This filmed-with-no-budget-by-a-bunch-of-friends indie got me hooked quite efficiently
My love for characters played by Lily James, such as Natasha in BBC’s War and Peace, turns my sensibility into this of a little girl. Cinderella is no exception, and I’m not even mad about it.
This movie is one dependable ally when you’ve caught a nasty cold. Just slip in under the cover and let you be taken away in this beautiful tale. Relish watching the delightful direction of Kenneth Brannagh and listening to the sweet music of Patrick Doyle. Jubilate as Cinderella and the Prince meet for the first time in the forrest and flirt like two loving souls. Remind yourself that everything will be alright as long as you have courage and be kind. Oh boy this movie is close to perfection.
The editing of car chases is, as usual, an endless source of frustration caused by each little stunt being cut right before its proper finish when it should have been shown in a single shot. Entertaining nonetheless, and also has Lily James.
Nolan finally gets back down to Earth (and to Sea, and to Sky). The impersonal subject of war is a perfectly suited canvas for his absolutely masterful directing, and isn’t polluted by his usual i-am-very-smart ramblings. The result is a stubborn, simple, and efficient masterpiece.
History Educative Package #24536, mixed with dramatic acting outbursts they will screen during the “Best actress in a leading/supporting role” video introduction at the Oscars.
At last a mature super-hero movie. A gold nugget in all this recent garbage.
The way Sergio Leone distills a scene’s atmosphere is both the source of awe and sometimes of boredom, but overall the result is definitely something fascinating.
A totally average movie that interest lies in discovering the early roles of Peter Dinklage, Bobby Cannavale and Michelle Williams
Jean-Pierre Jeunet stills thinks his urine-colored Instagram filter is artistic, and reiterates the usual suite of gimmicks leading to a compromise ending
Casual Spielberg’ masterful directing on average concept and screenplay. The man needs to find the magic back.
That was very violent, maybe a bit too much. But its gut-wrenching narration is precisely what makes it captivating.
So Nolan’s talent to film aesthetically pleasing planes flying is not new. He apparently also knows how to make really good thrillers when he doesn’t fool himself with philosophical bullshit.
My trouble with this movie (and the entire Indiana Jones franchise) is how it displays a sort of comical and light-weight atmosphere when the characters are always in imminent danger of death. Indiana Jones and his friends wouldn’t win the natural selection since their top priority in any situation is to joke about it. Public Service Announcement: in reality, you probably need to panick about the idea of being killed.
First movie of the Cohen brothers. I would say it’s totally forgettable, my proof being that at the time of writing this I saw it one year ago and I don’t remember what the hell it is about.
As fresh and tasty as raw meat. Hmmm.
I mean that was shit.
The director wants to stand out and desperately tries to be original, most notably with the unusual aspect ratio and the weirdly-fitting pop songs. His talent at directing is well enough in its own right, as it captures so well how the brutality of the main character affects the lives of people around him, and his own. This is beautiful and tragically breathtaking.
It never is entirely satisfying, but the part on the road is one of the most gut-wrenching piece of thriller I’ve ever seen.
Henry Cavill and Armie Hammer in the same movie. WTF I’m gay now.
Made me discover The Heavy (with their song How you like me Now) so it’s definitely worth it. The movie is good also.
When they do the Kong vs. Godzilla movie, Kong will kick this stupid creature’s ass, and he betters destroys it into pieces as well so that they stop making movies about it.
With this movie I learned that Julia Roberts isn’t just a wide smile, she’s also an excellent actress. I must say that the rest of the rather talented cast makes for quite a delicious sentimental essay.
Why do I even watch Harry Potter shit. I don’t like Harry Potter.
First opus in the « side » narration separated from the mainline sequence of episodes, where Disney lets subpar directors demonstrate their incompetency and effectively steers the saga to shit, as if the story choices of the mainline weren’t efficient enough in doing that already.
Exploring the early movies of David Ayer, director of the excellent Fury, and all I find is trash.
Harley Quinn is the most interesting aspect of this movie, and that is a low upper bound.
I’ve called Interpol so that they could rescue Tom Hanks, who apparently got lost in the desert.
After the awesome It’s a Beautiful Life and Mr. Smith Goes to Washington, I decided to explore more of Frank Capra, but this one is less approachable a bit more rooted in its time (understand: borderline sexist)
After his alarming vision of a world ruled by genetic perfection and his radical satire of reality TV, Andrew Niccol, the talented writer of (respectively) Gattaca and The Truman Show, still has things to say, about gun trade this time. His incessant need to remind us of how immoral it is is a bit heavy at times (compare that, for example, to how Martin Scorcese just goes full on with organized crimes epics, letting the spectators process the ethics in their own ways), but can we really reproach to Niccol to commit when that’s what he does best, especially when the result is otherwise an excellent movie.
