After a long time, finally we can see the great Robert Downey Jr. do something different than the superhero Iron Man, or even the very intelligent but insane Sherlock Holmes. Nothing against, as the success of these two blockbusters owes much to his talent and what he gives to his characters. In The Judge we can see him doing a deeper and more serious role, never losing his ironic side and that funny that always makes us laugh whenever it is necessary. Here plays a character that can be perfectly adapted to real life and I confess that I've been missing to see him again in a different register.
The Judge is divided between the courtrooms and the family drama of a family marked by problems from the past that are still unresolved. Attorney Hank Palmer (Robert Downey Jr.) is forced to return to his hometwon in Indiana, 20 years later, for the funeral of his mother. Hank always had problems with his father (Robert Duvall), a very well respected judge in the city, and during his short stay his father is considered the main suspect of an homicide. Hank is forced to help his father to find out the truth and eventually re-connects with his brothers and even with some old acquaintances of the small town.
The film is not simply a story about courts, laws or criminal justice, but a family drama where the characters are going to rediscover themselves, learn how to forgive and respect each other. The emotional side of the story is more important than everything else, and despite the numerous clichés that the film may have, they result in a perfect way to what the film is supposed to give us and it never disappoints.
It is certainly a film of great performances! The chemistry between Downey Jr. and Duvall is really great and all their scenes together are very intense. The entire supporting cast does a very good work, but is mostly Downey Jr. and Duvall what make The Judge to be not just a drama of conflict between father and son, but a real portrait of many families, sincere and honest that has a slightly different ending than we are expecting.
One man and his car. The man's name is Ivan Locke and his life is going to change completely during an hour and a half trip in his car while he talks on the phone via bluetooth with several people. Soon we discover the destiny of the road trip and throughout the film we understand and follow this man's issues.
Tom Hardy is an actor of excellence so even before I saw the film I already knew that he would give all of him as he always does. This film is not quite a monologue but is close to it since the only character we see is Hardy's. He always shows the right emotions no matter the difficulty of the role, and this was hard work. He has the capacity of keeping us interested and using the right tension and despair he is able to carry the film. We really feel connected with Ivan Locke. This guy needs more praise than he gets, so underrated and so great!
This film is definitely good but we do not see what it sells. For me it was a solid drama and not an exciting thriller. We watch a man trying to do the right thing. Against what is heart wants in his head he believes that he needs to assume a mistake not to be haunted by ghosts of the past that lead to the less happy memories of his childhood and adolescence. Another thing that bothered me in the story was the writer's (which is also the director of this film, Steve Knight) insistence on what I am going to call the "concrete talk". I understand that he wanted to prove that Ivan Locke is very passionate about his work but I felt that I do not needed so much of that.
The best thing about it (Tom Hardy's performance apart) is the fact that besides caring about the main and only character we see on screen it made me also cared about all of the other characters and we never see them! We feel their emotions and that was really cool.
Locke is definitely a different film with an interesting cinematography and editing. Doing a film only set in a car on a highway is not an easy thing to do and not even because of that we feel less power but the misleading plot might be your major disappointment.
While the trailers and adverts might make this seem like it's a happy romp, it's not. Believe me it's not. This, in my opinion, is a very sad film. It took me by surprised me and made me remember aspects of my childhood I don't normally keep at the forefront of my mind. This is despite the comedy and the happy joy-joy attitude seen for about 50% of the film. I really related to Riley, so much so that I actually cried quite a bit at the theatre. I felt a bit embarrassed but I really couldn't help it. It wasn't the acts in the film that made me sad, it was the explanation afterwards. Riley's motivations. Hearing it in words after seeing everything broke me. A Disney film hasn't made me cry like that ever.
You absolutely have to see Inside Out. But, don't go into it looking for it to put a smile on your face after a bad day. It's a really emotional ride. However, the message in the end is really worth it. It's a message that we should really get across to the children of today. I wish the message being put forward by this movie was being aimed at children back when I was a kid. It would have really helped. It would have indeed.
[Slightly Spoilerish] Without even having seen David Robert Mitchell previous movie "The Myth of the American Sleepover" I'm quite certain that both movies have some similarities despite the first one not being a horror movie at all. I also think that is one of the main factors when it comes to this film, it doesn't feel like your typical horror movie while still showing off it's influences.
