puts actual effort in its cinematography, and doesn’t have a bland or calculated colour palette.
Finally, a blockbuster with a story that has actual substance and themes, and doesn’t rely on intertextual references or nostalgia to create a fake sheen of depth.
Finally, a blockbuster that doesn’t pander to China by having big, loud and overblown action sequences, but relies on practical and grounded spectacle instead (it has big sand worms, you really don’t need to throw anything at the screen besides that).
Finally, a blockbuster that actually feels big, because it isn’t primarily shot in close ups, or on a sound stage.
And of course: finally, a blockbuster that isn’t a fucking prequel, sequel, or connected to an already established IP somehow.
(Yeah, I know Tenet did those things as well, but I couldn’t get into that because the characters were so flat and uninteresting).
This just checks all the boxes. An engaging story with subtext, very well set up characters, great acting (like James Gunn, Villeneuve's great at accentuating the strengths of limited actors like Dave Bautista and Jason Momoa), spectecular visuals and art design (desaturated but not in an ugly washed out way), pacing (slow but it never drags), directing, one of Hans Zimmer’s best scores: it’s all here.
I only have one real criticism: there’s too much exposition, especially in the first half.
It can occasionally hold your hand by referencing things that have already been established previously, and some scenes of characters explaining stuff to each other could’ve been conveyed more visually.
Other than that, it’s easily one of the best films of the year.
I’ve seen some people critiquing it for being incomplete, which is true, but this isn’t just a set up for a future film.
It feels like a whole meal, there are pay offs in this, and the characters progress (even if, yes, their arcs are still incomplete).
8.5/10
Before explaining why I liked this movie, I'd like to point out that the main idea of the movie is NOT that you need find your purpose to have a happy life. It's the exact opposite! I'm not saying this just to be a professor, but because it's really important and that's why I loved the film so much. You don't need to be fixated about something to find a meaning in your life. You need to savour it and learn to enjoy the little moments instead of waiting for something big to happen to reach happiness. It's so profound and refreshing. A movie just about a guy waiting for his big moment and feeling fulfilled after having reached it would have been dull, boring, trite and most of all wrong, like pretty much all "self-help" advices.
Instead the opposite idea is presented and if you just pay attention to the dialogues -and the story, really- you'll understand what I mean and most importantly what you might apply to make your everyday life better.
But back to the movie I've got to say I almost cried as the end was approaching as much as I was going to turn off the tv when the movie started. The whole initial setting reminded me too much of Inside Out, a film I quite disliked, so I was worried it was a copy of it (it kind of is in the beginning). But luckily the second half steered away from it and developed in one of the most moving film I've seen in a long time. Undoubtedly one of Pixar's best.
Dang. That was a good time. I had such low expectations. The trailer was boring in spite of the fact that it features an actress I enjoy. I wasn't seeing advertising for it when I saw it in theatres so i skipped it. Now however it's getting featured status so I figured I'd give it a shot. I was bloody impressed. I thought it would be a cheesy film about a girl losing weight by doing a marathon. But I like everyone so much. Brittany was so heartfelt.
This is the second movie based on a real person I've seen this year (Blinded by the Light) and both times I'm not sure I knew it was based on a real person. They both managed to impress me. It's just a lovely thing both movies. I also liked the supporting cast. They really filled out the world and her relationships even though as a character Brittany tends to shut people out I really kept rooting for her to eventually let them in. Even Catherine who is an on and off character managed to endear herself. There's heartache and heartbreak as a viewer watching Brittany go through her ups and downs. Highly recommend everyone check this out if you can.
Before I begin, I need to get one thing straight. I watch movies because I like to see good films. I do not watch movies to kill time or feel good or to "not think for a while" as so many people say. It doesn't mean that I mind when a movie is inspirational as long as it is intelligent and gives me something to think about. The backdrops will change but quality should remain. This does not mean that I expect anyone else to watch a movie the way I do - I just want you to know where I'm coming from.
