Is only me who thinks a brilliant mind would never use only cards on a access control system?
It's a good docu-drama that does things the way you should, there is nothing obviously wrong with it, but somehow the final product is only a good movie, not a great one, maybe because the focus feels wrong. It's not about the content of the story they are writing, it's not about the people who did horrible things, or their victims, it's a process story about how they came to write that great story, and everyone got themselves some awards. It's news media inside baseball.
I thought it was pretty good. Started off a little slow but once spot is on the scene it is hilarious. I watched it with no kids and in my 30s and found myself laugh out loud several times. Even had me a little watery eyed at places. I thinks this is definitely worth a re-watch.
The Good Dinosaur in 1 word: Bambisaur :-D
Beautifully imperfect. Disney is evolving and the effects are simply wonderful. I love everything about Merida - from her rough, take no prisoners personality, to her desperately wild hair. A must see for children and adults alike.
The Five Faces of RESERVOIR DOGS
:heart_eyes:
The opening scene introduces our characters, and even though we hardly learn anything about them we already feel like members of their little group. Hearing them discuss Madonna's music and tipping culture feels very down-to-earth.
Most scenes are long and contained, so the film feels almost theatrical in its presentation. Amazing performances and great dialogue move the film forward.
The overall story is like a farce or a Shakespearean tragedy, down to the ridiculousness of the plot and the lunatic characters.
A special nod to Steve Buscemi (Fargo, 1998) in probably one of his most intense parts. He absolutely shines as Mr. Pink and puts in a career-defining performance.
Harvey Keitel (Thelma & Louise, 1991) and Tim Roth (Rob Roy, 1995) put in the best performances; they're hilarious, furious and tragic all at the same time.
The furious and energetic fighting between the characters is absolutely a joy to watch and forms the basis of the movie's plot.
Quentin Tarantino's (Pulp Fiction, 1994) feature film debut contains many details that will later become his trademarks: sharp and quotable dialogue, distinct characters, lots of blood, pop culture references and sudden bursts of action.
:smiley:
Reservoir Dogs contains several moments of brilliance, such as Keitel and Buscemi screaming at each other, Mr. Orange's little story to his partners or Mr. White (Michael Madsen; The Hateful Eight, 2015) dancing around a cop while torturing him.
Interesting choice of story progression, in true Tarantino fashion. We begin with the aftermath and the mystery and end with everything leading up to it. It's the type of non-linear storytelling Tarantino is famous for.
The ending is bizarre, over-the-top and incredibly theatrical. It's not the most creative Tarantino ending but is definitely memorable.
:neutral_face:
The film is extremely slow, as the dialogue and performances move the plot forward. Many scenes drag out for so long, that you forget their significance to the plot.
The scenes set in the past with Joe are meant to bring some exposition, but aren't as interesting as the scenes where team members interact with each other.
The simple story is stretched out to an extent, with the script staying on the same subject matter for quite some while before moving on.
Half of the gang barely appear in the film, which is a pity, since it would have been interesting to get to know Tarantino's interesting characters a little better.
The overall plot is a bit of a disappointment. No big twist or surprise, very little to chew on or contemplate afterwards. There's little reason to revisit this film.
:frowning2:
//
:face_vomiting:
//
The Final Face: :smiley: // Good
O filme é ótimo! É uma grande adaptação do musical, com cenas cativantes. Retrata bem a vida dos mais pobres na França séc. XIX, suas revoluções, enfim. Está presente também o humor sensacional do casal Thénardier. Destaque para a cena espetacular de Anne Hathaway cantando "I Dreamed a Dream". Bom filme.
One of very few films that are perfectly casted, with great writing and great music. Don't know how many times I've seen this, but it never gets old. The chemistry between Deniro and Grodin is on the level of Riggs and Murtagh in Lethal Weapon.
A masterful movie that is quite unlike anything else Tarantino has made, all while being a Tarantino style movie.
Considering the very controversial and sickening nature of this story and how it can be sensitively portrayed everything about this film is outstanding and highly impressive. From the performances of the leading ensemble cast to the supporting actors it is clear the entire team of the ‘Spotlight’ film knew the importance of what they were making.
