This film is better than it looks as Kate Hudson is a sheer force if life. What happens to her is made all the more powerful because of her performance. It made me cry! The reactions of family and friends are incredibly realistic. The only bum note is Whoopi Goldberg...
The best superhero film of all time! Joss Whedon is an unqualified genius. How he brought together such a disparate group of characters, all headliners in their own right (eye candy all, but for different reasons) with the egos to go with it, with such ease, humour and emotional power... It's beyond belief.
The acting was superb, with each getting their moments. However Iron Man Tony Stark (Robert Downey Jr.) gets all the best lines; there's more than the ones shown in the trailer. Yet the highest praise should go to what they did with the Hulk, who gets the stand-out moments.
The only criticism is that you should see the Marvel films before to get the most out of it: both Iron Mans, both Hulks and Captain America, but particularly Thor. The interplay between all the characters was pitch perfect, believable and utterly entertaining.
Basically, it's all a superhero film should be with all the characters having equal time to shine: fun, funny, entertaining, nostalgic, action-packed, dark and light, characterful and character-full and overall masterful. Thank you for an eventful (we had a fire alarm evacuation part-way through) time in the cinema, maybe the best time. Well worth the price of a 3D ticket, well worth the midnight home time and well worth the lengthy running time. I now want to see it all over again!
Beautiful. And I'm not just talking about Ben Whishaw whose degradation tugs at the heartstrings, the relationship is lovingly portrayed and the cinematography is a delight to behold. However the beauty is in how Campion manages to stray away from sentimentality, the utter tragedy of the story and overusing the glorious poetry. I also loved Schneider as Brown whose brash personality is a perfect foil to the quiet dignity of Keats. An utter joy to watch and the one tear that slowly made its way down my cheek at the end sums up the understated beauty of this film more than any flood of weeping ever could.
The most interesting thing in this film is the city of Barcelona. None of the characters are as fascinating as their self-absorption makes them think they are. Javier Bardem certainly has the charisma to pull off playing a man who is the middle of a love quadrangle, but Cruz surprisingly throws off the whole tone of the film and ruins every scene she's in, Hall does well with her unforgiving part and Johansson is strangely under par. Surely with three female muses Woody Allen would've been in his element, but it seems to have thrown him off balance. He took on too much, which is exactly what this film is, too much.
I don't like Tarantino let alone his films, but even I can admit that the first scenes in this movie are genius. Then it's all downhill from there with a couple of standout moments: Diane Kruger in the bar, Melanie Laurent and Christoph Waltz in the restaurant and the balls out finale. Brad Pitt was superfluous, Fassbender was underused and what was with Mike Myers; so bad it doesn't work. And Eli Roth? For goodness sake...
Completely misguided adaptation of the Oscar Wilde story with an unutterably miscast Ben Barnes and an entirely inept director. The only saving grace is the glorious Colin Firth making the best of it with his underwritten part; a seemingly one-note character is lifted by his witty delivery while also simultaneously conveying the pain underneath. Also, why make explicit, why modernise and why trivialise the insalubrious moments? The genius of the original story is its subtleties, unusual when you're dealing with Wilde, its period elements and the anguish that Dorian Gray is put through. It set in the period so the contemporary sensibility ruins any idea of taking the film seriously. The novel deserves so much better.
Kudos to Gilliam for getting this film finished, and making it make some sort of sense, but it was always going to be overshadowed by the tragedy of Ledger's death. Its ambition is commendable, its visuals typical of Gilliam but impressive and the story intriguing even if you're unsure entirely what's going on. However there are three really good actors in this film and unfortunately none of them is Ledger; it's tempting to read too much into it, but he is clearly struggling with something which affects his performance. Nor is it the ever reliable Christopher Plummer, the incredible dancing Johnny Depp or the other Tonys Colin Farrell and Jude Law. It's Lily Cole who is absolutely enchanting, it's the suitably bizarre Tom Waits and it's Andrew Garfield who steals every scene he's in. You saw him here first, before the Facebook film, before Never Let Me Go and before Spidey. Oh and Paloma Faith is good too, watch out for her.
There may be no chemistry between Gerard Butler and Katherine Heigl, but there is something about this film I like. The idea of a charmingly obnoxious guy coming along and shaking things up just by being himself is appealing, and then deciding to help unbutton a repressed woman, it's a Hollywood fantasy, but a good one.
