This movie is bad. It's so bad in fact that one could argue it's good. Me and my friend watched this movie and were laughing the whole time about how absurd the characters are behaving. Where there are million other options to solve a problem and the characters go into 'there's just no other way' mode.
For example, Keanu only had 3 tanks and 4 family members he wanted to clone. The movie went to this dramatic scene about how he needs to choose someone who will not be cloned. Turns out it was his daughter Zoe. Why don't you just clone Zoe right after you cloned the others? You now have 3 empty tanks. "There's no other way".
There are countless examples like this in the movie, where the script is forcing the characters to act in ways that defy logic just to push the story forward.
Too many plot holes, which make the movie impossible to enjoy. That's really sad to be honest, the concept is creative and interesting. I'd love to see that same story on a better executed movie one day. The acting was awful, not sure how a movie can be filled with so much shitty acting, definitely one of Keanu's worst performances. Not even gonna comment on Alice Eve.
I thought "how bad can it be?" and had hope they had watched and liked the anime as well. Well, obviously they did not. If you liked the anime, don't torture yourself by watching this.
amazing how awful this movie was, just amazing. There's a reason people pretend it doesn't exist
I didn't realize this was a Predator movie the first time I saw the poster and thought this was some random horror movie but the positive buzz certainly didn't pass me by so here we are again. After watching it I'm certainly... shocked?
From the get go this did very little to pull me in, be it the CG animals, one-dimensional plot or the the selfish attitude of our heroine. Now obviously one can argue how much that all matters when the action is good but it didn't really scratch that itch for me either... the Predator fighting with the animals was certainly entertaining but random guys biting the bullet with mostly offcam/unclear CG gore not so much. Would have been nice if they showed some wits when they fought him at the camp but somehow him going invisible is enough reason to lower their weapons and start talking to each other. She saw how the camouflage works multiple times in action already..?!!
What all those scenes, and the movie poster for that matter, certainly established, is that our protagonist has little to worry and that a showdown was coming but I would never have predicted the amounts of bullshit that would contain:
- Somehow becomes a baller and expert in alien technology. Knows when the Predator is coming, takes her magic herbs to immediately lower her blood temperature (but is not shivering and still standing up) and is in the Predators path who obviously doesn't see a standing corpse right in front of it or notices her moving out of the way...
- Never used the gun but knows the right angle to shoot and remove his mask (betting on this being a weakness when this did little to stop it before).
- Gets to conveniently escape for the n-th time and has enough time to finish up some traps (which the Predator even hit on some random tree lol).
- Gets hit to the head twice from the shield that cut through the Predators limbs, spear and even stone but is unscathed.
- Can easily remove a fang attached to it's face to save herself just in time.
- GPS dog that always magically reappears is ready to bring her the tomahawk...
- Manages to sit on top of the Predator and even pull him into the bog with a tiny rope and a much much smaller statue.
- The Predator obviously submerges immediately, but little does it know of her the grand plan to have him placed at that exact LOS of the mask in anticipation that he is gonna fire from his gun (despite not having had his mask for the whole time) while he is already targeted by the laser the entire time... b r a v o. Obviously that one shot was also enough to kill it.
...
Honest to god - how does a movie with such a contrived finale get so much praise, or even leave the script writing phase??
An entertaining movie with a bad ending. Not bad at all, it's just that a much-feared mind gets defeated so easily... And Foxx should take care of some details. It's fair an attorney can walk as a rapper but loses some credibility.
I hate it when the hero dies.
The fact that the main stream media is telling you not to watch this movie tells you everything you need to know — it's a must watch for everyone!
It's an objectively well made and well acted movie that I really enjoyed. The plot is well structured, fast paced, and dialog well written.
It has the moral imperative to end sex trafficking but it's not through heavy handed guilt tripping, but through telling a true story about a man who made personal sacrifices to do the right thing and courageously go into danger to be a genuine hero. I think anyone who has any sense of altruism will leave this movie inspired to take action against this truly heinous evil that is real and happening now. Go see this movie.
