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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
The Tomatometer is 75% or higher, with 40 reviews (movies) or 20 reviews (TV). At least 5 reviews from Top Critics.
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A sprawling, if flawed, story concerning a woman (Kirsten Dunst) and her self-destruction at her own wedding, coupled with the seemingly imminent threat that a planet off in the distance, named Melancholia, will collide with earth in the near-future. There is a lot going on here despite the onslaught of depression, notably a lot of subtlety and careful reflection of one's life-span. In one sense, it is a frustrating film because it is so detached, but in another way, it keeps the ambiguity and curiosity at an all-time high. Some will find it boring and pretentious, and that's understandable, but I found it to be engrossing and a fascinating, character study on depression. As said, there are a few problems with it, but it is ambitious and thought-provoking, so for that, it gets a recommendation.
A smart, slam-bang thriller that engages its audience from its mysterious opening shot all the way to its open-ended conclusion, featuring a team of scientists (led by Noomi Rapace) who journey to a distant planet in the year 2093 in hopes of uncovering hidden secrets regarding mankind's beginning and the meaning of life. Ridley Scott's visual scope is impeccable right from its opening tracking shot of the hills of Scotland, and the way he packs his film with atmosphere, tension, and absolute horror is a welcome surprise to the banal horror films (with exception to "The Cabin in the Woods", namely) we have received lately.
Sure, the film is not a mastery in how to develop characters (but neither were "Alien" or "Aliens", two films that are considered to be all-time greats by many, many people, including me), but it is an old-school lesson in how to properly freak out your audience, all while inputting a philosophical spin that is completely arresting. Although the film could have expanded on its "faith vs. science" battle, and there are some notable, inexcusable plot holes, it still works due to its cast. Everyone involved gives fantastic performances (Noomi Rapace, aka the original "The Girl with the Dragon Tattoo" is outstanding, as is Michael Fassbender as the android David), there are tons of scares, all concluded with an ending straight out of Hell. Flawed, absolutely, but still an engaging, arresting, beautifully shot philosophical blast of a film whose ambiguity is frustrating and ballsy at the same time.
A flawed though ambitious adaptation of the story of Moses (Christian Bale) and Ramses (Joel Edgerton), and how they begun as basically brothers, but how God's will propels one to fight for the freedom of his people, and the other for the survival of his kingdom. While far from director Ridley Scott's best work (that belongs to "Alien" and "Black Hawk Down"), this is certainly a respectable admission into his filmography. Sure, there are some gaps in the storyline (to be fair, it is a tough one to fit in under a three hour frame) and the middle section is slow-paced given the nature of the development of the story, but ultimately this movie is a success thanks to strong performances from Bale and Edgerton, as well as stunning visuals and special effects that always keep this film arresting. This is a much better realized version of a Biblical story than "Noah" was, and even though the film has problems (God being portrayed as a little boy is a big error), the mere scope and look of the picture and the time it takes place is fascinating.
A somewhat entertaining though very derivative superhero saga concerning four unlikely candidates (led by Chris Pratt) and how they are tasked with rescuing the galaxy from some really bad guys. While it tries badly to have a heart and sense of humor, including a vibrant soundtrack, its video game-esque looking action sequences really take away from the overall impact it hopes to have. The acting from the lead characters is fine, but the inability for this story to offer a memorable villain is a big mis-step as well. It means well and obviously it is geared for a younger demographic, but overall I just found it to be an okay but very forgettable entry into the Marvel series.
An interesting though problematic slice of Texas drama concerning a family man (Michael C. Hall) who shoots an intruder who comes into his house one night, only to have the criminal's father (Sam Shepard) seek vengeance on killing his son. However, when the two discover that there may be more to the case than originally thought, they both enter into a new world full of deception and uncertainty. The writing and directing are both very ambitious, and the acting is wonderful (all three main actors crush it), which makes this movie entertaining and unpredictable. However, there are quite a number of plot holes and twists that are a bit of a stretch, which threatens to tear apart the entire movie before it ends hanging by a thread. Overall, not bad at all considering the way it starts and finishes, I just wish they could have put together a better middle-section to complete this okay movie.