The more I think about it, the more I hate this movie.
The film is based on a real-life event where a rich southern family took in a semi-homeless black teenager. That part (and maybe only that part) is actually true. In itself, that story is amazing and incredibly touching. Too often in life we all look the other way when we see something uncomfortable on the streets.
It is this core story that is what is heartwarming. If I gave you the synopsis in one or two minutes you would be touched and your heart would be warmed. You're a better person for hearing about it. But there is a huge difference between relating the story and what was done in this movie and that is where my problem is. Just about everything that happened in the movie was contrived and superficial and meant to pull at your heartstrings.
And I know what you're saying - so what? It is a movie. If this were a novel or something like that, great. I can tolerate and even partially enjoy a movie like Serendipity that is meant to be pure sugar and meant to make you feel good. This movie had a touching core. The saccharin that was poured on top of it was at best unnecessary.
You want uplifting? Go see Precious. Now there was a film that was gritty, awful, beautiful and uplifting. It didn't need to cue the sappy music to let you know a scene was coming. The story stood on its own.
Anyway, here are the reasons why this movie was so bad.
The majority of the events never happened. Sandra Bullock didn't call the coach on the field during a game or run onto the field during practice to save the day. They didn't pick up the boy while he was walking along the street on a rainy night. There wasn't a dramatic moment where the coach fought to get the boy into school. All these dramatic scenes were standard Hollywood formulas for contrived emotions.
There was a single character in the move and that was the mother (Bullock). Every other character in the movie was either a prop (the boy) or a doormat (the husband, coach, etc). Worse, they all are expected to crown her as some queen while she insults them and ponders if this makes her a great person or not. Why? I think the answer is simple - it was meant to be a vehicle for Bullock and it was to be her show (even though, by all accounts, the real-life husband was very responsible for what happened).
Why are people so impressed with the sassy women? They should have called this movie "Erin Brockovich 2". I don't know what was more cringe-worthy: the scene where she drives into the hood and threatens some thugs with violence or where she verbally assaults the father in the stands at the game. If you met this woman in real life you'd want her dead. Can you imagine if someone called your kid's coach during a game to give advice (or worse, walking into a practice and treating the players like infants)? Would you talk down to him or your husband the way she repeatedly did? But for some reason people see it on screen and like it.
Speaking of condescending, what about her treatment towards the boy? He was essentially a pet in this movie. She ordered him to go here, there and everywhere. The big "trick" was teaching him how to play football. Think about it - he didn't have a meaningful line until the last 5 minutes of the movie and he was on screen more than anyone. I want to know what he thinks about the culture shock that he's been through. Was it difficult for him to move in with this family? What does he think of his past? We hear none of this because it is written to be a coronation of the mother.
I can see why black Americans were a little upset by this movie. Once again, don't get me wrong - it is admirable that they did what they did. But a bored and rich housewife takes on a project and they make a movie about it? There are scores of grandmothers that raised their grandkids because the parents weren't around - I can't imagine being one of those people and seeing this movie (and I can't imagine Hollywood making that movie). Also, the popularity of this film is more proof of the way we look at black Americans. We think that we need to protect them and be parents to them - you see it everyday in speech, movies, tv, etc. That is the real racism in this country.
Why the constant need to remind us that they are Christians and conservative? Besides, the message was hypocritical. Was it Christian to have academic standards to the Christian school? Was it Christian to live in that huge mansion? I think not.
Cliched. The whole movie was one cliche after another! You could see the next scene coming at every step of the way. Once again, this takes away from what the movie should have been about.
So, there you have it. If you like cheesy books written by the likes of Mitch Albom (other than "Morrie") or Glen Beck, you probably liked this. And I get that. But lets not pretend that it was anything more than a sunday night movie that you'd see on ABC (do they still have those?). Worse, lets not pretend that Bullock should have won the award. It is a crime that the leads in Inglorious Basterds or Precious didn't get it. Hell, I'd toss in the woman from Up in the Air also.
