Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
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While it's handsomely photographed and it contains a few very well scripted moments, Crossfire is hampered by an unfocused narrative that spoon feeds its audience embarrassingly oversimplified Sunday School messages concerning anti-semitism within the United States very soon after World War II. It's a film that presents an array of interesting ideas, though completely falls flat on every front, lacking the moral complexity of great noir cinema, the intrigue and suspense of great murder mysteries, and despite its overtly preachy third act, it lacks enough substance to even remotely match that of a great sermon.
It centers around the murder investigation of an uncharacterized Jewish man, and immediately squanders nearly two thirds of its duration on a story that leads absolutely nowhere and is arbitrarily dropped the minute one of the main protagonists leaps to a wild conclusion about the true motive of the murder he is investigating, a motive so simple that it requires a villain with a great deal of established psychological complexity in order to remain convincing. Unfortunately though, instead of attempting a compelling character study on the kind of deranged prejudice that can lead an ignorant bigot into senseless violence and murder, Crossfire decides to wrap things up by simply stating "Hating Jews is bad," then closing with one of the most unsatisfying and anti-climactic endings I have experienced in years.
In order to understand Nashville, try comparing it to 2001's Gosford Park, only Nashville has a far more understated plot with the reservation and depth of Ernest Hemingway. It contains a staggering amount of characters dropping in and out of focus, each with their own understated stories, a quiet sense of humor that rarely produces laughs though is consistently amusing, and a tantamount of subtlety that is likely to richly reward repeated viewings.
It's a rare gem of a movie that greatly requires delving deep beneath a surface level viewing to reap its substance.
The Piano is an absolutely gorgeous humanistic drama with handsome cinematography and a beautifully composed background score accentuating its lush setting, delivering the greatest work of Holly Hunter and Anna Paquin's careers.
This a bizarre little international film that treats lustfully charged obsession with honesty, it manages to be fitfully uncomfortable to watch at every turn, and it never feels slow despite its long running time and moderate pacing.
Possibly the best adaptation of Sherlock Holmes ever put to the movie screen, The Great Mouse Detective is a fun and clever piece of children's cinema.
Terrance Malick's filmography is one full of endlessly overrated titles, Badlands is not exempt from that. Perhaps I'm not keen enough to pick up on its "visual poetry," whatever that is supposed to mean.
The deeply thought provoking final minutes of this film make it largely worth seeing on its own merit, though the rest you need to know About Schmidt is that it's occasionally funny and consistently poignant.