I watched this one a lot on DVD when I was younger and it was one of my favorites but this is probably my first re-watch in at least a decade. Overall, it doesn't quite live up to my nostalgic recollection, but there's still plenty to enjoy here. The performances and the humor are the highlights, with some of the story elements and pacing sticking out less favorably. The first two acts feel a little disjointed, with almost stand alone vignettes that are sometimes awkwardly strung together. The finale also has some abrupt/rapid pacing as the movie feels like it skips some material to tack on the last two scenes. I'll keep my legacy 9 rating, but if I watched it for the first time today, this would probably be more like a 7.
Action. Comedy. Romance. The primary colors of genre. Many have attempted to combine all three, but very few succeed. This movie is one of the exceptions. It may seem like a lofty comparison, but I think this film wouldn't be out of place alongside The Princess Bride (or, for a more contemporary comparison, the first Pirates of the Caribbean). The writing is bursting with creativity, the pacing is perfect, the cast is brilliant, the humor is plentiful, and the all around excellent filmmaking ties it together into a timeless package that holds up 15 years later.
I was sitting down to watch the new Ghostbusters: Afterlife when I realized that I hadn't seen the original in probably 15 years and had in fact never bothered to see the sequel. So, I changed plans and decided I'd do something of a marathon and watch all three (perhaps even four, as I also haven't seen the reboot from 2016).
This movie is a classic for a reason and it remains worthy of its reputation. Yes, the effects are incredibly dated, and yes, the ending doesn't quite stick the landing, but neither of those things really matter when Bill Murray is on screen delivering some of the most hilarious and iconic one liners of all time. I also want to complement the brilliantly snappy pacing, from hilarious cold open all the way to marshmallow covered finale, there isn't a wasted moment.
An exploration of friendship, depression, and life in general that is equal parts darkly hilarious and thought provoking. Complex characters. Unique relationship dynamics. Compelling/hilarious dialogue (when you can understand it through the heavy accents, lol). Brilliant performances. Beyond the broad praise, I particularly enjoyed the brother/sister relationship between Colin Farrell and Kerry Condon. Simultaneously wholesome and tragic.
All the positives are somewhat offset by a dragging pace and a conclusion that was less than satisfying for me. Call me sentimental/sappy if you like, but I was really rooting for a reconciliation. Also, I think the film overuses repetition as a proxy for humor. It's still effective in many scenes, but it felt too frequent.
An incredibly impressive feature debut from Francis Galluppi and more evidence that Jim Cummings presence is a reliable indicator of quality. I've got praise for pretty much every element involved, but the writing might be what shines the most. It's jealousy inspiring how the story lands so many clever moments with a set-up that is so damn simple. It subverts expectations, but not in a way that feels cheap or unfair to the audience. To paraphrase some writing quote that I only vaguely remember - you don't know where it's going, but when it gets there, it feels like it couldn't have ended any other way. Despite what I assume was a modest budget, this movie looks fantastic. There's numerous memorable shots (one that really stood out was Charlotte's hand reaching up from behind the counter with Richard Brake standing over her - tense as hell) and I can't imagine the set pieces looking any better. I'm excited to see what comes next from everyone involved.
Went into this one blind and perhaps the most interesting aspect of it was how the central premise felt more like a B plot. It'd be interesting to look into relative screen time, but I suspect family/relationship drama comprises as much, if not more, than the pseudonym author plot. Luckily, the writing and performances are strong enough to make both plotlines compelling. I will say that the meta ending felt a bit like a copout, but even there the execution (and a hilarious performance by Adam Brody) makes it work. I don't know if Jeffery Wright's performance will be enough to land him the Oscar, but at the very least I hope it lands him more leading roles, because he deserves them.
With a seemingly bottomless amount of content stacking up in my watchlist, I find it hard to justify re-watching anything. As such, I was surprised to discover that my most recent re-watch of this film was in fact my 4th viewing. This may not seem like a lot, but it's actually the second highest of any movie in my Trakt history (member since 2016). I was also pleasantly surprised to discover that, even after three previous viewings, this film absolutely holds up. The clever story provides a strong foundation, but the real selling point is the hilarious performances, with every member of the cast getting a chance to shine. Jesse Plemons and Billy Magnussen were particularly excellent, really nailing their parts and bringing laughs with almost every line. The movie also benefits from some uniquely thematic filmmaking, with establishing shots made to feel like miniatures on a game board. All in all, an easy recommendation and a definite highlight in the action-comedy genre of recent years. Bring on the sequel.