Not a patch on the book, completely wrong in tone and totally miscast, seriously who thought Rachel McAdams and Eric Bana would make a good couple? Yet it did one thing right, the ending.It wouldn't have worked in the book, but on screen it is perfect. But please, just read the book and forget the film.
You always know when you are about to watch a Carol Reed film, you're in for something special. However this hidden gem is truly special. It's quiet, slow-burning and subtle and all the more believable for it. The performances are naturalistic, compelling and so sympathetic you find yourself totally immersed in the story and the characters that when it ends all too soon, you grieve for the loss. Never has the term "they don't make them like that anymore" been so apt.
Disney at its most innovative, heartfelt and fun. The first fifteen minutes are arguably the greatest in Disney's history. It tugs at your tearducts, tickles your funnybone and fills you with joy. The best of cinema, plus talking dogs, a mischievous bird, a grumpy oldtimer, a determined kid and a floating house. Simply outstanding and my pitiful words don't do it justice as I can't describe it. Just watch it.
Although I couldn't remember this film at first, reading the synopsis brought it all back to me. The cold-eyed yet incredibly charming and attractive villain played by Alain Delon, the always glorious Toshiro Mifune and the steely heroine Ursula Andress; there isn't much plot to speak of. However this is Bronson's film. The interplay between him and Mifune is a delight, I've never seen Andress act better than in her scenes with Bronson, he's just that compelling and he manages to express such emotion so simply. Despite his roles in the Great Escape, Magnificent Seven and the like, I've never seen a better role for Bronson. A glorious little-known film.
Despite all appearances to the contrary, this is actually quite good, but then I liked the book it's based on. A completely miscast Scarlett notwithstanding, it only fails in its ambition. I loved Colm Meaney as the tragic Irish cousin, Sean Bean playing an evil landlord love interest and a young Tina Kellegher (Niamh from Ballykissangel) who gets a particularly affecting story. Where it succeeds is in its portrayal of Ireland and the Irish, which is unusually subtle for once. However it needs more Rhett as Timothy Dalton is a suitable successor to Clark Gable, just shame about Scarlett herself.
A faithful adaptation of Maurice Sendak's slight but fantastic story while seamlessly adding profundity. Only Spike Jonze. A warning though, this isn't a kid's film, it's a film about being a kid, with all the unconditional delight, bewildering confusion and unbelievable pain. It's unstinting in its portrayal of all that entails. From the glorious opening to its sudden turn, all in the space of five minutes, it reminds you of your own childhood and will have you welling up, gasping for breath, laughing with joy, strangely thoughtful and incredibly nostalgic. What other film would have the same effect? I sat there for a while afterwards just trying to get my thoughts, emotions and outward presence back together. Max Records is absolutely stunning, the voice cast is brilliant, but this is Jonze's film and is all the better for it. His fingerprints are everywhere in the monsters themselves, the cinescapes and the overall style, mood and tone of the film. I haven't got enough praise for this. The first and last scenes will remain with me forever.
If you thought you knew the Beatles then think again. With only a few liberties taken discover how the iconic band was formed from the point of view of, arguably, the main man John Lennon. None of the cast is wrong, in fact you will be surprised how right they are, not only Thomas Sangster as Paul, but the incredible Aaron Johnson who somehow becomes John Lennon effortlessly. Forget all the controversy about the director and her star that came afterwards, enjoy the film for what it is: a perfect evocation of an indelible musical legend, a personal story of motherly love, family and friendship, a period piece, a pscyhological study and most of all a celebration of the glory of music.
This isn't a film about Sherlock Holmes, it isn't an adaptation of the stories by Sir Arthur Conan Doyle nor is any of that the main focus, it's a bromance between Holmes and Watson, both brilliantly played with real affection, dedication and frivolity by the incredible Robert Downey Jr. and the surprisingly brilliant Jude Law. It has real energy, a sense of fun and stunning period detail. I don't care that it runs roughshod over the character's legacy, I don't care that the characterisation is so different to anything we have seen before and I don't care that Rachel McAdams is rubbish, well, almost, what I do care about is that I was entertained, laughing with delight in places. However it was trumped by the BBC adaptation with Benedict Cumberbatch and future hobbit Martin Freeman, that's why I haven't given it 5 stars.
Not as affecting as the book, but what film ever is? Superbly acted, even by Alastair Mckenzie (Archie from Monarch of the Glen), this is a heartbreaking story of first love, seen from several generations. Warning, you will cry, even with joy at the stunning final scenes. Still, most of the film falls flat, but it is worth it for the moments of brilliance.