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I’m surprised at the low ratings for this film, I thought it was excellent.

It’s a simple tale, told well.

Lots of action from start to finish, great acting and production etc.

It’s a 90 minute film, but it seemed to be over very quickly; which shows how involved I was in the story.

It’s different, not predictable and I loved the simplicity of the story.

Great film!

We've seen this film 2012 times and the day after tomorrow it's not impossible that there will be yet another geostorm in a teacup.

But the first two acts of Greenland are more suspense than disaster and the film is all the better for it. Director Ric Roman Waugh does a great job of building tension around how people act in the face of a world threatening event and the sense of urgency rubs off on the viewer.

Sadly, though, the final act slips into the clichés one would expect from a film of this genre, but not badly enough that it erases the good work that precedes it.

The Matrix meets Eternal Sunshine of the Spotless Mind…meets Ratatouille?

With an absolutely killer cast, The Circle is let down by a totally unfulfilling plot and script that felt many times like it was scrabbling for direction or resolve. Like an episode of Black Mirror minus any of the depth or intrigue that comes with it.

With reviews like “anti-entertaining”, I wasn’t expecting much but I was pleasantly surprised! Granted it isn’t anything new but it’s run-of-the-mill fare done well. Supremely watchable. Ties into the larger DCEU including Peacemaker in believable fashion. The only part I was sad about was the death of a very interesting character so soon after their introduction. Hope they are brought back in some form later.

Thank you Scarlett Johansson and Cate Shortland for an amazing movie with emotions, laughter and kick ass action.

[9.3/10] A few years ago, for some strange reason, I decided to watch every Spider-Man animated series from the 1990s. The different shows had different takes on the wall-crawler, plopping him into very distinct settings and scenarios. But I realized there were two main things about Peter Parker that united the various versions of the character across years and franchises: (1.) he chooses to do good, even when it’s difficult, because it’s the right thing to do, and (2.) he suffers for his art.

Spider-Man: No Way Home strives to encompass a lot. It is the culmination of the Jon Watts/Tom Holland version of Peter Parker and the journey through his high school years that began in Homecoming. It has to service broader MCU connections to Doctor Strange and Captain America. It finds grace notes and meaningful moments for M.J., Ned, Happy, Flash, Aunt May, and a host of other characters who’ve been major parts of the series. And if that weren’t enough, it brings back five villains, two heroes, one conspiratorial agitator, and scads of loose threads from the five movies that preceded this Peter’s arrival.

And yet, what makes it work, what gives No Way Home a clarity and a balance other mondo Spider-Man movies missed, is the way it’s built around those twin ideas, those dual core facets of the character. Despite the multiversal stakes, Spider-Man strives to live up to the values instilled in him by the people he loves, even when it’s the absolute hardest thing to do so. And endures tremendous losses, makes grand personal sacrifices, in the name of looking out for everyone but himself. It’s what bolsters this Spider-Man, and all Spider-Men, and elevates this film into one of Spidey’s very best.

It helps that what starts these multiversal problems is something smaller and personal. So much of the MCU’s Spider-Man is about this overwhelmed, undermanned kid standing in the face of grandiose events. Spider-Man trips the time-space continuum not from battling interdimensional beings or from going up against titans with reality-warping powers. Instead, he’s upset that being associated with him kept his best friends from getting into college, that they were taken in and interrogated by law enforcement, that it blew up his aunt’s life. His exposure poisoned the well for everyone around him, and he effectively asks for a wish to undo it, not for himself, but for those he cares about.

It’s a strong setup. No Way Home takes seriously the unmasking from the last movie, and the impact it would have on Peter’s life and those of friends. It puts this comparatively charmed version of Spider-Man into the familiar guises of his counterparts. He is broke. He is embattled. He is concerned he’s a burden and a threat to those he loves. He no longer has Iron Man, or S.H.I.E.L.D., or the other tech resources to fall back on. Half the world believes in him, but the other half, spurred by J. Jonah Jameson, thinks he’s the traditional “menace.” Exposure has ruined his life and forced him to grapple with the sort of problems so many other Spider-Men (Spiders-Man? Spider-Mans? Homines Aranearum?) have faced over the years.

