When you order a pepperoni pizza and they deliver a pepperoni pizza, do you complain they didn't serve you filet mignon? This film is the pepperoni pizza of action films. If you want an action film, this has got it. It's not especially new or revolutionary or poetic, but at least it's got action from beginning to end which is more than many other action films of late.
Harley Quinn! Harley Quinn! HARLEY QUINN!
Why are you rating movies that haven't even been made yet?
Twilight becomes both much more funny and much more bearable when you are familiar with the genre and take it as the film equivalent of a shōjo manga or otome game, including all the same tropes. Under these criteria, it's actually a pretty fun movie.
Hot Take: If you can tolerate James Bond movies but this one somehow makes you feel weird, perhaps it's because you're more used to or more comfortable with male fantasies of sexual desirability. Either way, I used to hate Twilight because I felt superior to all the stupid girls who liked it. Now I just accept it for what it is: wish-fulfilment. Sure, Edward would be a creepy stalker and borderline abusive if not for story mechanics that tell us he can be trusted because he's a good guy, but that's the beauty of fiction: in real life there's no such thing as "good guys" and "bad guys," but in stories, there is. Similarly, James Bond would be a serial sexual harasser if not for the fact that all the women he encounters are super into him, but again, that's the beauty of fiction: they always are, and we know it's okay for him to be a dick sometimes because he is, you guessed it, a good guy. And yes, there's some weird puritan ideology here about the dangers of male sexuality, but that's still a hundred times better than for instance the subtext of Bram Stoker's Dracula (which, funnily enough, is about the dangers of female sexuality).
So, once more for the people in the back: Twilight is silly, implausible, and often ridiculous. And that's absolutely okay.
That being said, things I like about this film: the great way in which it captures teenage awkwardness (which I find hilarious and at this point have to believe is intentional); the fact that Bella just accepts he's a vampire because it's the most logical conclusion, and there's no drawn out "I can't believe this guy stopped a car with his bare hands, I'm going to tell everyone about it - oh no, no one believes me!"; the quotability of so much of the dialogue (coming close to the SW prequel trilogy in that department); the absolute dead-pan way in which everyone delivers their lines ("It's like diamonds. You're beautiful." - "Beautiful. This is the skin of a killer, Bella."); The way literally no one looks like they want to be there; the fact that Bella does not seem to be able to fully close her mouth; the implication that vegetarians are "never fully satisfied"; Seemingly endless scenes of piggyback rides (now I finally know why they never actually show how The Flash carries people - it just looks so fucking weird); the shot of Bella's father rolling his friend in the wheelchair right in front of the stairs leading up to his house, followed by a cut so that it's never explained how he actually got inside; the fact that Bella just seems absolutely chill with everything ("I don't sleep." - "Never?" - "No, never." - "Okay.").
Things I don't like about this film: how everyone takes it so goddamned seriously. Oh, and that there is absolutely no instance of "What are you?" - "A waitress."
It's easy to call Oldboy a movie about a revenge. It is, after all. Lee Woo-Jin wants revenge on Oh Dae-Su, Oh Dae-Su doesn't realize it for much of the film, but he wants revenge on Lee Woo-Jin. And each man is changed tremendously in the process. Lee Woo-Jin is not the nerdy photographer we see in flashbacks, but a suave millionaire who exacts his plan in style. Oh Dae-Su is not the pudgy lech we see causing trouble at the police station in the film's beginning, but a fearless fighter and nigh-detective with real purpose in his life. And yet, neither of them is better for it.
What's striking is that the spark that begins this conflagration is so tiny. Works like Match Point and Breaking Bad have toyed with themes about tiny events and small coincidences having outsized effects on people's lives. But Oldboy outpaces them on this front. Oh Dae-Su is almost done with his school, moving on. When he sees two people fooling around by chance, he absent-mindedly repeats the gossip to his friend, barely even aware of who they were or what he was seeing. And this small action led to innumerable deaths, torture of the living both psychological and physical, and irrevocable changes for Oh Dae-Su and the lives of the people he's touched.