For the victims then and the victims now this is a testament to the absolute corruption, abuse of power the true helplessness and impotence of those on the lower rungs of the ladder.
All of this in a film with no sensationalism, no recourse to graphic detail, no deliberate emotional overloads. It is as if the film crew followed the Spotlight team around as their long and difficult investigation. As far as I can tell this film is truly authentic which is a rare commodity in a film these days especially those that are based on true events. The cinematography relies on a natural look and this gritty realistic feel to the ongoing investigation is as important to the story as the top-class acting on display.
Everything about this movie is outstanding -- the performances, the way the true events are handled, the cinematography. In this day of digital news, this movie makes us stand back and realize what we may lose in the way of investigative journalism as we slowly kill off print media.
Each character is portrayed very well and I never got the feeling that the story was preaching or too dramatic. The cast truly is an ensemble cast and no one actor pokes their head above the parapet shouting look at me, look at me. Mark Ruffalo clearly studied Mike Rezendes’ manners and way of behaving and Rachel McAdams gives her best performance to date. In this part of the review I could just list each actor and say how great they were but really looking at the cast list you know you are going to get good value for money, Live Schreiber and Stanley Tucci are in it for goodness sake. I was particularly impressed with how each character was given just a little background story beyond their life as a reporter to flesh them out, make them ‘real’, but not enough to distract, slow-down or make the film melodramatic. Other film-makers should take a long hard look at that aspect.
There is never a wasted scene or character in the film, nothing is sensationalised but the overwhelmingly powerful message is that this happened, was allowed to happen and then covered-up by those with the power to stop it – and worst of all is still happening and probably will continue….
Sometimes a film is more than just a film.
'All the president's men' meets the Catholic church.
Just as last time, I feel Jack Reacher falls a bit short when compared to the books. I have realized that comparing movies and TV to books is kind of hopeless in most cases, so I tried to keep an open mind.
It kinda worked. Tom Cruise is still very far from how I envision Jack Reacher, but since the story capture some of what Jack Reacher is all about, he gets a pass. So does the rest of the cast for that matter.
So...I have come to the conclusion that Jack Reacher is an ok way to waste a couple of hours.
Jack Reacher...yeah...well...Is Tom Cruise really tall enough to play a character that is described as 6 feet 5 inches tall in the book? Well...It worked...to a degree.
I'm a huge fan of Lee Childs Jack Reacher series of books. They are quite fun and it was with great fear I watched this for the first time right after it got out. I had a certain picture of what Jack Reacher looked like and how he behaved. Tom Cruise was so far from this image that I thought this would probably be total shit. To my total surprise...it wasn't all that bad.
The movie, as a whole, was a bit slow, the pacing was off, and a few things were left unexplained. And here comes the point...How can a movie that feels slow and sluggish manage to leave so many plotholes?
Anyway...Tom Cruise wasn't bad, the rest of the cast wasn't bad, and there were both excitement and laughs. If I hadn't read, and liked, the books I think I would have felt this one was a bit better.
The reason my better half and I rewatched this was to prepare for a viewing of the sequel. I'm not sure I would have done that otherwise.
If you haven't seen it, it's worth a look...especially if you haven't read the books.
Easily one of the most poignant and thought-provoking movies I've ever seen. It let me to examine myself in ways I never had before, and I hope someday to see the play it's adapted from.
I'm keeping this one short because I have zero good things to say about this horrible movie.
A Wrinkle in Time is extremely unbalanced, strangely devoid of tension, and very scarreted about the tone. With powerful colors, bright parttersn and exuberant children, this new look from director Ava DuVernay's on this story squeezes through time and space, not knowing how to land any of it. Relying on room-wide music to provide the missing emotional connection and plastering huge plot holes this movie is one hot mess from the first to the third act. There's no saving grace in this movie, not even the acting of Hollywood top actors like Chris Pine, Reese Witherspoon or even critically acclaimed newcomers Gugu Mbatha-Raw.
Every generation gets The Never-Ending Story they deserve, This is not that movie
2,4/10
There is a mantra I live by, if Maggie Gyllenhaal is in something watch it. Even a baked-bean advert. You'll see a great performance even if the product is not good.