So he goes to Doctor Strange for help. The dynamic between Peter and Stephen/Sir is a low-key strength of the film. It completes Sony’s presumably bargained-for requirement that at least one major MCU star have a substantial supporting role in each Web-Head film. (See also: Robert Downey Jr., Samuel L. Jackson, Martin Starr.) It provides a reasonable in-universe excuse for a non-magical, mostly street level hero to play around with parallel dimensions. And it builds on the shared experiences Spidey and Strange had in Infinity War. There’s antagonism between them, but also a budding mutual appreciation which pays off in unexpected ways.

When Doctor Strange tries to help Peter, though, things go awry. Peter asks that the world forget he’s Spider-Man, only he keeps trying to add exceptions for the people he wants to stay in the know. The complications disrupt the magicks involved, and while Strange is able to contain the botched spell, it manages to accidentally draw in Spidey’s foes from other corners of the multiverse, a tantalizing setup for fans who’ve been watching the wall-crawler in action since 2002.

That’s right! Dr. Octopus, The Green Goblin, The Lizard, Sandman, and Electro all pop into the MCU after the events of the original Sam Raimi trilogy and Marc Webb’s Amazing Spider-Man duology. It is an absolute treat for fans who’ve followed the Web-Head’s cinematic trials and travails over the years. None of the performers has lost a step (and many manage to improve on their original outings). And watching them interact with each other, not to mention a different hero than “their” Peter, has all the crossover glee that comic book stories can deliver. Peter, for his part, is tasked by Strange with rounding them up so they can be returned to their proper universes.

Their interactions are hilarious. The baddies poke fun at one another and the eccentricities of their different stories and universes. At one point the film turns them into the world’s wildest sitcom, with four supervillains and a host of their helpers playing temporary roommates in a bachelor pad. As in all of the Watts films, the banter here is consistently on point. And even as the film loses a bit of its momentum in its “Four Men and a Spidey” section, watching Peter go back and forth with this collection of villains, while they spark off one another, is still a consistent treat.

There’s a catch though. Peter soon discovers that each of these baddies was pulled from their timelines right before they were about to perish, so sending them back is a death sentence. Dr. Strange is unmoved, but Aunt May pushes her nephew and surrogate son to give them the help they need. When push comes to shove, Peter can’t sit idly by and send these men to their dooms, even if it means another cool psychedelic, fractal-based fight with “Stephen” to get the time and space to try to heal them.

I love that twist so much. The only thing cooler than Spider-Man fighting a multi-dimensional version of the Sinister SIx is Spider-Man trying to save each of these villains who came to bad ends in each of the films that spawned it. It’s true to the spirit of the character, understanding his responsibility not just to protect the city or stop evil, but to try to show compassion and decency to those who need it. It’s a wonderful affirmation of the values that have undergirded Spider-Man from the beginning, with a challenge that cannot be encompassed by a simple smash-fest, but requires more altruistic motives, unique strategies, and psychological challenges for Peter.

It’s just as wonderful that the push toward kindness, the warning against “not my responsibility” thinking from Peter, comes from his Aunt May. Peter tries so hard to help these people, even though there’s an easy way out, because of her encouragement. And it comes at the cost of her life.

The most brutal gut punch in the film comes when the avuncular, seemingly reformed Norman Osborn turns out to have been plotting and scheming the whole time. At the moment of truth, he reveals his true intentions, powers up, and goes on the attack. It’s a hell of a turn, sold by Willem Dafoe’s convincing performance as a penitent Norman to that point. Even though the ensuing super-fight between him and Spider-Man is a fairly generic building-buster, the threat to Aunt May, and her eventual death at the Goblin’s hands, gives it a greater force.

In that, the sharpest choice in all of No Way Home turns out to be making Aunt May into Uncle Ben. The MCU spider-flicks have conspicuously avoided Peter’s overplayed origin story to this point. No scenes of spider bites. No uncle’s dying words. Nothing more than initials on a suitcase to suggest that traditional part of the character’s mythos is even a factor in this universe.