The hollow consumption of revenge has been examined by more than a few works, stretching back at least as far as The Scarlet Letter and the name-checked Count of Monte Cristo. But there's something bitterly ironic about all this fuss, the entire impetus from the film, beginning with some punk kid thoughtlessly relaying some vague information about something he saw but didn't really process, appreciate, or care about. The film drives the irony home by having Oh Dae-Su scribble a list of his possible enemies in his journals, and have his best friend mention the hundreds of people's lives he's ruined, and instead of the revenge stemming from his many misdeeds, it's from an offhand comment that, unbeknownst to him, had a butterfly effect.
I think that's why this film stays with me a bit. I think it's why, beyond the twists that give it a memorable "holy crap" moment, the bloody end stands out so much. Because the entire enterprise is framed as so empty, so fruitless, so damaging to all involved. Lee Woo-Jin is desperately trying to rectify the grief he feels for the loss of his sister and lover. And yet once he has, once his plan reaches fruition, he asks what he has to live for, imagines her death once more, and kills himself, laden with the realization that all his grand plans cannot heal those wounds.
And he puts Oh Dae-Su in the same position, realizing that his quest for revenge was just as much a sham, that he's done more damage by becoming this monster than if he'd simply died, or gone to live his life, or never bothered to go on this Herculean (or Batman-esque) attempt to get to the bottom of what happened. That's why at the end of the film, he asks to forget, he asks to wipe away the revenge, wipe away that past rather than let it linger with him, to clear his heart of the anger and scars inflicted upon him over the past fifteen years. And all of this, every last bit of it, begins with a brief word to a gossip that the original informant didn't even remember. The absurdity of it, the senselessness of it, lingers far beyond the shock of the film's reveals.
Despite that, it's a film that could run on plot alone. The story of a man trapped without knowledge of why or by whom, who is freed and sets out to find his captor, works at an elemental level to rope in the viewer. The opening segment depicting Oh Dae-Su's is enthralling as a psychological experiment, making us wonder what it would be like to go through something so isolating and dehumanizing. It puts us on Oh Dae-Su's side as we too wonder who would do this to him, why they did it, and hope that he gets his revenge. There's a relentless momentum to the film, that parcels out these discoveries well along the way, while guiding us through Oh Dae-Su's maladjusted reentry into the world.
Park Chan-Wook's direction adds to the atmosphere of the film with his deft camera work and creative choices in presentation. The film is bathed in dingy, Fincher-esque greens and blues that convey the grittiness of the proceedings. While the long-take fight scene is the most notable visual flourish in the film, Chan-Wook uses a great deal of creative framing to convey the emotions of his scenes, from layering Dae-Su, Woo-Jin, and the picture of Woo-Jin's sister in the same scene, to the transitions that blend one scene into another.
There are, of course, those shocking reveals. Watching the film for the second time takes away the jaw-dropping reaction at the true identity of Mi-do. (Who, on second watch, feels less developed than I remembered). But to the film's credit, the twist still works on rewatch because of the effect it has on Oh Dae-Su. His aghast response, his near insanity that once again throws him into vacillations between seeking pity and mercy and making threats and vows of retribution, while over the top, still has power even if the twist itself is muted.
There's a degree of magical realism to Oldboy. The idea that Lee Woo-Jin could pull off his convoluted scheme even with the seemingly unlimited resources at his disposal, that hypnosis could work as well and as clearly as depicted in the film, that all the players would play their roles as necessary for everything the fall the way they did is more than a little unrealistic. And yet it works because more than anything, Oldboy feels like a parable, a fable, rather than a story that aims towards realism.
It is a fable about revenge, taking whatever liberties with plausibility it needs to in order to thread the needle of its message, of the hollowed out emptiness of anger and revenge and its inability to make up for loss. The tragedy is amplified by the nigh-random incident that sets it all into motion. But Oldboy is about more than revenge. It's about the compromises we make, about the lies we tell ourselves, about the way small events can shift the tides of lives, and about the people we can become when the baser elements within us--The Monster and the Calculating Avengers--consume us.
I'm 27 and I just saw this anime for the first time. In fact, it's the first anime I ever saw and I only watched it because a friend kept telling me how great it was. It had been sitting on my shelf for over two years and last night I figured: what the hell, let's try it.