I often criticize movies for indulging in tropes and clichés, and I could see how some would levy such critiques at this film. After all, the fundamental plot is 100% stereotypical horror (i.e. a small group goes to an isolated location and gets picked off one by one until the final girl is left to battle it out against the villain). And yet, I absolutely loved it. It just goes to show that tropes and clichés aren't inherently bad. What's bad is lazy implementation in films that don't bring anything new to the table. The setup of this story (the filming of a low budget porno) is unique, and the source of the horror elements (a horny/creepy old couple) is brilliantly intertwined with that setup, both thematically and narratively. The characters are interesting and well realized, and backed by strong performances. And while the big picture plot points are classic horror, the moment to moment story beats are violently and delightfully unpredictable. I can't complement the writing enough. It honestly felt like the writers were just showing off, as they somehow incorporated a meaningful reveal into the final minutes of a movie that was already excellent.
I was worried this might be too arthouse for me, but I loved it. Fantastic performances, interesting character motivations/dynamics, and punchy dialogue. I'm sure it's getting meme'd to death, but the consistent club-beat soundtrack definitely grew on me and added to the confrontational exchanges made to feel like an intense tennis volley. That said, maybe the audio mix could have been tweaked a tad because I was frustrated to miss a handful of lines here and there.
This one will certainly lose some audience members in the first 36 minutes, but if you can have patience and trust in the filmmakers, the experience is an immensely rewarding and hilarious exploration of low budget filmmaking.
The last best picture nominee I had left to watch and perhaps my favorite. The writing and performances are brilliant. Even before finishing the movie, I already wanted to revisit certain scenes to look for missed details and appreciate all the little nuances (definitely the flashback/recording scene, which was a highlight, but several courtroom exchanges as well). I really enjoyed the interplay between languages and how those types of elements might affect the judge/jurors. In the same way that it's difficult to judge a performance in a language you don't speak, I imagine it's also difficult to judge credibility. I was worried about how things would end, as these kind of stories can struggle to stick the landing (e.g., I was disappointed in HBO's The Undoing), but they made it work.
I don't have any deep nostalgia for Winnie the Pooh, but this film made me feel like I do. I guess there's a reason these characters are so well loved - they're cute, hilarious, and wholesome. And of course there's the voice acting. I think the dialogue was strong, but honestly Jim Cummings could probably say any line with Winnie the Pooh's signature voice/cadence and I'd probably love it. The story isn't revolutionary, but its compelling enough to serve as an effective nostalgic vehicle. There aren't many live action films for younger audiences that win me over, so it was a pleasant surprise to find another favorite here.
After watching both Dune's back to back, I had an itching for more epic, desert based cinematography and decided to revisit George Miller's masterpiece. This also makes for an interesting comparison. While I enjoyed my 5+ hour visit to Arrakis, I think this is the stronger movie. The amount of world building it accomplishes in just 2 hours is incredible. Combine that with an elegantly simple story, strong central performances, and jaw dropping action sequences, and you've got a winner. After almost a decade, the action set pieces remain unmatched, and it's honestly not close. Comparing the practical heavy stunt work to the CGI messes that are so common now is night and day.
Having unexpectedly enjoyed the TV show Heels, I was looking forward to another dramatic story in professional wrestling and was not disappointed. The relationship between the brothers is the highlight here, with nuanced writing that reveals complexities and contradictions. The wholesome moments are disarmingly heartwarming, which makes the gut punch moments land so much harder. The performances are excellent across the board. The production and technical filmmaking deliver memorable shots throughout. My only minor complaint is the pacing in the final act, as things moved rather quickly, with the final scene feeling a bit too on-the-nose/cheesy.
With the release of Mean Girls The Musical, it came to my sisters' attention that I had never seen the original and they felt the need to correct that oversight. I'm glad they did. This movie is genuinely clever and hilarious. Tina Fey knocks it out of the park on the writing and the performances from the entire ensemble really sell it. Turns out there's a reason this is so heavily quoted.