In one fell swoop, No Way Home fills in that gap with flying colors. We know Marissa Tomei’s Aunt May. We’ve watched her guide and care for Peter through two films. So when she’s the one who urges him to do good even when you’re inclined to look the other way, when she’s the one who tells him that with great power comes responsibility, when she’s the one who dies because of her nephew’s choices, it has more meaning and wounding force than any other cinematic depiction of Peter losing his mentor and inspiration. A smart, almost clockwork choice, brings this Spider-Man in line with his predecessors in devastating fashion.

It also speaks to the smart construction of No Way Home’s script, penned by Chris McKenna and Erik Sommers. Spider-Man reaches his lowest point, as all heroes seemingly must at the two-thirds mark of their movies. He’s tried his best, to help his friends, to save the bad guys, to put everything on the line for the greater good. And he not only failed but lost the most important person in the world to him in the process.

So who can lift from this funk, who can give him the wisdom and insight to go on? Two other Spider-Men, of course! McKenna and Sommers smartly make most of No Way Home a story that belongs to the MCU’s Peter. Sure, we get the dimension-crossing villains in play, and references to past adventures, but they’re all this Peter’s responsibility and cross to bear for most of the runtime. Only when he needs them most do the Web-Heads played by Andrew Garfield and Tobey Maguire show up.

And they are utterly fantastic! The script smartly introduces them apart from our Peter, giving the audiences a chance to reorient themselves to the characters and have a few laughs. There’s such cheer-worthy moments when each arrives, and such hilarious interactions when M.J. and Ned try to figure out what’s happening and each Spider-Man tries to prove they are who they say they are, to Peter’s friends.

But when push comes to shove, they find this universe’s Spidey lost and ready to give up on the roof of his school. His friends give him comfort, but his alternate universe counterparts give him perspective. Tobey and Andrew (you’ll have to forgive the naming convention in the spirit of clarity) speak of their losses, of Uncle Ben and Gwen Stacey. They tell Tom how those deaths led them down the wrong path, to things they ended up regretting, and how they want better for him. It’s the sort of comfort only a fellow Spider-Man could provide, with resonant words that speak to truths that stretch across their experiences and lift each of them up out of darkness.

Herein lies No Way Home’s arguably greatest achievement. It would be so easy to do less than this. It would be so easy to have Maguire and Garfield simply swing in for a cameo, or just jump into the fray for the usual “save the world” reasons, and expect audiences to cheer based on recognition alone. But this film not only builds on the stories and character growth these figures have already experienced, but uses their histories to inspire, caution, and comfort the latest Spider-Man in his darkest hour.

It works! The pep-talk gives MCU Spidey the motivation he needs to keep trying. He, his friends, and his new arachnid allies all work together to cure the remaining villains, and it is absolutely delightful. The multi-Peter team-up provides something I didn’t know I needed. At one point, Garfield’s character says he always wanted brothers, and it’s the perfect way to describe the dynamic between the different Spider-Men. There’s a sweetness, an easy familiarity, a source of mutual support among that simply snaps into place. A Spider-Verse team-up could thrive on novelty alone, but these three Peter Parkers make sense together in a way I wasn’t expecting, but ends up being the most endearing part of the film.

It’s also the most hilarious. The rapport among the various Spidies is outstanding on its own, leading to a host of great lines. But the film also pokes fun at the differences and eccentricities of the different movies cross-pollinating. Holland and Garfield marvel at Maguire’s organic web-shooters. Ned blanches when he finds out the fate of another Peter’s best friend. A call to “Peter Parker” elicits three simultaneous responses. There’s even some delightful meta-gags, like when Garfield laments feeling like a lesser Spider-Man only to be reassured that he’s amazing, or Maguire once again complaining about his wall-crawling back pain. There’s all sorts of little touches and great jokes that play on the unique scenario of continuities colliding and popular commentary on this uber-series of films.

Of course, it can’t all be fun and games. The group has to collaborate to lure in, battle, and ultimately cure the quartet of remaining baddies, each of whom gets a moment in the sun. The Statue of Liberty (remodeled to include Captain America’s shield) makes for a good home base of the climactic final set piece. And the ensuing multiball battle among Spider-Men and super villains finds a way to give the MCU Peter an edge and a reason to lead despite his comparative youth -- unlike the other Spideys, he knows how to work as part of a team.