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Not only is Endgame the most ambitious movie Marvel has made, but it also is the grandest. Even more so than Infinity War. No other movie can utilise the emotional ties that have been embedded within our hearts over the build of 11 years. And boy does it use them well. Stringing together scene after scene of nothing but impactful tension in the third act. But this doesn't leave the other two boring or bland. It allows these parts to build off of the aftermath of Infinity War. Never once was I bored, or felt like I was sitting there for three hours. For the action is no letdown, lovely dynamics are interwoven for a fantastic spectacle.
I don't want to say much, but it is hands down the best Marvel can offer. It is not Infinity War, Part II. It's something much better, the true culmination of everything and I do mean everything. The fan service here is through the roof and done so damn creatively. Not one thing feels hammered into the story. Even some major elements in its plot stem from the smallest details of previous movies I would have never seen coming. Taking even lesser liked fragments and stringing them into a more meaningful poetic story than the original movie would have ever told.
Using style and grace to tell this bold epic is strong with this movie. Gone are the golds and purples of Infinity War. And in comes a bleak atmosphere with hope lingering yet far. Visual storytelling is a bit lacking, but that is not what you come here to expect. You have been supported with all the exposition you need in previous movies. Since this is the case, it must be judged as a singular part of a series.
The themes in this movie are unity, utilisation, and more importantly; revelation. Kevin Feige has given this movie a lot to work with through these themes and has finally made his magnum opus.
Yes, there are a few hiccups. But that's to be expected. Captain Marvel was not given her full potential again sadly. But worked well with what was given. There is an amazing moment within the third act that truly gives her and a certain cast of characters time to shine. Plus the time it takes to leave out is a bit jarring. Not to mention, that to me Thanos seemed less threatening than in Infinity War because of something that happens. Still great impact by Josh Brolin of course.
Everyone will cry. Everyone will laugh. Everyone will leave sad yet satisfied with this amazing conclusion to the MCU so far. It's no Dark Knight, but then again, that was more drama than superhero epic. But this is modern hero gold. Here is the Holy Grail of superhero cinema.
9.6/10
8/10 After second viewing - Hype obviously had its hands around my neck I admit. Review doesn't meet my current thoughts about the film
Check here for my rankings on the MCU:
https://trakt.tv/users/corruptednoobie/lists/my-mcu-rankings?sort=rank,ascCheck here for my 2019 movie rankings that I've seen:
https://trakt.tv/users/corruptednoobie/lists/best-to-worst-2019-movies-so-far?sort=rank,asc
9.5/10. There are times when I feel jaded as a viewer. When it seems like despite the breadth of films out there, that I know most of the tricks, to where while I can appreciate a film's achievements in sort of a detached way, when I can even be engaged and invested in something, it doesn't necessarily reach me in the way that movies did when I first started watching them. The scope of appreciation has widened, but the emotional resonance feels muted, because I can't help but see the strings.
And then a film like Room comes along.
And Jack sees the expanse of sky for the first time. And Joy hugs her parents after not seeing them for seven years. And Robert can't even look at his grandson. And Nancy tells her daughter that she's not the only one whose life was destroyed. And Joy tells her mother that if she hadn't been taught to be nice, she might never have gone with Nick. And there's a supreme, heartbreaking look of guilt on her face when a reporter asks if she should have given her son up while in captivity. And Jack walks in on his mother's suicide attempt. And Nancy hears her grandson say "I love you." And Jack sees a real live dog, and makes a real live friend, and cuts his hair to give his mother his strength.
And I wince and I laugh and I cry and I gasp at this beautiful, devastating, intimate, life-affirming film. This is why we make movies. I love popcorn films, with the fights and flashes and epic feel, and I love the big dramas, with their scope and their sense of grandness and the talent on display, and I love those classic film comedies that mix the absurd and the irreverent and the memorable into a single hilarious package. But the films like Room simultaneously so small and so personal, yet so powerful and affecting, have a special place. These are, as Robert Ebert once put it, the empathy machine that is film working at peak efficiency, taking us into the lives of people who have suffered and been unfathomably wronged, and carries us with them as they carve out a way forward.