As someone who didn't grow up as a horror fan, my gateway into the genre was horror-comedy, and this film shines in that role. It succeeds for two reasons: (1) the clever cliché-reversing premise; and (2) the performances of Tyler Labine and Alan Tudyk. There's a lot of humor in the set-up and these two have the comedy chops to make it work, both in terms of physical gags (use of beer as cure-all was a highlight) and hilarious dialogue ("we've had a doozy of a day, officer"). Now, I will say, the film does lose a lot of momentum in the back half, with the comedy getting more sparse as the plot runs its course. The production also felt a bit cheaper than I remember. Not sure if it's the color grading or what, but it looks a little TV-movie at times. Luckily, its lean 90 minute run time saves the day and the positives easily outweigh the negatives.
It's an oft-used, often mis-used, phrase in cinema discourse, but I'm just gonna come out and say it: I think Megamind is underrated. I will never understand how Despicable Me launched a billion dollar tentpole franchise with spin-offs and merch galore, whereas Megamind seems to have been largely forgotten. Actually, I kind of do understand. Despicable Me was much more targeted toward younger kids (i.e., kid protagonists, fluffy unicorns, Minions, etc.). But still, Megamind deserved better. An absolutely stacked cast, clever premise, and hilarious writing. I've never been a huge Will Farrell fan, with his comedy often being too over-the-top for me, but he was the perfect choice for this role.
Watched this with my niece and nephew after not having seen it in at least a decade. While it may warrant an anti-bullying discussion for modern kiddos (which probably applies to all Charlie Brown specials), it still holds up as a Halloween classic with a cute story, consistent humor, and timeless animation.
On brand for Wes Anderson. Quirky characters delivering clever dialogue in service of an unconventional narrative against a backdrop of striking visuals. I generally enjoyed the meta story-within-a-story structure, but the ending didn't quite work for me. I liked the character payoffs and arcs, but in terms of the actual story payoff, it felt a bit rushed/random. Luckily, the characters are the more critical element here and I enjoyed the entire ensemble.
I re-watched this film in anticipation of seeing the sequel next week. Even knowing all of the twists and turns that are coming, this movie was still a masterpiece. As an aspiring screenwriter, this is the type of film that makes me wonder why I even bother. The writing is just brilliant, with a story that is clever as hell, memorable characters, and hilarious dialogue. Combine all of that with an ensemble cast that delivers in every way, and you've got an instant classic. The off type casting of Chris Evans and Daniel Craig was genius, and the both sold the roles. Captain America as the asshole and James Bond as the quirky, verbose detective with a drawl. If the sequel is as great as the original, Benoit Blanc might end up being Craig's best role.
I don't have too much to say about this film. It succeeds on the back of clever, near-future world-building (à la Black Mirror), combined with the excellent dialogue and brilliant performances of Joaquin Phoenix and Scarlett Johansson. The exchanges feel authentic, and that's about the highest praise I can give it. I will say that the ending, which I was concerned would be unsatisfying in one way or another, ended up going in a direction I didn't anticipate and successfully avoided all of my concerns. It was nice to be surprised, and in retrospect it felt inevitable, as most great endings do.
Not sure why I took so long to get around to this one, but I was not surprised to discover that it lives up to its reputation. What I was surprised by, was that I somehow hadn't been spoiled on a key component of the central premise, that is the adoption angle. Really, all I knew about the film was that it involved teenage pregnancy and had Michael Cera in it. This was nice because the movie was able to surprise me in both the direction it took, as well as with its talented ensemble. In the end, the film is equal parts hilarious and insightful. Elliot Page's central performance feels authentic (although I'm not really qualified to judge it). While it isn't a critique per se, I was also surprised by how the abortion discussion is quite a small part of the film. Ultimately that's not the story the movie was trying to tell, so they seem to push through it rather quickly. I'm probably being biased by the current news cycle, but I definitely expected it to play a larger role. In any case, the film is certainly deserving of its Oscar nominations and win for writing.
One of those cases where the overall film is a bit less than the sum of its parts. We've got unique characters, strong performances, and memorable scenes, but the somewhat disjointed three part structure made me wish there had been a stronger narrative through line to tie everything together. It just felt like there were lots of setups without payoffs, which results in an unsatisfying experience despite the quality filmmaking. I'd also say the film was a tad overindulgent at times. Still, I had good time.
