Da 5 Bloods
On the Record
I May Destroy You
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There's some plot about two women and a psychic that goes nowhere then thereâs a love story that has no point and then thereâs some random killings. Eventually the killer (who is never given an identity, purpose or origin) shows up and terrorizes the women that the entire first part of the movie focused on but this happens in the last ten minutes or so. There are a lot of set-ups for things that never happen so when the movie is over you ask "what was the point of..." about a dozen times. One example of this is the killerâs design: he sometimes wears an animal mask and makes growling noises but the mask appears and disappears randomly - why is this? Also he wears gloves with metal claws on the fingers but doesnât use them to kill his victims instead he suffocates them with a plastic bag. If he was supposed to think that he was an animal (which would explain the growling) then why doesnât he kill people like an animal, whatâs with the plastic bag?
From the Hammer Horror archives comes what is, by far, the best Yeti movie ever made. Not only is this a very realistic, thoughtful film, but it actually retains its composure and does not turn into a monster/horror picture. Amazingly there is a message in this movie which is years ahead of its time.
Ten years after the last Ghostface killing spree, Sidney Prescott has become a bestselling author and came to terms with her tragic past. But a return to her hometown triggers a new bloodbath that follows unpredictable, 21st Century horror rules. The last ten years of horror (in America at least) have seen nothing but crappy remakes of classic 70s and 80s or modern Asian horror and Scream 4 cleverly addresses this by having the killer re-make the original killing spree while intensifying the kills, filming them and throwing in new scenes in an attempt to top the original. Despite being a decade detached from the trilogy, this film fits right in with the others because the cinematography, editing, etc. are done in a 90s style ?034; no pointless fast cuts or shaky cam B.S. Once again, like the other entries, you will keep guessing who the killer is right up until the end. The final reveal is so cleverly done that it manages to plausibly explain how a killing spree like this could happen for a fourth time. Usually when horror series get to the 4th movie they just do the same old thing (F13, Halloween, Elm Street) or try something ridiculous and stupid like putting it in space (Leprechaun 4, Critters 4). Scream 4 amazingly breaks free and manages to make the same old thing fresh and original. This may be the best horror series ever in terms of the quality of its sequels and managing to never run out of steam.
Exciting, nail-biting and emotionally moving dramatization of NASAâs finest hour and the most successful failure of all time. The period-recreation and special effects are both stunning, but the viewer will hardly notice them as he is drawn into the story. That is an example of excellent filmmaking where the special effects are necessary, but they donât carry the film. There seems to be devotion from the entire cast and crew of the film to give this story the telling it deserves and their efforts come through with flying colors. Unlike The Right Stuff (which at times seemed detached and unemotional), this true space-drama boils over with a definite passion for the material and the message. A moving, inspirational and spectacularly exciting film â one of the great accomplishments of American cinema.
Sacha Baron Cohen's previous theatrical release Borat was not only comically unique and hilarious, but also culturally relevant and a brilliant satire. With this new film it is difficult not to compare it to its predecessor even though there seems to be no possible way that the same man is behind both. Bruno is an utterly repulsive, unfunny mess that will offend and disgust any sentient being. Cohen used his Borat character to coax racial bigotry and international ignorance out of average Americans allowing the United States (and the West in general) an opportunity to reassess their "superiority" over those horrible "inferior" countries that have events like the "running of the Jew." The Bruno character, however, serves only to harass and, in some cases, utterly terrify innocent people. Most of the victims in this movie did not deserve the treatment they received (although there were a few exceptions). Instead of using a gay character to expose homophobism and bigotry, Cohen created a horribly offensive gay stereotype that can do nothing but confirm the beliefs of anti-gay-rights activists. The only good scene in the movie was when one person stood up to Bruno and was smart enough to walk away. In a two-second long scene, Harrison Ford tells Bruno to "Fuck off" before storming away (unfortunately Bruno did not end up like Greedo). To quote an executive's assessment of Brunoâs TV show in the movie, "This is worse than cancer!"