This movie blew me away. It so perfectly captures the innocence and the exploratory nature of childhood. It enables you to view an ordinary day through the viewpoint of two ordinary young girls. It shows how boring we adults are, and how much fantasy, discovery, emotions and playfulness we have lost since we were kids. There's no macho behaviour, no bad guys, no evil to beat, just two kids growing up in a normal life, but extraordinarily presented.
A perfect coming-of-age movie and one of the most impressive movies I've ever seen. Already one of my all-time favourites. If the rest of Hayao Miyazaki's films are anything close to this, he will have a new lifelong fan.
People who find this movie patriotic obviously cant read the title...its called AMERICAN sniper...im from Europe and cant see why americans are so against this movie. Its a tribute to the man and all those who didn't make it out of various wars. I find this an amazing movie. Not the best picture I've seen from the Oscar movies but its so much more than that
This is such a wonderful movie. I can't remember the last time I saw a movie that went from being so funny to so sad but even it the saddest parts, it still finds a way to be funny. Everyone is great in this especially Kumail and Zoe. Their chemistry instantly makes us root for them to be together.
the first movie is slightly better but this one's still aca-awesome!
Do you think I can have one more kiss? I'll find closure on your lips, and then I'll go. Maybe also one more breakfast, one more lunch, and one more dinner. I'll be full and happy and we can part. But in between meals, maybe we can lie in bed one more time. One more prolonged moment where time suspends indefinitely as I rest my head on your chest. My hope is if we add up the "one mores" they will equal a lifetime and I'll never have to get to the part where I let you go. But that's not real is it. There are no more one mores. I met you when everything was new and exciting, and the possibilities of the world seem endless. And they still are... for you, for me, but not for us. Somewhere between then and now, here and there, I guess we didn't just grow apart, we grew up. When something breaks, if the pieces are large enough, you can fix it. Unfortunately sometimes things don't break, they shatter. But when you let the light in, shattered glass will glitter. And in those moments when the pieces of what we were catch the sun, I'll remember just how beautiful it was. Just how beautiful it'll always be. Because it was US. And we were magic. Forever.
This is the reason I don't accept many invitations to social gatherings. They may appear to be innocent but there is always an agenda by the welcoming host. This is a great thriller, lulls you in and then grabs you by the balls and squeezes until you cannot bear any more tension.
Well...
I'm feeling a bit awkward amongst those other opinions...
Actually, I really enjoyed this movie : the plot is pretty simple but there are some good laughs and the overall feeling is pleasant.
I'm reviewing this with some time between now and the moment I saw it, and I don't have an awesome memory for this kind of thing, but I must say I spent a good evening.
This is neither overcomplicated or hollow, this is just a simple and efficient plot, I suggest you see it if you want to make your own opinion.
Amy Schumer shines in this original narrative penned by the comedian herself. Trainwreck is crude, blunt and full of pure laughter and a little heart. The film's appealing leads along with its surprisingly comedic athletes help highlight the credibility of Schumer and make this one of Judd Apatow's best direction in years.
The end put quite the smile on my face.
I have not laughed this hard... I think ever, of a stand up comedy. I was honestly laughing out loud and making weird noises at her punch lines. Thank goodness no one else was home.
Even though she's older than me, she is pretty relatable being an asian woman like myself. I really enjoy her drama and ways of exaggerating (and I'd like to say, as a feminist, even though she makes fun of feminism, she does it tastefully and very light so I don't find her jokes offensive. I loved it.)
To anyone who wants to see this, do not watch it with your parents. But watch it with your friends, it will be a laugh! :)
Studio Ghibli has a way of making you grow fond of a place or a house. The end was unexpected but it was heartwarming !
Miss You Already tells the story of two live long best friends, who went through everything together. The story plays out around a time Milly and Jess both go through their difficulties, Jess is trying to start a family with her husband while Milly just found out about her cancer. The movies shows their struggle with certain situations as well as the relationship they have with each other, their husbands and their families.