The big bad here is just "It" - a being taking the form of someone known to the victim who is slowly but steadily walking toward it's target. The only way to get rid of it is to have sex with someone else but if whoever is on top of it's list dies it falls back in the chain. Simply put: If you can't deal with it, fuck someone else and better look for someone who can either handle it or has a high chance of passing it on too.
Unlike many teen horror movies the girl who "gets" it and her group of friends are written more realistically and go about it reasonably. Unfortunately it seems that no one in the curse chain was creative enough then despite it being not completely dumb there seem to exist more than enough methods to keep "It" in check.
Nonetheless, it's a solid movie relying more on atmosphere than a body count or jump scares.
Legendary!
G, I love this movie.
Here are 15 lessons I learned from Kung Fu Panda 2
01 Never lose your sense of humor.
02 Nightmares are visualizations of your inner fears.
03 We must do, what we are afraid to do.
04 If your heart is filled with hate, it can never be filled with love.
05 Live in the moment. The here and now is the only thing that matters.
06 If you are angry, it doesn't help to release it on a pole or people next to you.
07 The problems we have, are only (reflections) inside our self.
08 If you want to find inner peace, you need to let go.
09 You are yourself your biggest enemy.
10 When you accept your past & accept who you are - you can access your full potential.
11 Anything is possible (if you are in inner peace).
12 Nobody can tell you who you are, you have to discover it for yourself.
13 Revenge can blow up in your face and your victory will be short lived.
14 Everything happens for a reason - even pain will result in meaning (loss of parents -> dragon warrior).
15 Never give up.
Poor Things is very pretty, I’ll give it that much. Colors pop, and the watercolor, blurry sky and the scaling but condensed environments of Lisbon and Alexandria both convey the miasma of Bella’s mind quite well. How the background blurs in our young memories and how we remember all the buildings and places that looked large over us but so rarely the walks to them. Those work for me. So much of the rest of the film doesn’t.
I see what it’s going for- it’s hard not to. A journey of womanhood through the conceit of a child’s brain in a woman’s body, when women are treated as children and property to begin with. But it’s so fucking weird, with that conceit, to devote so much time to sex. Sex is an important part of being human for many people, I’m not denying that. But the attention it gets here throughout compared to brief, paltry scenes of Bella reading, seeking knowledge, having an interest in medical science and surgery is disproportional. Especially when the film wants to play her coming home and following in Godwin’s footstep as a culmination of her journey when it’s a facet of the film that barely gets any play in comparison. Angelica Jade Bastien, whose Variety review you should all read, brings up how in a film ostensibly about a cis woman and her relationship with her body menstruation does not come up once. It’s so telling where the film’s true focus lies.
And yes, sex can be beautiful, and conversely so can sex scenes. But the ones here are done dispassionately yet voyueristically. There’s no interiority, no sensuality, no sense of emotion and character felt through them. Compared to films like The Handmaiden they are sterile in heart if not content. It’s a big swing to go from black and white to color, and I can see sex being the impetus for it, sure, but when it’s done like this I don’t buy it. It’s interesting to me that her first time having sex is portrayed like this, with penetration until the man comes, thrice over, and yet her first time with cunnilingus is off screen. I feel like all the sex in this film is similarly narrow and lifeless.
None of what this film is trying to say is new, but much of it is muddled. It wants to rail against the entitlement of men, how they see women as property, how they want them to be exciting and adventurous but only in service of them. And yet it gives Max no grief at all for falling in love with. A child. Literal child, this is not a metaphor, it’s a child’s brain. And marrying her but refusing to have sex with her until marriage because that would be taking advantage, as if marriage would not be taking advantage and has not been used as the ultimate control. On some level the film condemns this, but only in the opposite direction, as part of Emily leaving Max is her frustration over not having sex. It’s baffling that the film seems to take the viewpoint that we ought to let children consent to sex with adults, that it is part of their development and journey to personhood. The film is similarly forgiving to Godwin, who used a woman’s body in a way she would very likely not have consented to all while the film extols a woman’s choice and ownership of her body.
Everything the film has to say about the nature of man and people, about women’s place in society, about sex work, etc, is rote. Nothing here is new, and nothing is heightened by the core conceit. It’s so surface level. And the cast is game enough. Dafoe is Dafoe and that’s always a good time, but I wouldn’t call this one of his greatest roles. Carmichael, much as I love his standup, just is not working here. Stone and Ruffalo are acting for the back seats, and while that has its moments of charm, it’s too much for most of the runtime. And Stone is just. She’s playing into ableist stereotypes for so much of this performance. The film drops the r slur and we’re just gonna pretend that Stone isn’t doing an insulting caricature at the same time? I don’t even want to delve into all the questions raised by the mental disability angle, others could do that better than me, but it’s another level of thoughtlessness and surface level depth.