Kindergarten Teacher is a very interesting film, it can literally be seen as a 'slow burner' as we are treated to Lisa's life both work and family and there is little that is remarkable about it with all the actors giving fantastic naturalist performances. So, if you are looking for intriguing action or drama from the get-go you really need to have a modicum of patience.
Eventually, Lisa crosses paths with Jimmy a strange five-year-old in her class, wonderfully played by Parker Sevak as good as young child can play a role, and here we start into a rabbit hole that Lisa should have avoided but due to her life just could not.
Your view as to what type of film Kindergarten Teacher really depends on the viewer, obviously this is true to an extent of any film, but in general you know a film is a horror, comedy or war film usually. But Kindergarten Teacher can sit comfortably in several camps. It is definitely a psychological drama, is it a horror-drama? Only you can decide and for me it shows tremendously skilled writing, directing and acting that leaves you questioning as the final scene closes. What did you just watch? How do you feel about it? That final line, for me Lisa was correct, her actions not so much but she was correct. That's all I can say because if you do watch this film and like it any more will ruin it.
For me there a lot of horror and thriller films that fall far short of the potential scares that this film produces with great subtlety and with all the scenery left unchewed and intact. A typical understated Gyllenhaal performance seems to have permeated throughout the film and it is all the better for it - although I am being disingenuous director Sara Colangelo clearly believes less is more - it looks as if she is correct.
After watching I found out this is a remake of a 2014 film of the same name, it would be interesting to see if this is the better film.
Kindergarten Teacher is a film that will make you feel uneasy the longer it goes on and will make you think about what you have just witnessed long after the final credits have ended. This film will 'get to you' I recommend giving it a go.
I can't hear Stuck in the Middle with You without thinking of that scene every time. There's some fantastic dialogue, good acting, and engaging storytelling. Tarantino delivers a great movie his first time directing.
The Earth is dying, and technology a luxury. People live as farmers for the most part to produce food for mankind.
In these times, the protagonist, a former NASA pilot, gets by accident into a progressive NASA program with the goal of finding a replacement planet for humankind.
Pretty slight spoilers (not much more than you likely know about the movie beforehand anyways):
A wormhole was discovered in the solar system, which alien forces have laid off and sending signals to the Earth. In the search of a new home for humanity, the team passes through and is going to investigate planets which scouts did discover before.
In-depth spoilers, better read only post-watching:
The first planet to find was pretty weird, I think. Because landing on there makes the time ratio 1:7, but this doesn't seem to count for the ship in the orbit of it? When you are so close to a nuclear star, it seems pretty unbelievable for me that that tiny distance difference would bear such huge consequences. Additionally, it looks like for each hour on the planet not only 7 years pass on Earth, but also for the ship in the orbit - Which doesn't make sense, especially considering it is near a nuclear star. This is more of a scientific note, it does not make watching the movie worse in any term.
I also failed to understand how the robot did fall through to Earth and how that did happen as well as him being "picked up by scouts", where even?
The ending is pretty creative, in any case, independent on how you think about it personally.
I think one among the best movies I have ever watched.
Rating: 10/10
When 1300s Matt Damon is beating a horse away from trying to mount a mare, screaming “NOT THIS STALLION”, that my friends is SUBTEXT
For a film with such an emotive and challenging subject matter, this is such a low-key and underplayed film. The filmmakers seem to recognize that details of how the Catholic Church dealt with both the perpetrators and victims of child sexual abuse speak for themselves and instead they have used this as a background to a film that celebrates the hard work and graft of old-school journalism. In the Internet age of 24-hour news cycles and social media demand, it's refreshing to see a story that focuses on the reality of investigative journalism and the teamwork involved - there are no rushes to meet deadlines, no villainous editor or board trying to thwart their efforts, no heroic writer who uncovers the truth and threats from those complicit in the cover-up amount to little more than vague attempts at justifying their actions. Even the eventual publication of the work is simply portrayed as another day at the office, though the final moments do hint at the larger picture that is so widely known now. As the film is about a team of people that worked on the investigation, it is also nice to see a focus on the ensemble of characters rather than on one or two, with only one moment of cathartic grandstanding from Ruffalo that feels a little out of place in the film as a whole, notwithstanding his great performance. But it is difficult to single any one out here - perhaps for a film that celebrates the team effort in bringing such a difficult story to light, that is somehow appropriate.