The ensuing battle is fun, if occasionally confounding given the number of similarly-dressed heroes and a blur of villains smattered across indistinct scaffolding. It mainly works thanks to the continually entertaining dynamic of the different Peter Parkers working together, and the villains receiving their grace notes. The CGI lizard is still an ugly design, but this Dr. Connors gets to make a personal history-backed point about trying to fix people, and have a moment of recognition with his Peter. Sandman doesn’t have much in the way of a character arc, but still gets to swirl and impress with particle effects more than a decade since his last outing.

Electro comes out the best for his transition from one film series to another, as this universe’s “different energy” magically makes him into a much better (and better-looking) character, something the script wryly comments on. Sporting a modern, but more traditional design, Jamie Foxx finally gets to have real fun in the role, as basically an entirely new character. And he’s stopped by none other than Doc Ock, the only villain MCU Spidey managed to fix earlier, in a wonderful mini-twist. Alfred Molina, who fared the best of any of his counterparts in his original movie, continues to soar in the role here. And his arriving to help save the day is an excellent, minor tribute to the idea that not all of Peter’s good deeds go unpunished; some of them come back to him right when he needs them.

It speaks to how this movie gets both the big and the little things right here. So many of its choices not only delight you, they feel right. The energy-focused Electro is drawn to one of Iron Man’s arc reactors. Dr. Octavius grasps it and declares, “the power of the sun, in the palm of your hand,” the thing he was hoping to achieve in Spider-Man 2. He and Maguire’s wall-crawler share a moment of recognition, where Otto’s touched to see how this “dear boy” is all grown up. Ned discovers that his grandmother is right, he is, in fact, magic. M.J. goes from the eternal pessimist, preferring to expect disappointment rather than be blindsided by it, to reassuring her friends that they’ll go forth and kick ass here. There’s something worthwhile for anyone and everyone here.

There’s even brilliant visual echoes to prior movies. Garfield’s Spider-Man, who nearly steals the show both comedically and dramatically, manages to save this universe’s M.J. in the exact way he couldn’t save his universe’s Gwen. It’s an emotional payoff to a seven year old movie that still lands like gangbusters. It’s emblematic of No Way Home’s remarkable ability to not only invoke past events and characters from the Raimi and Webb films, but to pay them off, round them out, and in some cases even fix them. It extends Peter’s desire to save all of these lost souls and see the best in them to a meta level, evincing a similar wish in the heart of Watts and his collaborators with regards to the films that paved their way.

The ultimate challenge, though, comes in the form of the Green Goblin, the original Spider-Man villain, and the one who’s taken the most from Holland’s Peter Parker. The fight here is not a physical one, even as Spidey and Gobby do go toe-to-toe once more with our hero coming out on top. It’s a personal one, as the MCU Spider-Man must decide whether to exact vengeance upon this dastard who killed his surrogate mother, or to relent and try to fix him too.

It must be said that Dafoe gives a tour de force performance here, rivaling Molina himself and Michael Keaton among Spidey’s cinematic antagonists. He’s entirely plausible as an apologetic Norman desperate to be reformed, warming to this Peter as another surrogate son. And he’s an equal and opposite terror as the Green Goblin, menacing and insidious in ways that go beyond frightening, instead cutting to the bone. He growls at Holland’s Spider-Man that the altruism his aunt preached and which Peter himself has taken up, is a weakness, a pathology. He blames Peter for May’s death, arguing that it was Peter’s compassion, his willingness to try to help rather than just solve the problem by the simplest means necessary, that led to his aunt’s demise. These words carry extra sting in the shadow of Peter’s lingering sense of guilt for how his “controversies” have ruined the lives of those close to him.

As a lego figure in the film’s aftermath hints, Osborn is basically demanding that Peter turn to the dark side. And like the other fresh-faced heroes before him, he stays strong in the light. Only he’s not alone. The other Spideys figure into the finish in ways that are meaningful without stealing the spotlight. Maguire’s Spider-Man holds back a vengeful Peter from stabbing his foe with the Goblin’s glider, a weapon whose deepest cuts he knows all too well, and Garfield’s wall-crawler delivers him the cure. Despite everything, despite his justified anger and the ease with which he could give into it, Peter instead decides to save and forgive even his aunt’s killer, a man who can then only sit and wonder “What have I done?”