Steve McQueen continues his one-word filmography, after the brilliant Shame. The usage of the long-take, including an unedited 15-minute dialogue on suicide, as well the glacial approach to violence and suffering, makes it, once again, an incredible cinematographic experience.
Kenneth Lonergan early work is a minor drama, but it’s nonetheless the occasion to witness a little known but impressive performance from Mark Ruffalo, and overall a good alchemy between a good cast.
After Flight and The Walk, Robert Zemeckis continues fucking around random themes and stories. I don’t mind him trying out stuff, but the quality is progressively dropping.
I’ve always felt that film is a somewhat arbitrary medium for a play, and this one really gave me this feeling hard. The way it’s done you can tell that it must be a play. So I’m kind of perplex as to the whole purpose of it, if not to showcase the stellar talent of Viola Davis.
So I was just thinking, if I was tasked to chose a song to send to an alien civilization, I would probably chose the raw City of Stars duo by Emma Stone and Ryan Gosling.
This suffers from the Oscar-targeted dramatic-acting-outburst syndrome, with Dev Patel going off the mark in the middle of the street to tell us about his existential crisis because of some random word the other character made the mistake of using. Fortunately most of the time the movie has a more subtle emotional approach, so it ends up pretty good.
You can’t do more Hollywood, but that’s quality Hollywood.
Those types of life chronicles simply aren’t my cup of tea. I see the point, this is touching and all, but there are just so many stories like this in the world, it’s quite random, and it doesn’t even pay off with a resolution.
I like tragedy. This delivers.
Typical Coen brothers doing typical Coen brothers stuff, earning typical Coen brothers rating.
Denis Villeneuve commits the cardinal sin and adds a non-diegetic soundtrack over scenes where diegetic sounds are of paramount importance. I’M TRYING TO LISTEN TO WHAT IS GOING ON COULD YOU PLEASE CUT THE MUSIC GOD DAMMIT. To add to the crime, the music is a variation of the tripods’ siren in War of the World and has a tone similar to the diegetic sound we’re trying to listen to. The resolution might be a bit too mind-blowing for me as I can’t fully make sense of it without resorting to Laplace’s determinism, and the implications about free will aren’t satisfyingly resolved. Reaching this level of discussion in a first place sets the bar quite high.
I've found spiritual guidance in the “would it help” philosophy.
Oh this is way too didactic. Alex Garland uses dialogues as a way to broadcast his dissertation on AI. It’s cool that not a single innovative idea about AI has emerged in movies since decades. I guess we just have to wait for it to play out live in society.
A 2 hours high-speed chase in the desert. Shut up and take my money.
This movie tricked me with such power. Considering the mysterious setting of the first act, I assumed it belonged to an entirely different genre than it was, a more metaphorical one. The revelation came up to me with such sheer brutality, I felt weak in my inability to consider things through a rational eye. It’s absolutely brilliant.
Mark Ruffalo doing the good old acting outburst for the Oscars. Literally Hulk.
I don’t rate films I didn’t understand. I thought I would go back to it with more focus, but J.C. Chandor’s *Margin Call acted as a damn well substitute.
This films is a rather dull platform for Eddie Redmayne and Alicia Vikander to showcase their talent.
I always picture old people as sort of easily-shocked conservative ones, especially when they’re respected, classy, artists. So I wonder how the discussion between Tarantino and Ennio Morricone went when they discussed the score for the flashback where Samuel L. Jackson is nasty with the general's son, which I found to be too-much myself. Asking important questions.
I usually like movies like that about trivia and events, but this one loses a point when he transforms a real-life disaster into a full-scale Hollywood spectacle. People died yo.
The movie is good. It’s just sad it’s entirely based on false drama. In real life the pilot had the support of the aviation and the investigation was a formality.
This is literally the western version of John Wick. Like, literally. The tiny bits of story you can find in John Wick. Literally. As a western. Therefore a wonderful movie.
<spoiler>It looked to me that the movie didn’t realize the implications of the resolution. If each new try from Gyllenhall was happening in a new stand-alone parallel universe, then by trying again and again he just generated copies of the same bombing and added more and more victims across the multiverse. So if at the beginning of the movie there were 1000 people sad from having lost a family member, after 5 failed tries now there are 5000 people sad. The only procedure that minimize the loss is to succeed on the first try, or to stop.</spoiler>
Journalist (pointing at a big poster on the wall): “Who is this one?”