I went to see this movie with one of my friends. When me and her go to the movies we most of the time go for romantic comedies. We chose this movie without knowing what is was about, and it hit us right in the face, real hard. I didn’t feel like I was watching a super great movie, but I’m gonna be honest with y’all, there were some tears. The acting was great. Drew Barrymore did a great Jess, she was an interesting character. Super sweet with a total different lifestyle from Milly. I think Jess took a lot of shit from Milly, and I was just waiting for her breaking point. I wasn’t entirely sure how that would go down, but it totally fitted her character and Drew did just great. Milly on the other hand was a character I didn’t like from the start. Of course she’s a mighty strong woman who made some serious mistakes but in the end she’s just herself, which I thought was beautiful. The way she even made jokes when all was almost over, I think that showed her real character. Dominic Cooper did a great job as Kit. He made a transformation throughout the movie, none of the other characters did. The way he helped Milly out with everything and how he was in their relationship in general was very wonderful.
The movie had a lot of “shakey closeups” in it. Which I see more often in these kind of movies so I guess that’s a thing. It made it feel more real and gave you time to really think about things I guess, but I think there were a few to many in this one. I really enjoyed the more personal shots, one of my favorites was when Milly just came out of surgery to remove her breasts and she’s facing the window, that was a really pretty shot.
Miss You Already is a beautiful movie about friends who go through a tough part of lives together, filled with laughs and tears. I enjoyed it but it wasn’t the greatest movie ever made.
I loved the movie up until like 2 minutes before it ends. The fact that it was all a dream completely screws it up - I'd loved the epic ending of "I made a mistake".
It's funny how the actor called Finn does not play the part of Finn in this film. :P
All kidding aside, this was a highly addictive film that surprised me a lot. When I jumped in I expected a bad plot based on outrages decision making and nonsense. And even though there are still points of critique in that matter left, overall this does not affect the film in a way it aggravates the viewer.
The plot setup is basic but not clichéd, and from there on it uses every scene carefully to set up a plot with some unexpected twists. You can see the creators jumped in this project and seemingly were dedicated to what they were creating. Since (almost) every scene has it's value and is worked out very detailed (IMDB only has 1 goof on the movie so far. Yes it is an indie movie, so it won't have as much engagement as others, but still.)
Any plot that has to do with time travel and the like is hard to set up without having paradoxes, and there are few films who manage to handle them correctly. This one isn't perfect, but it does a nice job in keeping them very limited.
The first thing that got me thrilled was the music used in the movie. I am already a big fan of electronic music, but it is hard to use in film since it is more often than not disruptive in its presence. Not here, it balances some hard-trance scenes with more subtle spheric suspension building sounds. It backs the claustrophobic experience of the small set, and magnifies the surrealism of science fiction in a sublime way.
As the film progresses you get sucked in more and more into the story, especially after the 2nd act where the character development of the main persona is getting really interesting. This 3rd part of the film is by far the best part, with the biggest twists and captivating ordeals the characters have to face. I won't say much about the ending to prevent spoilers, but it left me hungry for a sequel, which will most likely never come. I am still not sure if that feeling was a good or bad thing.
I will be rating it at a 7(+) for now, but I am going to watch it a second time, because it is definitely worth it.
Really liked it
The movie doesn't just pull on your heartstrings, it wrenches them from you and squeezes you till you cry. It can be manipulative, but as somebody who has seen God's miracles up close, this has a great message for believers and non-believers alike.
Click on the TMDb link in the info section. We pull all our info from there.
Scary and weird!!
Some people do what they gotta do...they just don't realize the consequences that comes with making those choices. Good movie nevertheless.
Super-awesome animation by talented young Japanese animators, goofy characters, magical fights and dragons, what could be better? A lot of fun!
Yeah, whoever thinks comedy applies to this film must have a sick sense of humour :(
Great movie with some nice twists.
Well that was....interesting. Good movie to watch with your significant other.
I made it all the way through the movie, and I was interested the whole way through too. I'm not sure why people think this movie is that bad, it's really not. It's clearly not the best movie ever, but it's interesting to watch and you'll probably enjoy watching it and have some laughs too.
I sum it up to basically this: hot bitches; crazy bitches; keanu trying to show emotion.
This was a nice watch, and Charlize Theron and Emily Blunt's performances were great. Unfortunately, the movie lacked any 'special' or memorable moments, which shouldn't have been that difficult to achieve in such a fantasy-filled world.