The score is similarly cloying and overbearing. It insists on a scene rather than being a part of it. It doesn’t enhance it or complement it, it beats you over the head with how the scene is meant to make you feel. I could enjoy the sound of it in isolation, but as a score it’s distracting more than anything else. It’s a bit surprising to me how much this film has been praised as outside of the production design, I don’t see it. I just don’t. For me, this is as much a misfire as Barbie, if not more. Poor things.
As far as I am concerned this is the ONLY version of Batman v Superman: Dawn of Justice that exists. That other thing that Warner Bros. released in theatres is good but isn't a patch on what Snyder originally created. Snyder took an awful lot of flack for the theatrical release, but whatever you think about him as a film maker, you will have sympathy for him once you see how the studio took a hacksaw to his movie. This Ultimate Edition isn't simply another scene or two which adds 30 minutes but doesn't change the movie, it is a sprinkling of expansions to scenes throughout that solve its much maligned choppiness and lack of flow. Apart from the improved editing which allowed the film to breathe, this version of the movie makes you care about the characters more, especially Superman. Following the journey of Clarke Kent in more detail, seeing him actually do some investigative journalism, and understanding his motivations makes a huge difference. This is especially the case in his death at the end of the movie. Without earlier shots of him doing "Superman" things such as helping people after the Capitol Building bomb, as was the case in the theatrical release, I simply didn't care when he died. With the added tidbits in the Ultimate Edition, Supermans sacrifice brought me to floods of tears. Even though I knew what was coming, the gut punch was overpowering! This character expansion also benefited his nemesis Lex Luthor, who with just a few additional scenes (that he isn't even necessarily in), transforms from a spoilt brat into a criminal mastermind. While it was previously suspected, it now becomes clear that he has his fingerprints on everything, from the Africa scene by blackmailing the witness, to intercepting Wallace Keefe's cheques from Bruce Wayne, and Keefe himself being an unknowing puppet of Luthor carrying a bomb in the led lined wheelchair so Superman couldn't see it. Overall, my recommendation if you haven't seen Batman V Superman yet, or if you saw it in the theatres and hated it, is to give this version a watch. I loved it.
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.
Everyone keeps suggesting there is a paradox concerning the 5D future humans and their ability to save humanity in the past. It's really not a paradox at all. Everyone assumes humanity survived to ascend to the 5th dimension but how could humanity exist in the future if not for the actions of Cooper.. who was guided by future humans (begin endless loop).
Did anyone ever consider the other important character in the movie? Amelia Brand carried on with the rest of her mission (thanks to Cooper). I postulate that Brand used the human seeds as intended and set up a colony. A colony that would thrive and eventually evolve beyond human. Thus Earth is of little importance, and may have indeed died. These colonists, and the generations that followed, would have been told the story of a great man (Cooper) who saved them from extinction. With the ability to manipulate space-time, they would pay homage to their hero "God" by helping him in the past so he may fulfill the mission most important to him, to once again see his daughter. Plan B worked beautifully. But the 5d humans, having the power to bend space-time, decided there's no reason why Plan A had to fail.
The first 90 minutes of this movie are absolutely fantastic. They build up Marla as such a despicable, horrid creature that I was actively begging for the Mafia to get sick revenge on her.
The last 30 minutes are Season 8 Game of Thrones level of terrible and ruin what was about to be one of my favorite movies this year. The steps they want to strain credibility were insane. Firstly her surviving after being drugged and put in the water were questionable. The mafia failing to kill her girlfriend was just...how in the world did they fail killing that girl?
Marla just fell in the water (and I'm not going into the 3 minutes she was able to kick in a glass front window underwater and maintain holding her breath), but she still has her wallet to buy things at the convenience store. She gets to her girlfriend literally just before the place blows up, which she had no control over because she literally waited for a taxi.
They complain that they have nothing left but the diamonds, and but they also apparently have a handy wig, a taser, some morphine knockout drugs to pull off some James Bond type of killing of Peter Dinklage. And then when Dinklage survives, he agrees to be her partner. Look, I get she's smart and was gonna kill it with the mafia. But the shit she did was unforgivable, and it strains my belief that Dinklage wouldn't just go out and torture her the first chance he gets. They did not present him as being a "money first" guy, so him overlooking the mother being thrown IN A PSYCHIATRIC WARD is nuts.
