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Unfortunately, I feel context is everything that works about this film. M failed to come alive for me when Lorre was not onscreen.
Some interesting visuals and intriguing premise cannot save "Last Shift" from being a frustrating experience. This is one of those "psychological" horror flicks where nothing of consequence happens until the last five minutes.
Unrelentingly dour, grim, funereal even. Brutally violent. And honestly, I really liked it. It's a total mess, but I have a history of not minding messy movies.
Some will find the heady philosophical dialogue "boring", but again, not a problem here.
Even Lex Luthor was interestingly creepy.
My biggest problem was when the movie would literally stop to tease the franchise.
Form your own opinions, it's easy and appealing to say something is "bad" when everyone does. If you hated the trailers, Man of Steel, or Zack Snyder's other work, this will not change your mind.
In many ways, this movie is probably not made for a lot of people, DEFINITELY not for children, and yet I liked it. Imagine that, a popcorn flick made for No One.
This is faint praise, but it's saying something coming from me. Anyone who knows me knows I'm not a fan of superhero movies or CG-heavy blockbusters in general.
Also, Sexy Alfred! What!?
A mature reminiscence at immature love. The pains and aches of a hopeful but doomed summer between two dreamers.
For the longest time, this film is a superbly tense, bottled thriller driven by three terrific central performances with special credit given to John Goodman. Enough twists to break your spine, the film marries its indie sensibilities with a late-in-the-game blockbuster finale that seems more exciting in theory than in its execution.
An esoteric odyssey of dead spirits inhabiting human bodies, seeking one another in the City of Angels, seen here as purgatory.
If you find Malick's films languid and pretentious, your mind will not be changed. Likewise, if you find them lovely and profound, you might just feel that unique warmth that only Terrence Malick can bring.
A compelling and absorbing character documentary.
Riveting, meticulous and utterly alive. Fantastic performances and superb writing put "The Vanishing" above most thrillers.
A gleefully captivating and intense Hitchcockian thriller from one of the American greats.
A ravishing, romantic epic, visualizing happiness, love and matters of the heart through a lens of wondrously exhilarating artifice.
Tight, mean, funny, and violent. A great example of the Murphy's Law Thriller. Debuts don't get much better.
A marvelously charming, poignant, and romantically sentimental dream.
Nasty, brutish and short, "Inside" is another unrelenting nightmare scenario from the French extremist movement.
Old fashioned, delightful, and charmingly slapstick, "Hail, Caesar!" treads familiar thematic ground for the Brothers Coen (faith, doubt, bizarre kidnappings, absurdity) but with this go-round, its steps are lighter, and the effect is something more hopeful and optimistic in its existential pondering. It's also hilarious.
Gothic and visually voluptuous. Peter Cushing proves once again that he is an unheralded badass.
Predictable and unsubstantial, but fun.
Glacial but dangerous. Mythic and haunting.
An utterly mad example of pure cinema unleashed. The film itself occupies a space between an anxiety-induced fever dream and a heightened level of enlightenment.
Also the film is frankly bonkers and the craft makes it impossible to be look away.