Some of the advertising for this movie declared that it is "not your father's Star Trek," but this is mostly a lie. In nearly every way, this is the Star Trek that fans came to love, only this time with different faces portraying the classic characters. The advertising campaign was brilliant, marketing the film as a slick, Star Wars-style action flick that is a far step from the "geeky" old Star Trek. This campaign succeeded in tricking the mainstream crowd into liking what is really a film designed for the fans. Romulans from a few years after the last film, Star Trek: Nemesis, travel back in time to Kirk and crew's academy days and begin to wreak havoc. This allows this movie to be both Star Trek XI and a re-vitalization of the series for a new generation, using Leonard Nimoy as the bridge between the two. Unfortunately, some of the political and social commentary so common with the series is lost in the transition, but future sequels may return to that. The new film does succeed in the most important area Ã¢ the characters. The casting was perfect, with each actor nailing the characters perfectly without simply imitating the actors that made those characters famous. The standout is, of course, Karl Urban as Dr. McCoy who delivers the famous lines Ã¢IÃ¢m a doctor, not a..." and "Damn it, Jim" so naturally he seems born for the role. The homages to the old show are endless and the story, though fairly basic, is character-driven Ã¢ what a Star Trek film should be.
Frank Capraâs great inspirational skills are in full swing here with more than a little help from Jimmy Stewart's excellent performance. Jefferson Smith, a small town community club counselor, suddenly finds himself thrust into politics as he is chosen to replace a senator. Billed as a "Man of the People," Smith soon finds his small town ways, patriotic emotions and optimistic demeanor challenged by Washingtonâs "dirty politics." But, as a true patriot, Smith puts his faith in the Constitution and doesnât back down in his David v. Goliath fight against corruption. A fantastic film in every respect. Despite few corny scenes and a little to quick and wild change in the villain in the third act, the director puts feasibility and feeling into the material making it one of the greatest films of all time.
Epic, moving look at American/Native American relations on the great frontier. John Dunbar, a Union soldier with nothing left to live for, throws himself at Confederate forces in a suicide attempt that ultimately makes him a hero. Given the choice to patrol any area, Dunbar relocates himself to a remote outpost in the West, far away from the war where he discovers the beauty and freedom of the untamed frontier. This is a beautiful, gripping film from beginning to end as Dunbar tries to make peaceful contact with the Sioux tribe, slowly becoming one of them and denouncing his previous life. The cinematography, music, acting, locations - everything is spectacular. A great film and a classic example of American cinema.
Decent comic book adaptation is an improvement over Zach Snyder's previous effort but this film is seriously lacking direction. The visual effects are excellent, the acting is good and all of the shots are carefully planned-out. But, after an hour or so, I was ready to leave the theater. The story never seems to find direction. Although each individual scene is entertaining, the film, on the whole, seems like no more than a collection of these entertaining scenes. For someone not familiar with the source material, there is no clear story here and when the ending and "secret evil plan" are revealed you are left asking: "where the hell did that come from?" With little set-up the ending seems abrupt (after two hours no less) and tacked on like a cheesy comic book climax. The most entertaining part of this movie is the alternate timeline of American history, which is fascinating to watch. Unfortunately, the rest, though a great stylistic achievement, is tedious and disappointing.
Witty, intelligent and hilariously morbid, this drama/black comedy is brilliant in its simplicity. A few simple Minnesota folks are caught up in a series of twisted events that lead to senseless murders. The Cohen brothers are in top form here giving us great characters, unique locals and beautiful cinematography. Although Francis McDormand is the undeniable standout in the film with her offbeat and hilarious performance as small town cop Margie, the supporting cast (especially William H. Macy) is very strong and equally worthy of praise. All around a great, memorable film.
