Aka Four Shallow Tropes and a MacGuffin.
I'm a sucker for a good impromptu musical number, and there are a couple here. I like that it's a self-aware romantic comedy that doesn't subvert the rules of the rom-com but revels in them.
I do like that it doesn't treat the flat earth bunch as psychos or make fun of them, but there's lots of jaw dropping weird in there provided handily by the subjects.
Well, I didn't expect much of this, but it was a nice little film. Surprisingly great acting throughout, other than Toronto which didn't play a good Baltimore.
The story doesn't get overly cliche or sappy, and still progresses well.
I'm a little surprised how well this holds up. Some great side characters throughout.
Outside of the obvious problem with Axel being a bad cop, and screwing up any case the prosecutor might want to bring.
I don't often shut a movie off this early, but the boring ass, predictable death scene of the loving father with the cut to the wake? Fuck that.
Richardson reminds me at times of Ash in Evil Dead, if he'd stumbled into that island in Wicker Man. I wrote that before he lost his hand, too.
It's a bit uneven, but well enough done.
The most likeable character is a ruthless killing machine. A robot. Most of the human characters are shallow, one dimensional automatons that don't amount to much.
There's a Han Solo wannabe, there's the rich girl he can't have, and the rebellious girl who obviously is just hiding her spontaneous love for him. There's also Asian Matrix-Era Carrie-Anne Moss who, like much in the film, is blatantly foreshadowed. Then there's a handful of people not to get attached to.
Some fun scenery and lovely bits of design, but it's a mostly empty world with mostly empty characters. Pretty, forgettable.
I'm not well acquainted with Giacometti's life or work, but this film is an interesting look into a mad man's process.
Well, that was a film. I won't remember a bit of it 24 hours from now. It feels under-produced and low budget. The script is needlessly back and forth about who the villains are. It's not suspenseful - it's annoying. There's also an unnecessary sub-plot about Sam's personal life.
Feels like 2:30, but only 1:35. A waste of good actors.
I bet there's a TV pilot hiding in there if a good editor got access to the footage.
Getting my eye-rolling exercise in tonight. The opening narration wasn't a good sign, and nothing helped improve it. I swear the message said the ships we're leacing in four days, and there's near zero effort to get moving.
I'm more motivated when I'm taking a train that i know will be along an hour later.
The final act took too long to play out, but otherwise it was a pretty middle of the road, predictable 80s nostalgia piece.
As a heist movie, it's run of the mill.
I'm willing to suspend disbelief about an evil that kills you when you see it. However, how does this evil not find its way under a sheet or through an open door? Just close the door and know for certain that the evil remains outside?
Some Romero films (that aren't this one) aged well.
First two acts fine... Enemy revealed finally and it's.... television?
Or... Something. It's a mess.
Young girl works out her demons.
I liked it well enough, but mostly for the main character. Nobody else really matters in the film, and they're all pretty disposable. The overall story is good, if predictable quite early. Something of a traditional fairy tale with the girl lost in the woods.
The supporting cast is horrible. Annie, Dan, Schrift, their Elon Musk... All either poorly written or poorly acted. Annie couldn't have been much more wooden and unconnected to everything around her. Over all, fair, for a Marvel film.
"The clowns I found on Craigslist"
Amusing, but between the good bits there's some rough low budget bits that seem like they're just not trying 20% of the time. Like one extra take here, 5 more minutes on the effects prep, one more edit...
"He grew an exoskeleton under his skin"
And she's a biologist?
Then some shit about how autism is the 'next human evolution.'
It was... Well, it was. It didn't really live up to the promise, and the credit video was the highlight.
Shallow characters, forced jump scares, no motivation, no growth, and trope after trope. Uninspired.
Well, that's not how face blindness works at all. Not being able to recognize someone moment by moment doesn't impact your ability to remember their name or to remember who they are. The whole thing feels like a bad made for tv movie. The cops are charicatures reciting unbelievable dialogue.
I enjoyed it for the content - not so much the film making. The interviews aren't remarkable and the editing could make the film more concise. Five to ten minutes of the film makers driving? Yeah.
Still, big fan of the story hiding in the narrative, though likely due mostly to the nostalgia.
The end flops around for about 20 minutes and feels like it just won't die. At the end, I was cheering against Will because I hold him responsible for the crap 3rd act.
I thought it had promised at the start, despite Forest's bizarrely antagonistic character. It didn't really setup any real tension between the two, it was just annoying. Once things got moving, it smoothed out... Well until the last act where they pulled a Lost Series Finale and just fucked over the viewers.
It's a really good film, but I find it pretty hard to believe the weakness wasn't found by accident when there were still billions of people in the world.
Feels like a rejected TV pilot. No surprises promised, none offered.
Self-aware found footage film doesn't make it better in any way. Adam Green is no actor.
I typically like mindless teen comedies, but this one's so very bad. I wanted all the characters to burn.
Predictable as hell, but yet, I love it despite that.
The personal assistant characters are solid and work well together. The bosses are horrible caricatures, but they even have their moments.
Some really funny bits are worked in that don't feel like they take away from the story of the main characters.