I can think of no greater tribute to the spirit of Spider-Man and the character’s legacy across a multi-media empire. The choice to save someone when you have every reason not to, when you’d rather vindicate the values of your lost mentor rather than merely avenge them, is a triumph of the character’s abounding heart and compassionate ethos. Peter chooses to do good, when his powers make it physically easy, but his life makes it emotionally impossible. That, more than anything, is Spider-Man.

Only he’s not done. The ongoing wrinkles of Doctor Strange’s original spell are tearing reality apart, and the only way to stop it is a counter-spell with a tremendous cost: everyone must forget Peter Parker entirely. His best friend, his young love, his allies from across the universe, will no longer know him. And he suggests it, chooses it, because he’ll willingly lose everything to save everyone.

I’m always hesitant about uber-magic as the solution to problems, but there’s an emotional logic here that lets this tack succeed. What matters here isn’t Strange’s spell, which runs into all sorts of logical problems if you start to try to untangle what it means in practice. What matters is Peter’s willingness to give up his life, the friendships that have sustained him, the resources that have helped him, in the name of the greater good.

There’s something profoundly heartening-yet-melancholy in that. In a small way, the Goblin wins, convincing Peter that he is, in fact, a source of hardship to those close to him. Even when he walks into the donut shop where M.J. works, a speech in hand to try to find his way back into her good graces despite the erasure of their shared history, he relents when he sees how happy she and Ned are. He is, like so many Spider-Men before him, unwilling to make even people he cares deeply about a part of his life if it means disrupting their joy and putting them at risk. There as well rests the heart of what Spider-Man is about: great sacrifice, immense suffering, enduring karmic unfairness, in the name of doing the most good.

With that, No Way Home is one of those miraculous films that takes on so much and yet somehow achieves everything it sets out to do. It tells a compelling story of the MCU Spidey losing everything and still striving to uphold his Aunt’s values. It takes on the chief criticisms of this version of the character, bringing him more in line with traditional depictions. It honors eight films’ and three continuities' worth of stories and characters, integrating them into a seamless whole. It pays off and even fixes dangling threads and broken character arcs from prior movies, providing rousing, cathartic endings for familiar heroes and villains alike. And despite feeling like the culmination of so much, it forges a new origin story for Spider-Man, one that clears the board for more adventures while still offering a heartening conclusion to the ones of old.

In the end, Peter chooses mercy over vengeance. He chooses tremendous self-sacrifice over personal gain. He finds strength in his closest friends and likeminded counterparts. He saves those even his would-be teacher thinks unsalvageable. He gives up everything, loses everything, and despite it all, chooses to start again and help people, to carry on the spirit of the lost parent who molded him into the extraordinary person he became. If that’s not Spider-Man, I don’t know what is.

"Lead them to paradise."

So epic! A proper sequel to the masterpiece that is the first one, Dune: Part Two is everything I wanted and more. The scale and the stakes are much bigger. It really benefits from the world-building and character roots previously established in the first and makes everything bloom. The themes (and at times criticisms) on religion and politics felt so refreshing for a sci-fi movie. It's pretty thought-provoking in that sense. The story had me captivated and invested. It still has it's slow moments but the action sequences are perfectly placed and the payoff in the third act is so worth it.

The biggest praise I could give it is the character arcs and evolution. Paul's evolution here is so fascinating, we basically watch a boy become a man. At the beginning of the movie you fear for his life but by the second half he's the one to fear, emanating confidence. Timothée Chalamet absolutely owned it. Austin Butler is the perfect villain, so unpredictable and violent. I love Jessica's character arc but it felt rushed at times, like she changed too much in between some scenes. The Reverend Mother is so badass, i'm always secretly rooting for her for some reason (the "silence" moment was perfection).