It's the art style and animation for me. Different from all the other Pixar inspired animated movies from the triple A productions out there. It's like this one has it's own identity, its own brand and feel.
In terms of the movie itself, its pretty different from the first one, but at the same time, tries to follow the rhythm the first movie set. The multiverse concept is picture perfect, the characters just class. 9.
Surprise! It's a 2 parter. Can't wait for part 2- "Beyond The Spiderverse" soon enough
Different from the first in all the right ways while expanding its own identity. The villain becomes secondary to a larger plot in a natural way.
This sequel takes even more liberties with the art style and uses each dimension’s art to set them apart beyond just structure. Gwen’s universe in particular uses constantly shifting colors and focuses to show character emotions visibly, which I appreciated more the second viewing. The story, this time, still features Miles but isn’t only about him. At first, I was upset, but the film came to balance all the threads. I kept fluctuating between hating and loving other characters (Gwen). Also, this film isn’t afraid of silence and pauses, which was refreshing in this ‘constantly stimulated’ day and age.
Incredibly rare for the first and second to be this highly rated by me. The first is more emotional, second brings more conflict and group dynamics.
A fun and good animated movie. A lot of element-related jokes - that often aren't that funny. Overall really solid tho.
My personal rating:
-Plot (Story Arc and Plausibility): 6.5/10
-Attraction (Premise & Entertainment Value): 7/10
-Theme (Identity & Depth): 6.5/10
-Acting (Characters & Performance): 7/10
-Dialogue (Storytelling & Context): 6/10
-Cinematography (Visual Language & Lighting, Setting, and Wardrobe): 8/10
-Editing (Pace & Effects): 7.5/10
-Soundtrack (Sound Design & Film Score): 7.5/10
-Directing (Vision & Execution): 6.5/10
-The “It” Factor (One-of-a-Kind & Transcendent): 6/10 [The city feels like a rip-off off Zootopia]Overall: 7/10 || 68.5/100
Liked it. Simple good fun and more mature than other animated movies. Could see young kids hating it but older ones prob would and adults prob would enjoy it too
"Which would be worse: To live as a monster, or to die as a good man?" Very touching words ..
After I thoroughly enjoyed "Bumblebee", "Transformers: Rise of the Beasts" is a small step backwards for me. In its predecessor, I loved the approach of telling a simple coming-of-age story that wasn't about saving the entire world for once. This time around, it's back to the latter, though thankfully sticking more to the tone of "Bumblebee" than the Bayformers films.
Overall, "Rise of the Beasts" is solid throughout, but I wasn't particularly enthralled at any point. The film is once again way too long, and some of the lines are really shallow. The subplot with the human characters starts strong but quickly loses momentum as soon as the Transformers show up. Overall, though, Anthony Ramos is quite effective as the lead.
In general the action is well-staged, if a little generic. The finale certainly packs a punch, but I was already a bit bored at this point. The hunt for a doomsday macguffin is only entertaining for a short period of time. At least the film ends on an interesting note. Should it be a success, I'll be curious to see exactly what the future franchise plans are. Overall, I can recommend the seventh Transformers movie, but you shouldn't go in with too high expectations.
Music track, Sound effects were good. Story and Plot, meh and old. The diaz and lady chemistry(they tried) was half baked and out of place. I still don't understand how one piece was in Sudan and other in Peru? and what was she doing in NY? wasn't she suppose to keep it safe, like other primates were trying to. Overall, if someone love autobots, they should watch just for the love and joy of seeing them in action.
This is definitely classier and more polished than Bayformers, but now this franchise finds itself caught in the same corner as a lot of the Terminator or Men in Black sequels. No longer will these movies appear on anyone’s top 10 worst of the year list, instead they will have been forgotten about by then. It’s very soulless and filled with too much exposition for what is basically just another, generic macguffin hunt. The characters are boring and it doesn’t help that they picked actors that carry little screen presence. The action looks competent albeit very bland, however with that being said: I’ll still take bland over Bay’s pornographic sensibilities anyday. Pick your poison, I suppose. Overall, this is all too calculated and measured for me to get a lot out of it. For example, I really love a lot of the songs they picked, but there’s little to no reason to pick these specific tracks besides being an obvious nostalgia ploy. There’s no vision, and to put it bluntly: the movie feels like something that was conceived and made entirely by AI (just wait for that phrase to become horrendously overused over the next few years). It’s completely indistinguishable from any other big movie like it, I have a hard time telling the difference between this and your average Marvel or DC fare besides the different avatars being used. There’s even an action sequence that doesn’t look too dissimilar from the final battle in Avengers Endgame. These really need an entire creative overhaul, some fresh new talent. Right now this franchise continuously hits a creative dead end with each new installment, and this one’s no different.