Steve: “Alan Turing. Single handedly won World War II and for an encore invented the computer. He won’t be part of the campaign though.”
Steve: “Because you just had to ask me who he was.”
When I was in college a guy in the class said that Steve Jobs was such an historical figure because he invented the computer. Since he was a Job fan I hope he went to watch this movie.
I don't know why this movie received such negative reviews. It’s not outstanding but it’s a nice little thriller.
I was blown away by the CGI. This is beyond anything that had been done so far. The adaptation is quite good overall.
Jason Bourne it’s Jesus Christ!
I’ll spare you the movie with a simple Today I Learned: 999 is the police code for officer down. And the oscar for the most ridiculous casting goes to Kate Winslet’s role in this film.
Exactly like Monsters University: good but unremarkable because it relies on the originality of the previous episode.
No more no less than torture porn. It’s stylised enough so that it isn’t creepy, just utterly violent. I don’t know what to think of that. This is kind of films I rate 5 just in case. In case of what, I don’t know. But just in case.
Excellent discovery of The Exciters and their song Tell Him. Shake that ass, Goodman!
Keanu Reeves guns down everybody that is linked to the murder of his poor cute dog. Shut up and take my money.
In one scene of this movie, we can witness how John Carpenter low-budget creative special effects gives better results than modern computer-based ones.
It's about the only heavy-action franchise that hasn’t self-alienated itself and that still delivers solid entertainment with decent directing and even some artistic attempts, like the mixing of Turandot opera main theme (the opera that takes place during an action scene in the first act) into the soundtrack. Tom Cruise seems to have this thing under control.
Harvey Keitel performance is off the chart. I’m not especially a fan of the direction the plot was taking, but the dark and captivating atmosphere of the movie will make me dig more into Abel Ferrara filmography.
As it happens, this has nothing to do with the cult Bad Lieutenant, if not for the theme of corrupt police. I like to think of Nicolas Cage as as crazy in real life as he is in this movie.
Disney definitely stepped up their animation movie game.
I could spend the rest of my life listening to Penelope Cruz speaking to me in Spanish.
What a fucking nightmare. Spending like 10 damn minutes waiting for them to cross that bridge with this horrible sound quality from the 70s.
I never realized how the process of becoming homeless plays out before seeing this movie. Will Smith at his peak.
Silicon Valley’s TV series creator first movie about office workers that piss code and change date formats in endless source code to prepare for the 2K bug. This is delicious and still curiously relevant.
This movie could have been a 10 if its ambiguous ending wasn’t that underwhelming. I KILLED A LOT OF PEOPLE.
First episode of the 30-years Before trilogy of Richard Linklater. The three films (Before Sunrise, Before Sunset, Before Midnight), featuring Ethan Hawke and Julie Delpy, are about a couple of strangers who briefly meet 3 times in their life, 10 years apart, everytime proving to be a love escape. Linklater being Linklater, the 3 movies were actually shot 10 years apart each. I’m sold.
Let’s take a minute to praise Jake Gyllenhaal’s agent, who is, in those recent years, finding him roles that rocks! This Dan Gilroy director is also to be kept an eye on! So many exclamation marks!
This is the perfect movie to watch when you’re sick in the middle of winter. At least it worked very well for me.
I’m not gonna denied that this was original, but this was weird as fuck. Mud, the previous movie from Jeff Nichols, already flirted with the fantastic, or at least with a tale-like storytelling. This one goes full-in, and I find the result quite awkward.
Once you accept the fact that this is nowhere near the elegance of the Steven Spielberg ones, but just a dummy blockbuster, it can be quite enjoyable.
This is a poor reminiscence of The Exorcist but it still delivers a fair amount of chills.
Not only did this taught me about this massacre I didn’t know about, but it’s also a very poignant depiction of it. Dennis Villeneuve is such an excellent director.
Why is Sean Connery, from Scotland, playing a Russian officer? Why do the Russians even speak English. Alright I quibble. Actually, the first few dialogs of the movie are in Russian but then they switch to English on the word « Armageddon », which is the same in English and in Russian, and also a Michael Bay movie, although this has nothing to do with this trivia.
This is probably the saddest movie I’ve ever seen. One of the peculiar aspect of it is that it’s a drama about people turning against an innocent man, but there is no one you can truly blame for this behavior. It’s just a human relationships total clusterfuck with heart-wrenching consequences. It conveys such strong emotions. This is what I look for in cinema.
I like the western vibes around the theme of space exploration, but this is sooooo looooong.