I wasn't expecting the amount of action we got, compared to the first there's a lot. The action and set pieces are so memorable. The worm riding scene was the best moment of the entire movie, I felt so alive with all the special effects and the sound design and the vibrations it's like I was riding it myself. Epic third act battle and hand-to-hand knife scene (although it isn't top tier combat compared to a lot of action movies but the editing and camerawork made it look flawless). They did skip some action in the third act that I wanted to see more of though.

God tier cinematography. I thought there was no way it could look better than the first but they somehow managed to make it look even better in this one. Loved the color grading and the way the sand moves, flawless. The most visually stunning sequence was the black and white one introducing Austin Butler's character. Epic sound design.

I keep trying to pick a favorite between Part One and Part Two and I don't think it's going to happen... they're equal. Overall an excellent sequel. Can't wait to see what's in store for Part Three.

Crab rave carried the movie

For me, the main question I wanted to know going in was, "Is this going to be better than Kingdom of the Crystal Skull".
Happy to report that, yes it's vastly superior in almost every area to Kingdom of the Crystal Skull.
But with that out of the way, does it compete/equal the originals, to which the answer for me was no.

But it had its moments and felt way more in line with "an Indiana Jones" movie than Crystal Skull and had it's share of flaws. I still think Hollywood should use younger actors or makeup/prosthetics instead of "de-aging CGI" as it continues to look horrible IMO, or at least use it the same way the used emerging CGI in the late 90's early 00's by keeping it in shadow/not the focus point.

The cast, both legacy and new are solid across the board, soundtrack and score work well, plot was a big fun dumb adventure that actually felt like following the breadcrumbs in a good way.

Not at all a bad film, but one that probably won't make my top 10 of the year, but unlike Crystal Skull this probably also won't make my worst 10 of the year either.

It's quite difficult to understand this film, and I'm not speaking about the time paradox. Absence of plot, no character building, no emotions, poor sound mixing add to the confusion. Looks more like a bunch of demos of special effects put together to impress.

Based on the trailer I thought it was going to be a silly kid movie but still fun to watch. Got earlier premier and decided to take a change.

Not what I was expecting, totally like the movie. Started slow with Billy Batson story and how he get to the foster home. Once Shazam appear you get good action scene and unexcepted funny moments. Overall it was a really good movie.
I’m not a big fan of super hero movies but I like this style of movie where is entertaining to watch. Similar to Deadpool, you have a mix of everything, drama, action, comedy, etc…

This was a really fun and entertaining movie with great characters, but that post credits scene hurt, bro.

Received an invitation to the premiere, and as you guessed, it had very typical superhero tropes. I don't really mind it and kinda dig the light-heartedness. The storyline isn't groundbreaking but the slapstick humor here and there makes it a fun watch. I'm glad I went, it was a great choice to unwind on a midweek evening.

I went to a pre-screening of this movie last night, not expecting much more than a comfortable seat in an UltraAVX theatre with a big bag of popcorn with layered butter. The last three movies I’d seen of Chris Pine’s had been big disappointments and I knew he was the top of the call sheet for this film. So, basically I thought it would be a media hyped 2 to 4 out of 10. I was wrong. The story had a well crafted arc (though predictably the good guys win - I don’t even think that qualifies as a spoiler). The practical effects were amazing, almost making the CGI unnecessary. There were dungeons, dragons and mayhem. The writing was witty and the comedy was ridiculous. More than just a three lead movie, the young cast were fantastic, definitely not playing in the shadow. As usual, I did a mini-exit poll of the people sitting around me in the packed house. There was one 7.5, five 8s and I’ll add to that because I would definitely see this film again, it was a lot of fun. I give this film an 8 (great entertainment) out of 10. [Fantasy, Adventure Romp]

I think this movie was great, I don’t understand why it had low ratings at all.

It’s a long movie but I didn’t find myself bored at any point. Lots of people in the cinema were laughing at the funny bits too.

There’s some great new characters and you feel for them all. Also I find it nice to see that Angelina Jolie isn’t cast as the main character, as you’d kind of expect with a big name like that. She did a great job in her role, but it was nice to be able to see the other lesser known actors shine.

Im excited to see what else is to come from the Eternals.