A story about two men and a woman written by two men and a woman in which the feminine gaze prevails, the "truth" is assumed from the beginning, so the other "versions" seem somewhat unnecessary. But there is a perfection in the representation of a medieval society so masculinized that it's difficult to argue, and it has an extraordinary contribution in the very intelligent soundtrack by Harry Gregson-Williams.
One of the greatest disaster films ever made, The Poseidon Adventure is an intense thriller that never lets up. In the middle of its transatlantic voyage the S.S. Poseidon capsizes on New Year's, leaving a small group of passengers to struggle for survival by climb through the bowels of the ship in an attempt to reach rescue. The all-star cast includes Gene Hackman, Ernest Borgnine, Red Buttons, Roddy McDowall, Shelley Winters, and Pamela Sue Martin. The set designs are amazing, and really give the sense of being in an upside-down ship. The special effects are also especially well done; enhancing the film by adding suspense and a sense of danger. The Poseidon Adventure is a compelling and ground-breaking film that set a new standard for the disaster genre.
Sometimes it's easy to forget that we spend most of our time stumbling around the dark. Suddenly, a light gets turned on and there's a fair share of blame to go around. I can't speak to what happened before I arrived, but all of you have done some very good reporting here. Reporting that I believe is going to have an immediate and considerable impact on our readers. For me, this kind of story is why we do this.
Excellent sci-fi movie that requires an active brain to enjoy it... But I still wanted to know more about Portuguese! D:
This is the second time I saw this. I remembered this as being a realy good movie. Seeing it today,opposed to 10 years ago, I think if you take away Denzels performance this is a decent but not awesome piece.
Well…another new Ridley Scott’s movie with pretty fine even great cinematography and lack of interesting story..even boring.
[8.2/10] It’s hard to talk about Arrival without spoiling the film. So much of what makes it more than just a well-done first contact story is tied up in its later developments. They recontextualize enough of the prior proceedings that trying to discuss the import or quality of the film without mentioning them is like trying to give someone directions without letting them know the destination.
But its premise is fairly straightforward. Aliens have come to Earth, in twelve ships scattered across the globe. Louise Banks (Amy Adams) a linguist, is brought by the U.S. Military to the ship in Montana, in attempt to help us communicate with the extra-terrestrial presence. With the help of theoretical physicist Ian Donnelly (Jeremy Renner), and buffer provided by Colonel Weber (Forest Whitaker), Banks slowly but surely finds ways to talk to these beings, with the American team alternatively working with and against similar groups in other nations attempting the same.
And then there’s the twist. The birth, death, and tragedy of Louise’s daughter, implied through the grammar of film to have occurred prior to the alien encounter we witness, actually happened afterward. The estranged husband hinted at early on turns out to be Donnelly. And Banks herself, through learning to think like the heptapods, and eventually direct contact with the aliens, becomes unstuck in time. She experiences moments from what we’d consider the past, present, and future, in non-linear splendor, mixing them up like a memory collage.
Despite the narrative trickery employed, the reveal itself isn’t so unfamiliar to those acquainted with the novels of Kurt Vonnegut, Watchmen, and even Star Trek: The Next Generation. But what the twist lacks in novelty, it makes up for in thematic resonance. Like those works, Arrival uses the time-dilated nature of its story to comment on processing trauma, the value of one’s experiences and life itself in a chaotic universe, and the potential of the human mind to expand to contemplate greater possibilities.
You’re unlikely to find a film this year with as many intriguing philosophical implications as Arrival. In that, it is akin to The Prestige, as a film with a twist that initially knocks over the viewer with how it changes the reality of what’s been depicted up to that point, but that makes its bones from the implications of that new reality. In both films, what the reveals show about the characters, and say about the value and nature of human life, linger long after the shock of the twist dissipates.
But the force of the movie does kick into high gear after the non-linear way in which Louise begins to experience time is unveiled. It answers the plot-specific mystery that Arrival presents – why did the heptapods come here? They, it turns out, have experienced time in this fashion from the beginning, the thoughts and information able to exist simultaneously in the past and the future. Their journey is to help Earth unify, to serve as a catalyst for cooperation, so that three millennia in the future, humanity will be able to help them. It is an intriguing and clockwork explanation for their presence.