4/10
Its transformers, so you already know what you're getting. You don't complain at McDonald's when you order a McChicken and they serve you a McChicken.
Definitely better than the previous movie, and Mads is much better in the role of Grindelwald than Depp was. But honestly, there's not much more to say. The movie is fine, but I came away feeling it was lacking. It doesn't really feel like all that much really happened. I also wasn't a fan of what they did with Queenie. I liked that they had her change sides at the end of the last movie, but this movie doesn't really use that fact all that well, and instead, they undo her big decision without all that much explanation. The first movie is still easily the best in this series.
Quite disappointing.
Too many scenes of characters being abusive to each other, without remorse nor acknowledging that they're doing harm.
The film could've had a lot of teachable moments but too many concepts, ideas and behaviors were left unexplored: disgust, intolerance, child neglect, religion, rituals, expressing gratitude etc. etc.
Fuck religious people and fuck Liz for enabling his disordered eating.
what i find truly beautiful about this movie is the way every single character shares the same exact view of themselves.
all of them believe that they are broken people, and there is no way of fixing themselves, that they are "past redemption"
yet, each and everyone of them expresses it in a different way through their actions and emotions
the protagonist is the most obvious, he feels that he is a monster, he doesn't want to go the hospital because he did all of this on purpose. he doesn't want redemption because he is trying to literally self destruct.
the daughter has no friends, and growing up in a broken family made her think that she is not good enough to even care.
the missionary believes that his stealing and smoking has put him past redemption, so he runs away from home desperately trying to find something that will excuse his actions.
the nurse was labeled as "the black sheep of the family", and eventually accepted this label as a true part of her persona
the mother never recovered from a broken marriage and ended up mistreating her daughter, being ashamed of how she grew up to be.
all this people really are the same, they just chose different way to cope with this ideology.
some chose to eat, some drank, some started looking outward for another person to "save", and so on.
But in end the message is all the same, you shouldn't give up on yourself because you are wrong, you do matter and it's not too late.
yes, you abandoned your child when she was just a child, and yet she still loves you deep down and wants you to be part of her family.
yes you have no friends and your family wasn't the best but that doesn't mean that you will never be worth anything, someone will love you.
yes, you stole and disappointed your father, but stealing a couple grand doesn't matter. Your family cares about you more that they care about a mistake.
I could go on but i think i got the point across. this is just a beautiful beautiful movie, it's really sad and honestly tough to watch at times because it hits hard, but it's definitely an experience that we should all have.
Based on the play with the same name, The Whale is such an impactful piece. I found myself so heartbroken watching how the main character Charlie, played by Brendan Fraser, deals with his depression and life regrets. Speaking of Brendan Fraser, such a sweet soul and he played the role beautifully. I was able to go to an opening night Q&A with him speaking. My favorite part was hearing how they wanted to make Charlie look human despite how you may see other movies with actors in "fat suits". This movie also has no small roles. Sadie Sink and Hong Chau as supporting actresses uplifted the turmoil that one man’s suffering can ripple to the people around you. Definitely adding this movie to my list of favorite Darren Aronofsky films.
“These assignments don’t matter. This course doesn’t matter. College doesn’t matter. These amazing, honest things that you wrote, they matter.”
Do yourself a favor and watch this film.
I was not the only one sobbing in the theater.
Anyone who claims this film "lacks empathy", "leers and ogles in disgust", or is "fatphobic" is simply betraying their own lack of empathy.