A brilliant final entry to this series of films. Fun and engaging throughout. The first two films were both very good in my opinion, and this one is basically more of the same. The emotional beats with both Quill and also with Rocket were very well done. If you ignore the nostalgia-fest that was Spider-Man: No Way Home, then this is quite easily the best MCU film since Endgame, and maybe the only one I've genuinely enjoyed from start to finish. On the subject of comedy being inserted at the right times and hitting the mark: other writers and directors could take many notes here (looking at you, Thor: Love and Thunder).

First of all, its a pretty cool feeling knowing that you helped produce this film on indiegogo (or kickstarter, whichever one it was). I was impressed by how well made it was. It felt like a big budget movie.

Second, the story was great. A few things happened that I didn't expect to.

The only thing that I didn't like was the ending... It needed 5 more minutes to explain what the hell just happened. Connor said he's going to make things right. But nothing happened. He visits his mom's grave. Then what? He's back where he started, minus having a mom?

Did Garrett essentially replace Marcus with that deal?

Did Park not end up having powers? I definitely thought he was going to have powers.

So Nia got to visit her dad in prison. That's not really a happy ending for her, is it?

Maybe I missed something while I was watching...

I have never been so confused and yet so absolutely amazed and intrigued at the same time. Some scenes will make you go 'How the fuck did they even film that', and my jaw literally dropped at some of it. The mindfuckery in this movie is probably the most out of all of his movies (IMO).

It is one of those movies which needs more than one watch. You would have to watch it the first time to be completely amazed and just enjoy the mind boggling cinematics, and the second time to understand what is going on.

Wow the Russos actually did it. I can't believe this movie works as well as it does. The movie just breezed by, there is so much going on and it is paced so well. The action is great and the stakes are real. Thanos's plan is a dumb one but they do make him a well rounded character and he is one of the few villains to actually pull it off. There is a ton of humor but it also manages to be really emotional at times. It is going to be a long year but at least we get to see Captain Marvel in between.

EDIT: After seeing it again it still is amazing how well everything works. This is probably the darkest MCU movie so far but still is fun and has a ton of one liners. The humor is still fantastic and on GotG level. I just realized that it is the original Avengers team that is left to start Avengers 4. I expect most everyone that turned to ash to come back but not without sacrificing the original team.

Finally a movie the brings the best of the east with a Hollywood favor. I love Asian movies that are just huge and entertaining with Epic battles and fantastic cinematography.

Matt Damon & Pedro Pascal played their roles perfectly around a fantastic cast of Chinese Actors like Hanyu Zhang and the likes. The mix was great and they pulled it off right, for once it didn't look like a cheap knock of a Hollywood Blockbuster!

Must watch for any fans of this Genre.

Let's hope for a sequel because they did the story justice, an unexpected twist which I enjoyed.

Wow this was full of hearts and had no rights being that good. The humor really worked as I laughed numerous times throughout and it was very touching too. These special presentations are gold.

Fantastic? not quite and still doesn’t live up to the first film but definitely surpasses the second one and definitely brings more nostalgia from the Harry Potter films, loved the magical effects, all cast did well. Negatives- less on the humour this time but i guess it’s like the Harry Potter films on going darker the more you go through also felt a little rushed with the plot and that’s pretty much it but over all it was enjoyable and at times warming.

Gunn really took the “your mom” jokes to a new level

this movie is ridiculous and I love it

"Just be a rock."

The only thing I knew going into Everything Everywhere All at Once was that it starred Michelle Yeoh and Jamie Lee Curtis. I didn't expect it to be this kind of awesome film that ended up hitting me in the feelings bone and that Jamie Lee Curtis would play a IRS agent.

What I also didn't expect was that I would see a awesome fight with someone using a fanny pack as a weapon, that Michelle Yeoh would fight two guys trying to stick something up their asses to power up and that sausages as fingers will never be useful.

Anyway Daniel Scheinert and Dan Kwan's film is just such a unique one. It is deep, it has loads of action, humor and drama. Even though it is over two hours long time flies, which is always an amazing sign. Everything Everywhere All at Once is maybe one of my favorite movies released over the last 5 years.