Look, I enjoyed 70% of this movie. It was an excellent horror thriller to that point. I would've loved if this movie went the route of Dinklage and the mob being mostly outsmarted by the crazy, maniacally, absolutely dastardly woman. But that movie NEEDED to end with Dinklage personally killing Marla. No if, ands or buts, anything but that ending ruins the point they spent the rest of the movie going for.
It really hurts me to trash this movie, because Pike was fantastic again in her role as a villain and Dinklage really made me want his character to succeed. But that ending was the worst type of cop out possible.
The meanest thing I could say about this movie is ‘Has extreme Don’t Worry Darling energy’.
I have never seen a movie more desperate to justify itself. It’s trapped in this endless neurosis over what it is- a blockbuster Barbie movie in 2023 by an acclaimed art house director that is fun but also deep but also earnest but also self aware but also but also but also. Every point it raises it brings up a counterpoint to before the audience can, every frame is trying to prove it’s not just product but art. It’s never just Barbie. It’s never confident or even comfortable in its skin. You cannot for a second be immersed in Barbie because it’s not a story so much as a visual dissertation without a central thesis, it’s a student film riffing on the big dogs hoping it’s underdog audacity will carry it but given a budget in the millions. It so desperately wants you to like it, to know it’s in on the joke too.
Everythng is an ouroboros here: an endless loop of argument and counterarguement feeding itself. Isn’t it shitty how the Mattel boardroom is full of men? Ah, but isn’t it cool how Mattel’s acknowledged it with this niche? And it’ll mythologize Barbie’s creator but uh don’t worry she did tax evasion we know that, now let her impart into Barbie the experience of all women. Barbie helps women, Barbie hurts women, Barbie is told to be everything so isn’t she just like women, but it is better to be a creator than the idea, and in the end, hasn’t Barbie helped all these women? Oh uh why is this blonde white Barbie the centerpiece of it all and helping not only her diverse Barbie friends but a Hispanic woman and her daughter? Don’t worry we’ll have the daughter call her a white savior! But don’t worry we’ll have the mom say she’s not! It’s fascinating to watch, honestly. It’s a film that wants to prove to you so so bad that it works but it doesn’t and it knows it doesn’t and it knows you knows. It’s Gerta Gerwig wrestling with taking this job for an hour and a half.
The cast is more than game and able. Margot Robbie is doing her damndest to find the heart and soul in this role, and there’s one scene with an old lady near the end of the first act/beginning of the second that actually works, for just a moment, more than any of the big third act soliloquies or montages with emotional ballads. And as someone who’s seen Blade Runner 2049 and Drive, this is the best Ryan Gosling performance I’ve seen. The man commits and delivers a surprisingly compelling and entertaining antagonist. The movie can’t quite reconcile what he’s done with his ending, or tie it into the themes- is Ken letting go of Barbie and the need to define himself for or against her symbolizing the need for men to do the same, and if so, why play it so lightly and sympathetically?- but that’s not his fault. And the supporting cast are entertaining, but you just can’t have big laughs with a movie that feels like it’s constantly checking in the corner of its eye after every joke to see if you’re laughing, grin stuck in place. It’s not as funny or as smart as it wants to be, and the sad thing is, it feels like it knows that too.
There is some great set design, cinematography, dazzling choreography, popping colors, and some fun high points. But I can’t imagine many kids liking it. And we’ve seen how conservatives have taken this movie. And anyone’s who’s progressed beyond the politics of. Well. A feminist blockbuster Barbie movie will find it cloying or condescending or just incredibly basic. It’s aimed at a very specific crowd who will buy what it’s saying, the liberals who see corporate feminism as progress, who agree that it’s just about a little change sometimes, who are ready for something just a little more complex than a SNL sketch. I don’t regret seeing it, because I was deeply engaged the whole time seeing it struggle at war with itself, in pain for its whole existence. It’s not a boring movie by any means. It wants to say everything before the audience can say it first. It’s the endpoint of The Lego Movie and Enchanted- the corporations interrogating and justifying themselves, and the cracks in this formula are too large to ignore. It wants to be so much, and the attempt is as darkly mesmerizing as a fly thinking it can somehow and someway metamorphize into a butterfly and suffocating and struggling in its makeshift cocoon, but this is one Barbie that fundamentally just cannot break out of its box.