I didn't know I wanted a film that feels like a cross between Oldboy, Life Is Beautiful, and Boyhood, and yet the elements Room shares with each--the sense of isolation, the loving way in which a parent tries to distract their child from a continuing tragedy, the slice-of-life, impressionistic depiction of a young boy's innocence--come together to form something absolutely tremendous.
That last facet of the film, the fact that it filters the entire experience through young Jack's eyes, is a stroke of brilliance. There's a matter of factness, a certain directness or even blitheness to the way children experience the world. Using Jack as the lens through which Room tells its story renders those events not only realer, but plainer, imbuing them with the unvarnished perception of childhood. The way the film is able to get into Jack's head, to allow the audience to view these horrors and steps to recovery through his eyes, is its greatest strength and most impressive achievement.
By the same token, Brie Larson as Joy deserves all the accolades she's received for her performance here. While still a prisoner, she carries herself with such an air of both utter resignation and quiet resolve, someone who's been beaten into submission but carries on with whatever she has left. And once she returns home, the guilt that consumes her, the anger that she has for the world that kept turning without her, are palpable in every moment without fading into overwroughtness.
The film can essentially be divided into those two halves. The first is the story of Jack and Joy in Room, of the way that Joy makes unbearable circumstances livable for her son, the way that she copes and shields Jack from the horror around him, and how Jack strains and struggles to understand the idea of the world beyond those four walls, to where he can, eventually, help the two of them escape. The second half is far less intense, but still endlessly intriguing and affecting. It's a quiet domestic story about how people recover from that sort of trauma, both Joy who feels the opposite of survivor's guilt and second guesses herself, and Jack who is exposed to a big scary world, the depth and breadth of which is entirely alien to him.
But throughout both halves, there is such a pure emotional truth in each moment, from the simple joys that Jack enjoys within the home he doesn't realize is a prison, to his anger and resistance at having that fantasy shattered, to Joy's dispirited but resolute attempts to keep him happy and healthy, to the realistic, painful difficulties parents and children face when rebuilding a family seven years after a tragedy, to the wonder and fear a small boy has for what lies beyond the garden gate, and the unmitigated joy at every step taken toward some cobbled-together normalcy. Room is a beautiful, heart-wrenching, intensely personal film, that takes an unflinching yet uplifting look at how people cope and come back from the worst that our world has to offer.
This was a good movie but not a great movie (this will not be a popular opinion). First the good stuff: Lady Gaga was perfect for and in this role - acting singing, chemistry, song writing - all fantastic. The chemistry between Bradley Cooper and Gaga was believable and, at times, breathtaking. The first two thirds of the movie had a great arch and captured us (as a friend, who watched the movie with me, said, "I could watch the first part of this movie on repeat.") I am also a big fan of about 5 of the songs, and would add them to my library without hesitation, they are beautifully written. Now, the not so good stuff: the last third of the movie was too long - it could easily be cut by 20 minutes, but Bradley Cooper, as director, was more than a little self indulgent with his own scenes (we got the struggle, drawing it out didn't serve the storytelling). Ally's character arch was disappointing. As her star rose she didn't learn to love what Jack saw in her. She didn't learn to take ownership of her own story, the very gift Jack was trying to give her. Ally's story wasn't resolved until the very last moments of the movie, it was eclipsed by Bradley's directorial obsession with Jack's decline, belying the original premise of all the STAR IS BORN movies and lessening her triumph. I guess what moved it from great to good, for me, was that the first two thirds proved it could be great but the last third got hijacked (no pun intended). I give this film a 7 (good) out of 10. [Music-centric Romantic Drama]
