Da 5 Bloods
On the Record
I May Destroy You
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The Dardenne brothers' masterpiece is a story of guilt, recrimination and a search for forgiveness. The tension in the story comes because the main character is acting in ways he himself isn't really sure of, at times almost experimenting with the emotions and actions that will help him heal.
An advocacy documentary of the highest order, and hugely influential on the muckraking documentaries of the present day. What's different here though is that, while the filmmakers juxtapose the words of someone with contradictory actions, they don't do it with solely a mean-spirited gotcha. Rather, the filmmakers are so invested in the humanity and morality of the topics they explore that they present the contradictions to underline the hypocrisy of the intentions given and to make us feel and think about those intentions.
Very simple set-up: ballet company prepares for and then rehearses short story. But somehow Saura's essentially two part tale is fascinating, in the first part for its detail and patience, in the second part for its evocation of strong emotions even though it's heightened the unreality of the performance.
The first 15 minutes are absolutely wonderful, but the journey to come to some resolution one way or another on the relationship between the characters takes a little too long.
Blunt but effective psychological suspense piece--where that suspense is generated through whether the Ryan character will be able to find a way to live with the live he's chosen. This is one of Ryan's better performances.
If we're going to build movies basically around "let's see what happens if we put these people together," I'd recommend Frances McDormand, Margo Martindale, Alison Tolman.
The scenes of huge battles and destruction aren't what they were in the original LotR trilogy, so it's to the film's great improvement that the last 45 minutes is almost entirely of one-on-one interactions (battles or otherwise).
Not something one would often hear me say, but here goes: this movie is sweet and touching and lovely. Go see it.
Beautiful set of tales that lean toward the allegorical with a rich vein of trust in human complexity (for good or ill).
I liked the first of these a little better, in part because the meandering pace seemed just right for the story. Here, in a movie with many more action scenes, the passages in between seem too slow, and the interchangeability of many of the dwarves is a serious hindrance. Saving graces: barrel ride down the river, and Smaug. Oh Smaug, the tyrannical.
Bears some similarities to last year's Cabin in the Woods (which itself was related to Craven's New Nightmare), but with two big differences in intent. 1) This film intends to be scary (and basically succeeds); Cabin didn't intend to, and its humor was a big selling point. 2) This film's meta-point/villain/thing actually works, and the film knows how to end.
Not to be confused with the 2006 South Korean monster movie, which had a clue about how not to suck.
Starts out as a reasonable "Prestige" facsimile, but Weaver's departure from the film makes the whole thing turn bombastic.
A kindred spirit to The Age of Innocence, but I preferred Scorsese's more lush take on love amidst societal strictures.
Nowhere near the top of Bergman's filmography, but it's also of a different tone than his more famous work--more natural and without great symbols of identity.
The two main events that appear to have inspired this film are: 1) the existence of a mobster named Mickey Cohen, and 2) the existence of a movie called L.A. Confidential.
Hilariously inept horror film that isn't a terrible viewing experience. How can it be with lines like, "You have carte blanche, but you don't have a blank check."? But it's muddled, unscary, and derivative of Argento's mood and more bold color schemes.
A quiet film about the conditions that led to Bobby Sands, played by Fassbender in an internally ferocious performance, to declare a hunger strike and be ready to die to see it through. Fassbender doesn't appear until about fifteen minutes into the film, at which point we've been introduced to the conditions of the prison. After that, we see the focus of the film turn to his decision until in a completely amazing central dialogue scene between Sands and a priest, the entire film is laid before us.
Are you the type of person who maybe watched Psycho once fifteen years ago (or have only heard about it), know Hitchcock mainly from TV, and prefer simplistic takes on the creative struggle? Then this movie is for you.