Dude Rates Movies
Definitely the most approachable film from Terrence Malick, and a powerful war movie at that, although the voice-over meditations tend to be either too analytic or too elusive
How ironic that Adam Driver has such presence in this nice little movie, while he looks like an annoying and uncharismatic teenager in the new Star Wars movies
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<spoiler>Ah the good-old screenplay trick where writers lose track or what they're doing so they decide all of it was a diabolical plan from the character from the beginning.</spoiler>
Terrence Malick has reached his final form, the one of total freedom and no production control at all. The guy gets lost in whatever music festival, big estate, empty open-spaces, receptions and whatnots, filming A/A+ actors and actresses wandering around and mumbling shit. The wide-angle lens that distorts the edges of the frame, making it not even that good-looking anymore, is a good symbol for the overdose of a cloying formula.
Looks like Carpenter's low budgets is more suited for horror than for action. This is just really bad.
Second movie in my J.C. Chandor streak, and an excellent one. There is one character and 4 or 5 lines of monologue in this movie, the well-crafted directing and poignant performance from Robert Redford doing all the heavy lifting, and lifting it up well.
Last movie in my J.C. Chandor streak, and again a very good one. Very interesting inside perspective of the onset of the 2007 financial crisis, more punchy and approachable than the long and analytic Big Short.
National Board of Review's best movie of 2014. I would put it just after Birdman.
I have a sweet spot for movies about snipers and this one doesn't disappoint on the matter. A minor but nice film in Doug Liman's filmo (The Bourne Identity, Edge of Tomorrow).
Let me introduce you to Wonder Woman.
Coming from an island of women only, a man has to show her how to behave in the real world. He also makes sure she's not too much distracted by cute babies or wounded soldiers she wants to help. When she tells about some bizarre God stuff, the man needs to filter out the bullshit and convert it to an actual goal. When she's making a big scene because too much violence in this world and peace is better than war, the man needs to calm her down. She wakes up from a night in a basic boat, her mascara perfectly made. She enters the battlefield like she entered a fashion podium, in slow motion please. She charges at a bad guy, destroying the bell tower of a church, creating a havoc full of dust and dirt, but her hairstyle is still up to an advertisement for a shampoo.
For a self-advertised feminist movie, it makes all efforts possible so that it could be confused with a casually sexist one. As for the content itself, it's the latest issue from DC Garbage Studios.
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Kurt Russel mimicking an alien is a bit ridiculous but overall it's somewhat entertaining
A very good action movie. Funny and entertaining.
How visually ugly and narratively impersonal can a Ron Howard's movie get before you start to dislike it? This one is probing for the limit, although fortunately it doesn't reach it.
The stunning cinematography beautifying depressive Polish sets is consistent with the touching view on the unexciting subject of a young woman who is about to take her vows to God. Not my cup of tea overall, but I can't say it's bad.
IMDb Top 250 homework. Talks a lot but doesn't deliver much.
I very much enjoy Michael Haneke's directing, but this is basically a documentary on slow deterioration to death and I don't see the point.
IMDb Top 250 homework. <spoiler>The cynical and sad ending obviously got my attention, but that's only after a long and unremarkable story</spoiler>
I think it's the first Disney where I actively enjoyed the songs instead of waiting for them to finish so that the narration could carry on. I then listened to the album in loop like a little girl. The movie is okay-ish.
This is difficult to rate. The movie achieves its goal perfectly, but I'm not sure I like it. It's frightening, but not usual-horror-film-frightening. The story mixes dead serious subjects, making it quite disturbing and dark. In the end, although I recognize the performance, it repulsed me more than anything else.
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An endless source of reaction GIFs from Jack Nicholson
Why would I want to watch a wedding in real time from people I don't know? This last act with DeNiro and Walken tho
Those movies about recent trivia, incidents or notable people always get my interest, although this one lacks the spark to make it more than just an anecdote
The danger of giving Oscars to fresh and upcoming comedians on their first widely recognized movie is that they then rest on their laurels and are satisfied with blockbusters. This is how you get the brilliant Brie Larson to switch from Room to Kong: Skull Island. Same deal with Alicia Vikander in A Danish Girl and then Tomb Raider. Compare that to Leonardo DiCaprio who had to do an exhaustive tour of all the greatest contemporary directors and thoughtful roles before getting his precious one. It was a long con from the Academy to keep him up to his talent all along! Now shut up and take my money and let me watch this bad Samuel L. Jackson motherfucker fight the gigantic Kong.
Feel-good movie feels good!
Faut le voir pour comprendre les références autour de soi, et il faut dire que c'est bien marrant. J'ai toujours du mal avec ces comédies où le seul intérêt est d'attendre la prochaine pitrerie du comédien et qui sont de qualité nulle outre mesure. Elles semblent appartenir à un art entièrement différent qui, par simple coincidence, partagent avec le cinéma le fait d'être filmées.
Jeff Nichols makes us endure a long history educative package, which is quite a treason to the originality of his filmography up to this.
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.
2019-05-05
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
Absolutely.
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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.
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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.
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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.
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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.
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.
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.
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.
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.
You can't do more Hollywood, but that's quality Hollywood.
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.
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.
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.
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A 2 hours high-speed chase in the desert. Shut up and take my money.
This films is a rather dull platform for Eddie Redmayne and Alicia Vikander to showcase their talent.
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.
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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.
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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.
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<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.” Journalist: “Why?” 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 was blown away by the CGI. This is beyond anything that had been done so far. The adaptation is quite good overall.
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I don't know why this movie received such negative reviews. It's not outstanding but it's a nice little thriller.
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.
Saturday 25 November 2017
permalinkI got confused with Ang Lee's filmography and waited all the movie for one of the two guys to transform into Hulk. What a disappointment.