The technical achievements of this film are numerous and are amplified by the fact that it is basically an exploitation flick. The story is simple: some teens go off the beaten path in rural Texas and come across a family of deranged murderers and cannibals. For that story alone, the film is not worth watching. But, the cinematography is fantastic, shot in a gritty style that gives the whole thing a documentary feel. The sparse, eerie, clangy music brings you in and never lets you go. The opening shots are some of the greatest of any horror film and the first 30 min are some of the eeriest and scariest moments in movie history. With that said, there is a caution: the rest of the movie, though relatively gore free (another great achievement), is unrelentingly brutal and sadistic. It is powerful and it will scare you, but the brutality is almost too much to take.
Extravagant, flashy spectacle is, unfortunately, more style than substance. The look of Shakespeare's original work is captured beautifully with detailed sets, costumes and surreal visual effects. But, the story is reduced to a skeleton of the original play with many of the symbols and meanings lost among the showy effects and overacting. This could have been excellent, but there is just too little attention paid to the source material.
With the amazing popularity of the first film, it is strange that it took them so long to get a sequel out, but for Gremlins fans it was worth the wait. If you're looking for the same blend of comedy and horror that part 1 had you won't find it here. This movie goes for the full goofy, cartoony effect without completely losing its head. Genetically altering the creatures was a nice touch that produced a couple very cool monsters (although I could have done without the female gremlin. It reminded me of a demonic Ms. Piggy). The acting is cartoonish, but it works.
The term "reboot" is the most accurate way of describing this entry in the notorious slasher series. This is not a remake of the 1980 because the story from that movie is covered during the two-minute opening credit sequence. Mostly this is a "best-of compilation" of Jason's exploits in the early years of the series before they turned him into super-indestructible super zombie pro_wrestler man in parts VI through XI. Technically this could work as part XII in the series because there arenât any real contradictions with the established time-line, Mrs. Voorhees was still killed in 1980 as in the original series. Overall this is a true Jason movie with all the traditional elements, the filmmakers obviously had a respect for their source material. One of the best aspects is Jason himself. He has been slimmed down to his normal size of II-IV and we get a glimpse into his "home life" at Crystal Lake and the many subterranean passages that allow him to move so stealthily through his woods.
Delightfully morbid comedy about a simple family funeral that goes horrible wrong. There is a non-stop onslaught on cleverly written situations bolstered by intelligent jokes and dialogue. The acting is superb with all involved giving their finest effort to deliver some hilariously deadpan (in a good way) performances that give the screenplay the showing it deserves. A great comedy from director Frank Oz.
This is not a re-make of the 1980 film but a story of the Boogeyman that follows the American folk tales more closely. Although it has a promising start with a very frightening pre-title sequence and some eerie locations, the story starts to fall apart. There is a long stretch in the middle where nothing is done to advance the plot. These scenes donât even create atmosphere, they just seem pointless. Like most post-2000 horror films, there are a lot of "jump scares" that fall flat, ruining the tension that earlier scenes built up. The ending is the worst part. There is no explanation for the creature, no real conclusion and the methods the main character uses to defeat the Boogeyman donât make sense. The climactic scene in the Boogeyman's realm (which is just a walk through previous locations used in the movie) is too fast and too confusing with a very unconvincing monster.
Colorful, dazzling, spectacle movie that is plenty of fun to watch but ultimately not very memorable or intelligent. This is more in the spirit of the 60s TV show than Burtonâs re-imagining and that's not a good thing. This borders on silliness far too often with its lame dialogue and over-the-top acting. Although Jim Carey is entertaining as the Riddler, he ultimately steals the show, pushing Batman into the background and making Tommy Lee Jones pointless. Val Kilmer was a very uninspired choice for Batman, he brings nothing to the part and seems to be just reading his lines. Returns may have been too dark, but this kind of turn-around was not necessary.
Clever screenplay presents the darkest of dark comedy stories. Two hit men spend a week in Bruges, Belgium awaiting their next orders. As they take in all the sights and interact with residents and tourists, they exchange witty dialogue and many memorable quotes as well as a few life lessons. A solid cast all around and excellent screenwriting and direction from Martin McDonagh.