Beyond, however, the on-the-ground (so to speak) plot mechanics of Arrival, what makes it stand out is its exploration of how this change in temporal perspective changes how individuals think, how they value different things in their lives, how they approach and view the world. The film reflects this in interesting ways.
The heptapods’ language is circular, more symmetrical and again, non-linear to reflect their perspective, tying into the motif that learning a language rewires your brain to a certain extent. Louise naming her daughter Hannah, which the episode notes is a palindrome, reflects the way this same symmetry and perspective has filtered down to her. And the film itself often frames Louise symmetrically, using a flat background or one-point perspective to balance the images.
But most notably, that mode of thought changes Louise’s perspective on life writ large, estranges her from eventual husband Donnelly, and motivates her to both marry him and have a child, knowing that each choice will end in pain. The cinch is that for Louise, these decisions do not “end.” They simply are. They exist on the same continuum as all moments, not greater or lesser in priority or order than the others.
And for that, for the gift given to her by the heptapods, she chooses the path that will increase the amount of bliss she enjoys, where she experiences love, where she is enriched. Amy Adams understated performance gives life to this epiphany. Freed from constraints, in philosophy and temporal perspective, of having to fear loss and hardship, she pursues those paths that will make her life more worthwhile, that will give her more moments of happiness and wonder and fulfillment, regardless of any chronological path from joy to sadness.
It’s a laudable message, that applies even to the humble folks who still experience time in a linear fashion. Much of cinema tackles ideas about coping with loss or valuing the good times even in the shadow of the bad. But the device of the scattered timescape of Louise’s life, seen as an accumulation of experiences and not a linear progression, drives that point home in a unique way. Much of Arrival is about broadening perspectives, and the scattered scenes combining what was, what is, and what will be help to cast the same broadening spell on the audience that the heptapods do for Louise.
That’s part of why talking about this film without talking about its twist is so hard. The way Arrival tells its story, the ways those moments are sequenced in the film, is so essential to what the film is trying to say that discussing it apart from that perspective is unavoidably lacking. In a film about altering perspective, there is only so much to say without talking about how it attempts to shift the audience’s own perspective in the process. Arrival uses the alien and unfamiliar to tell a deeply humanistic story, about unity, philosophy, and worth, through one individual who comes to see them all very differently.
Subtle, imaginative, and well-told story that doesn't rely on big-budget effects or a body count. Original, unique concepts weaved together for an enjoyable movie. If you're looking for high-tech space battles, fast-paced action and death -- this isn't that kind of SciFi -- move along... ;-)
This was the perfect adaptation for The Jungle Book! The voice actors were absolutely stellar and brought so much credibility to the CGI-characters. The VFX itself is a contender (and I hope the winner) at the Oscars 2017. The scenarios were tear-dropping to the eyes (in the good way) and the animals were portrayed with so much detail that makes you wanna live with panthers, bears and wolves!
Overall, I consider this another success from Disney that rebooted this so well!
I really dont understand why people are hyping this movie so much. Its way too long, has lotsa logic mistakes and on top of it all, this thing cost 135 million dollars to make? Wow. Ridiculous. Great acting by Tom Hardy, average acting by Leo DiCaprio. You could feel he just did something like this to win the Oscar finally, after pretty much every other type of story and film didnt bring him the desired trophy...
Perfect family film, this has everything you would expect from a fairy tale story, but with added dry wit and humour that adds a huge amount of fun. Even the framing device, with a boy being told a bedtime story, initially seems unnecessary, but cleverly draws you into the story and is used throughout to add a lot of clever narrative touches and ultimately warmth and a fitting conclusion. There is an array of brilliant supporting characters here, with Peter Cook, Wallace Shawn and Billy Crystal standing out, but though the film strikes this fine balance throughout of threatening to undercut the plot with its humour, it never crosses the line and ensures the audience are just as invested in the outcome of the story and the fate of the central characters as they are in the jokes. This has something for everyone young and old, which is just "inconceivable!!!"