SFX and soundtrack made the film captivating. However without much effort at all, the once-loved Science Fiction classic that touched the ideas of Creation with a subtle hand, was bitch slapped into a full blown biblical dramatisation. Interesting and thought provoking, but the not-so subtle religious subtext annoyed me.
I remember one critic saying Tron Legacy is more of a amusement park ride than a movie. The movie isn't strong on plot but it is visually stunning with a fine cast.
The Daft Punk score is fabulous as well. While Michael Sheen is a show stealer and should have been in more of the movie. Olivia Wilde is hot and at her best too.
Was great watching this film again earlier, the production is flawless. I am just sad that there will not be a follow up movie, well...for now at least!
[7.7/10] The original Tron is a film with a generic story, bolstered by a unique premise and impressive imagery. If you strip away the things that made the 1982 film distinct upon its release but dated today -- its “inside a computer” setting and its graphical wizardry -- you’re left with a pretty stale and standard fantasy tale with flat characters.
I was ready to count Tron: Legacy as a success on the same terms. At first blush, the basic plot here is nothing to write home about. Sam Flynn is the seemingly orphaned son of the original protagonist, rife with the usual set of daddy issues, teasing the modern version of ENCOM that’s being run as a mercenary corporation, which old hand Alan Bradley grouses about as a departure from Kevin Flynn’s ideals. The ensuing “find your father” quest and return to “The Grid” feels inevitable and bog standard.
But even if that’s all Tron: Legacy had to offer before diving into its new digital world, it would have been enough, thanks to the exquisite texture of the film. I’ll confess that while I can intellectually appreciate how the graphic of the previous Tron would wow people in 1982, it didn’t do much for me in the modern day, when CGI effects are a dime a dozen and kids who’ve grown up since then have become inured to them.
And yet, that’s what makes Tron: Legacy so impressive. It’s not as though it’s on the cutting edge of visual effects like its predecessor was, nor can it coast on the novelty of leaping inside a computer (something its very existence as a sequel prevents on its own). Despite that, it’s stunning to watch as an aesthetic achievement, taking the look and feel of its 1982 forbear and translating it to the modern age with such creativity and awe.
Let me speak plainly: everything in Tron: Legacy looks and sounds really, really cool. There may be no greater synergy between musician and film than Daft Punk providing the soundtrack for a Tron movie. What’s more, director Joseph Kosinki and his team take the “neon lights on monochrome backgrounds” vibe and take it to the next level.
There’s something unspeakably stylish about the ships and outfits and blacklight aesthetic packed into every frame and design. The good guys and bad guys (and their vehicles and tech) are color-coded for your convenience, but there’s a sleekness and greater scope to everything that makes this feel like an extension and advancement of the original film rather than just a retread.
The same approach works for the other parts of Tron that have become lodged in the popular consciousness since 1982. There is another game of identity disk jai alai, but it’s done up to eleven with ricocheting discus fire and parkour moves that become the default movement throughout the film. There is the inevitable light-cycle race, only this time, the competitors race along multiple levels with multiple players, heightening the complexity and visual panache of the set piece. Even the homage paid to the iconic poster comes at an appropriate time and an appropriate way, sending our hero back from whence he came while evoking his connection to the past.
The one exception is the efforts to de-age Jeff Bridges, which end up falling squarely into the Uncanny Valley. The good news is that in a computerized world, that totally works! Sure, it’s a little awkward in the few scenes where we see young Kevin Flynn in the real world, but for the most part, the ageless version of Bridges is supposed to be CLU, his villainous digital equivalent, to where the aesthetic eeriness not only makes sense since CLU is a virtual copy, but adds something to his menace as the antagonist. It works in the same way much of the film’s visual choices do -- nothing approaching realism, but in a way that doesn’t matter given the setting and the sheer awe the film evokes with its designs.
It doesn’t hurt that Bridges gives a much better performance here than he did in the original picture, which is doubly impressive since he’s acting for two here. His de-aged take on CLU is menacing and smug in the way a being who feels he’s surpassed his creator ought to be. And the real Kevin Flynn, reimagined as a zen-spouting hippie who regrets his actions, both works as an extension of Bridges’s public persona, but adds some philosophical and emotional weight to the film.