And let me end it with discussing Michelle Yeoh. This really might be her best performance and it shows her range. From her starring with Jackie Chan and jumping a motorcycle upon a moving train to her being in a film like Memoirs of a Geisha to films like with wire-fu like Crouching Tiger, Hidden Dragon to starring in a Marvel Cinematic Universe film and even in big blockbusters like the next three Avatar movies. Her range is huge and she's one of my favorites. Hopefully she'll get a nomination nod with her performance in this epic film.

If you're looking for one of 2022's best, this is it.

Andrew’s Peter being sad about Gwen but not really talking about it hits hard and you can feel the emotions

Lacks the charm of the original, Mary seems annoyed to have had to come back for the Banks' - modern storytelling doesn't do too well with this. A series like lemony snicket of the MP books could be great.

a few scenes could have been left out, the Meryl Streep segment started off with the promise of maybe an odd homage to the original's 'laughing & floating"scene. But is mostly an upside down set.

The morals of this are the complete opposite of the original... "enjoy time with your family" has become "invest money in stocks, when you're young"

My 5 Yr old danced to two songs - that I can't remember. Only at the end did a song make you want to singalong - "nowhere to go but up" - we both humming the last song in the car.

When coming up with the idea for this film, I imagine Nolan asking himself: can you take a Roger Moore era Bond plot, up the amount of sci-fi and dial down the camp? Yes, you can, but this isn’t exactly the way to do it.

Pros:
- I love it when directors aim big. Give me someone who tries something as ambitious as this over the average blockbuster anyday.
- Directing & cinematography, as is to be expected from a Nolan film at this point.
- Score. Especially during the opening scene and inversion stuff.
- Action sequences, especially the car chase.
- Most of the acting is solid. JDW is excellent, Robert Pattinson and Elizabeth Debicki are great.

Cons:
- This film has been edited to shit. It’s got pacing that’s all over the place, and there’s a rushed sense to it all. Scenes aren’t allowed to breathe, exposition is delivered so rapidly that you barely have any time to process it. I’m lucky to have a brain that can keep up with difficult plot mechanics, and yes, I could follow what was happening all the way through, but it all makes for a film that’s inaccessible for most people on their first watch. Unfortunately, it definitely doesn’t feel like the film that mainstream audiences are going to embrace during the time of a pandemic.
- Just like with Dunkirk, Nolan once again deliberately chooses to not flesh out his characters, resulting in a film that feels emotionally shallow. It’s very hard to connect with the film on a personal level in that regard. Take Inception, for example. Even when you strip away all the amazing stuff from that film (rotating cities, hotel fight), there’s still an emotional core about a man who’s been estranged from his kids because of what happened to his wife. There’s a reason why we want Leonardo DiCaprio to succeed at implanting this idea into Cillian Murphy’s head. Tenet has none of that. Who’s the protagonist? Who’s Robert Pattinson? What’s this agency they’re working for? We just don’t know.
- The sound mix. The dialogue just isn’t very clear for a lot of the film. Why they didn’t use ADR for some scenes (especially when people wear masks, as that’s easy to edit around) is beyond me. I honestly started to read the subtitles after the opening scene.
- Kenneth Branagh. He’s a great actor, but his hammy performance feels like it comes out of a different movie (a campy Roger Moore era Bond movie, that is)
- I found the climax to be uninspired, and a little dull.
- Minor point, but there’s some really unsubtle foreshadowing during the fight at the airport ( when you have a character unmask an inverted person offscreen, and they look surprised, who do you think it’s going to be? )

Overall, I feel like this could’ve easily been an 8 if the film was about 30 minutes longer, thereby taking its time to flesh out the characters, world and mechanics of the plot. It almost feels like WB forced Nolan to trim a lot of scenes in order to get a shorter runtime, but that’s also doubtful as WB isn’t beyond releasing movies that are way shittier at 3 hours (It: Chapter 2). Besides, he’s Christopher Nolan, so I assume he has final cut. As it stands, I just cannot recommend it.

5/10

what an amazing experience. Those 3 hours just flew by and it ended with me wanting more

BRING ON THE HOLY WARS!!!!

After all this time?
— Always.