I am a college student who has some free time, and an insatiable, ravenous obsession with film. I have a wide variety of tastes and I try for quality films, but I almost never say Not Interested. I love mind bending films, screwball comedies from the 30's and 40's, romantic comedies, classic and low budget horror, coming of age films, silent slapstick, feel good, and generally 70's cinema.
I rate films with a mixture of "What the film is" versus how much I enjoyed it. Below is my rating system.
4: It was enjoyable.
3-3.5: Had flaws, but still slightly enjoyable.
2-2.5: Severly lacking.
0-1.5: Worse than a bowel movement made of starving piranhas.
I say yes to friend requests if you have your profile filled out. If you really love cinema and are here for that purpose, you should have reviews, ratings, etc. As a young woman I hold the right to not be randomly sent dick pictures and messages detailing your urges. Keep it in your pants; this is the internet, not the couch in your cousin Rick's basement.
I keep my reviews pretty short,except on a couple films where I just couldn't help myself.
See you around whippersnapper.
The main problem with this film is that it splits time between three different sets of couples so we barely get a glimpse into their lives and their struggles with their disease. This is most evident by our main character barely ever being onscreen, and most of his issues aren't touched upon. Ruffalo's character struggles with his addiction and honorably refrains while in a relationship, charting the new waters between lust and love. Still, we don't know him as a character, so his growth doesn't really interest us. We don't know who he was before when he was suffering from his addiction, or how he eventually starting going to treatment, or what steps he should have taken with his love interest. The other two storylines are more fleshed out, but only one really peaks interest. Robbins is married with a son who he most atone towards, since he was a drunk and a womanizer while he was a child. This is an impressive storyline that shows the bleak reality of addiction and its effect on loved ones. Josh Gad and Pink play newly anointed sex addicts who navigate friendship and each grow substantially over the course of the film. Theirs is the most fulfilling, funny, and heartwarming storyline, and the only entertaining part of this film. Otherwise it's a very watered down drama that only tells some aspects of this disease.
David Wain assembles his pals once more for another satirical romp through a genre film. This time he takes on romantic comedies, casting Paul Rudd as our affable leading man, and Amy Poehler as our clumsy heroine. While some of this film is really funny and hits the nail right on the head, the writing also gets too pointed and contentious. Part of parodying these kinds of films is knowing what makes them great, and showing the positives of the genre, and this film only wants to point out how ludicrous romantic comedies are. The part with Meloni and the superhero suit had nothing to do with anything, but I thought it was funny, and the music video in the middle of the film was weird but amazingly perfect. Little things like that made it funny and unexpected, but the rest was very obvious in choice and execution. Still, I loved the cast and every performance, so perhaps Wain will be making another ensemble film soon.
Very much like Neil Gaiman's book of the same name, "Nightmare" director Henry Selick imagines a world that is black, bewildering, and ghoulish. Drawing on our worst fears, and the intensity of childhood wonder, the film follows Coraline, a little girl who moves into a new apartment with her parents, and finds her new world wanting. Faced with a parallel universe and a ghastly villain named "Other Mother" Coraline must put on a brave face and end the monster's reign. Completely filmed in stop-motion animation, the world is even more beautiful and ghastly than it ever could have been in another medium. The characters are just as bodacious as the book, there's the same level of terror as in the original text, and there's a sense that Coraline is the only one who can save the day, even though she is a child. It's adventurous and dark, which more children's films should aspire to be.
Astonishingly this thriller is one of the creepier films, not to be placed in the horror genre, that I have ever seen. Between the childlike voices in the score, the voyeurism from the murderer, and the strange ending, this film crept under my skin and lingered. Jane Fonda gives the performance of a lifetime as Bree, an unaffected prostitute who is wrapped up in a game of intrigue after one of her former clients disappears. Strait laced PI, Klute, comes to the city to find him and she falls in with the investigator. Most of what makes the film gritty and realistic comes from Bree, who is one of the most interesting female characters in seventies' cinema. She has long term goals to be an actress or model, but she doesn't see the problems with that goal, and she is also stubborn to see the inaccuracies in the world. She respects her clients when she's with them, but she feels shame and resentment towards them and herself. Bree is both audacious when confronted with her world and sullen towards the implications of her actions, making her interactions with Klute that much more interesting. Whenever Fonda is onscreen she illuminates with her performance, creating a complex portrayal of a sanguine woman without many options left. Thrilling and yet creepy, this is a film highly recommended for the hardhearted and the brave.