Unfortunately, outside of Bridges, characterization is the weakness that Tron: Legacy shares with the film that spawned it. Sadly, Garret Hedlund is a big charisma vacuum at the center of the movie, but it’s hard to know how much of that should be attributed to an unconvincing performance versus the way he’s written as a generic action movie protagonist with daddy issues. He certainly seems more like the rich kid bullying people at his high school than the likable orphan who just wants his dad back, but the script does him no favors.
It’s a pathology that infects the rest of the film, only saved by some performances that elevate the characters beyond the material. Quorra, the secret “ISO” who’s being trained by Kevin Flynn, is the latest in a long line of underwritten female parts, but Oliva Wilde shows some sparks of humanity that make the character more memorable than she ought to be. The evil version of Tron is, much like his predecessor, underbaked by skating by on coolness alone.
The poster child for this “performer over character” is Michael Sheen’s Castor, a wildcard in the battle between CLU’s hegemony and a burgeoning resistance. There’s not much to him on paper, but holy hell is Sheen having an infectious level of fun here, vamping it up the whole time. He’s part David Bowie and part Joel Grey here, holding court with verve and whimsy in a way that makes him instantly stand out.
But despite the thinly-drawn characters and generic “We have to escape to save the world from this oppressive force” plot, there’s some unassuming depth to Tron: Legacy. The film is, at heart, a story of people reckoning with their creator. That’s personified by the three offspring, more or less, of Kevin Flynn.
The first, obviously, is Sam, Kevin’s biological son, whose development has been plainly affected by his father’s absence, and whose arc comes when he self-actualizes and reasserts himself in the real world when he learns that his father didn’t abandon him and, in fact, sacrifices himself to save him. It’s not super compelling, given how flat Sam feels as our protagonist, but it’s enough to pass muster, especially when Bridges is carrying their scenes together.
Sam’s counterpart is CLU, another being created in Kevin’s image, but one who resents the man who made him rather than misses him. CLU takes his “create the perfect system” mission to Asimov-like extremes, eventually turning on Kevin and Tron in the process. But the substance comes in conjunction with the vague notion of Users as gods from the 1982 film, with CLU representing a “God is dead” rejection of that notion and desire to overcome the “cage” he feels he and his kind have been placed in by their creation.
Somewhere in between is Quorra, a member of a new digital species that Kevin didn’t create exactly, but which emerged naturally and spontaneously from the conditions he created, there to revolutionize the world. There’s cosmological significance to all of this, adding an undercurrent of commentary on creation and legacy that adds ballast to the film’s dayglo adventures.
Hell, Tron: Legacy even presages Star Wars: The Last Jedi in its framing of Kevin as something of a chastened Jedi Master here, still capable of great feats but more apt to remove himself from the situation than try to rectify the fascism that’s overtaken the world. He apologizes to the villain and creates the opportunity for his erstwhile students to escape and surpass him in the process, a surprisingly touching moment given the light characterization and clichés that preceded it.
It’s ironic, because much of Tron: Legacy feels indebted to Star Wars from the turret-blasting dogfights, to the duels between glowing weapon-wielding masters, to the omnipresent daddy issues that suffuse everything. It also returns the favor and borrows a great deal from The Matrix, not just in terms of style, but in the sense of a dystopian digital ecosystem replete with oppressive forces and half-magic/half-philosophical counterparts and scenery-chewing wildcards in the mix.
That’s the stunning thing about this film. It synthesizes its various influences, including the original movie, into something that fits a modern approach and advances from where its predecessors left off. There’s still plenty of clichés and empty calorie moments of spectacle, but those moments wow, and Kosinksi adds just enough weight to the proceedings for these events to feel meaningful on their own terms. Late sequels are a tricky business, but with its brilliant texture, tasteful homage, and contemplative take on creation, Tron: Legacy is the upgrade we’ve been waiting for.
This one has a far better plot than the original and everything else is also improved slightly. I don't get why everyone was bitching about it when it came out.