Went into this one pretty much blind. I'm a fan of Andrew Garfield and I knew it was a Lin-Manuel Miranda directed musical, but that's about it. Luckily, it did not disappoint. I'm probably biased toward the story, as I'm an aspiring creative who is in the same stage of life as Jonathan Larson is in the movie. As such, some elements were very relatable to me. In particular, the final conversation Jon has with his agent really resonated with me in a bittersweet sort of way. The movie does a good job highlighting the messy relationship many creatives have with validation. Overall, I think the movie does justice to the powerful true story it sets out to tell, with creative directing/storytelling, catchy/fun/poignant music, and a stellar performance from Andrew Garfield.
I love movies about filmmaking, so this premise was right up my alley and, for the most part, I think they leveraged it well, delivering some fun action sequences and solid humor throughout. That said, I do think I enjoyed the first half more than second, as the plot started to lose some of its cleverness, with several very predictable sequences through the final act. Overall, a worthwhile watch, but not the instant classic I was hoping it would be.
The biggest strength of this film is the extreme contrast between the story of the Höss family and the story taking place on the other side of the wall. The former gets most of the attention, with the movie playing out like a slice-of-life family drama. But the latter, which exists only in the background, unspoken and off screen for most of the film, is what packs the punch. The writers leverage the knowledge that most audiences already have - we all know what was happening. And that's where the contrast is - watching a man help orchestrate one of humanity's darkest moments without any acknowledgement is disturbingly compelling. That said, this isn't my favorite kind of film, as it feels less focused on building a narrative arc and more focused on the thematic ideas. Just a little too arthouse for my tastes.
A courtroom comedy that succeeds primarily because of the fantastic central performances of Joe Pesci and Marisa Tomei. It's not a pairing that I would have expected, but that only adds to the charm of their fish-out-of-water schtick. The story is well paced, with just enough of substance to supplement the comedy. Speaking of the comedy, it is plentiful and diverse, including a well balanced combination of clever dialogue, running jokes, and physical gags.
As an aside, I went into this film with some very incorrect assumptions. I guess I can't see Joe Pesci without thinking Goodfellas, because I thought his character was going to be a mob lawyer, and that the film would be more serious, or at least that the comedy would be darker. Luckily, this didn't detract from the experience. In fact, as always, going in without knowing the true premise made things more enjoyable.
Spectacle is undoubtedly the focus, and in that respect the movie generally delivers. The one exception might be the worm riding, which is something that seems cooler in theory than it looks in practice. The set-up for it is cool, but once they actual get on the worm it just looks goofy (especially when they show it from a distance). But like I said, that's the exception - there's plenty of fantastic production design, visuals, and audio throughout. So what about character and story? This was a mixed bag for me. I think there are some ideas that worked well (Emperor/Princess interplay, Bene Gesserit intrigue, Feyd-Rautha set-up), but Paul's central conflict of accepting or rejecting the prophecy felt repetitive and ultimately fell flat. Now, I do think the ending salvages the arc and makes it work as best it could, but the path to get there was less than compelling. All in all, I think Villeneuve's two-part adaptation is worthy of praise for its ambition and technical brilliance, but I don't think these will be movies I feel the need to re-watch with any regularity.
I didn't have high expectations for this movie. First, I'm not the biggest fan of musicals. And second, I hadn't yet been sold on Timothée Chalamet. Now, the first issue remained an issue for me, as the music here wasn't catchy enough to win me over. But on the second issue, I was happily surprised by Chalamet's goofy/optimistic performance. He's fun and wholesome and carries the film. There's a solid ensemble with plenty of humor that lands throughout. I'd also generally compliment the writing. The whole opening sequence, even when wrapped in a song that I didn't love, was an impressively efficient and clever way to introduce the character, the world, and the conflict.
John Carney has carved himself quite an interesting Dublin-based, musical niche. The advice of "write what you know" can be controversial, but here is an example of someone who seems to have leaned into it and the results are consistently excellent. Flora is not the type of protagonist we see very often, with flaws prominently on display, but the writing and performance was nuanced enough to win me over. Not just to sympathize with her situation, but to cheer for her. The relationships are interesting, the dialogue feels real, and the story comes together in an unexpected way. The one thing holding the movie back for me was some pacing problems, as I felt like things were rushed in the back half. At only 97 minutes, it seems like there was room to let things breathe a bit more.
