Spider-Man: Far From Home
Toy Story 4
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
No user info supplied.
Spike Jonze, while delivering a visually gorgeous and faithful adaptation of the short kid's book by Maurice Sendak, the story stretches into bizarre and distinctive corners, managing to deliver the story's main message, but losing track into what the script should be all about, and while the production design really stands out (particularly the monster design and exterior-filming), its main character and all-over-the-place themes get on the way of a more concise and straight product.
Based on the infamous serial killer story, Jonah Hill, staring along James Franco, delivers a thrilling and engaging portrayal of the main characters, attached by a compelling and, at times, truly unsettling story that focuses on the potential it's drama and intrigue is capable of offering, depending mostly on the way things are narrated, but unfortunately, and while there's a visual engagement towards the viewer, this thriller doesn't necessary surpasses flicks with better execution and the same premise.
At first glance, this little indie drama might not seem as progressive as promised, but given time to flow, there's plenty of substance and directorial value by David Gordon Green, given also a lot of its credit to its lead star Nicolas Cage, in a pleasant return to histrionic shape, as well as youngster Tye Sheridan, all in order to craft a simple but captivating story that'll deliver plenty for the spectator to dig and, pretty much, enjoy.
Like plenty of other biopics, both previous and further to come, the Ritchie Valens film plays most of its resolutions in a safe mode, offering the typical props and traits of every other artist take, and while some moments in the film seem to hit the target, most of the film's content is overshadowed by a lack of effective direction and poor acting, being only Lou Diamond Phillips as the lead role the one who rescues this humble but passable flick.
By all means the movie could work alone just by Emma Stone's hyper-charisma and excelling appeal as the lead role, but thankfully, Easy A is a comedy that knows exactly what it is, what it tries to say and the means to achieve it, in such fancy and hilarious way, benefit by the presence of a great casting, all suited for a small but subtle indie flick that, good enough, transcends the barriers of a casual average chick flick in order to become universally enjoyable.
Denzel Washington both, stars and directs this Oscar-worthy drama with extreme confidence and reduced set-places in order to make this flick completely strong and almost dependent of the performances, which are top-notch coming from Washington and Viola Davis, providing excellent character, dialogue and acting in general, which unfortunately are the strongest cards of the film, overall, since it won't possess enough strength to flow as other superior flicks.
Pasolini's drama possess a strong sense of both, humor and commentary, told in the particular way only the director could be capable of, with great poetic-like dialogue, and strong-thought-provoking themes all over the two stories presented, about cannibalism and human relationships, and while the whole flick could be hardly digestible for most audiences, for the small-but-self-aware section that won't mind the twisted-raw depictions over the director's ideologies, this will represent quite the experience.
Connecting with the continuation of the whole MCU, although struggling with occasional over-exposition, and following part of the formula that made its predecessor a modest hit, this sequel offers an improvement over the stablished material, with far better pacing in which the action and conflict are constant, as well as the always welcome teenage humor nailed so successfully by Jon Watts, not to forget the fantastic chemistry between all cast-members, but particularly the villainous presence of the always great Jake Gyllenhaal.
Conceived as another dumb-80s extravaganza-action flick, Cobra combines Stallone's acting and writing, along George P. Cosmatos direction, offering little to no originality or uniqueness, not even for the action it goofily handles, with almost no style or substance behind either the story or the action sequences, and failing to provide its lead star anything worthy of previous entries, but as it is silly, it is cheesy and entertaining enough to be valued as a guilty pleasure.
Viggo Mortensen terrific performance, among the rest of the cast members, is just the tip of the iceberg of this unconventional and highly satisfying touching-comedy, written and successfully directed by Matt Ross, with a unique focus, view and tone that'll provide enough identity and style to endure among other "odd" indie flicks, approaching themes such as social commentary, true freedom and the need for an exit of the world's exhausting conventionality.
Despite it's obvious studio-by-the-numbers conception, this fourth installment in the believed "concluded trilogy" dig some of the already explored traits in the beloved franchise, but despite being purely unnecessary for continuation purposes, first timer-director Josh Cooley successfully captures the effectiveness and heart of the original films, giving new life, characters and full circles onto a worthy sequel of PIXAR's unbeaten-now official-saga.
Sloppy directed and never taking itself to serious, and at the same time, trying desperately to be a relevant martial-arts flick, this crime drama does no good to the genre, wasting action-actor Jet li into a mediocre and almost cartoonist role, among a plot that's all over the place and disrespects insufferably Shakespeare iconic story in the worst idiotic way possible, Andrzej Barktowiak's film is so desperate to be a "Matrix" consequences, it inevitably suffers from it in every way.
Keanu Reeves and Sandra Bullock return to share an interesting romantic chemistry, with an original plot-approach that almost provides this the category of "sci-fi", but since this Alejandro Agresti offers a unique but normal and humble little love-tale, the film never goes anywhere either bigger or risky enough, to out-stand other entries in the genre, making it an average but although harmless little flick with tons of hearth in it.
Strangely uneven, considering its premise and story line, and while the source material isn't as solid as thought, plenty of the opportunity this flick had to improve is wasted on confusing progression, attached to messy editing and dull direction, wasting the presence of A+ cast members, specially lead role Emily Blunt, whose presence lacks the grappling hook of her previous works, giving the actual appeal to Rebecca Ferguson's performance in a film too small for her.
The film progresses with a certain premise that starts off as a bizarre crime-comedy and it maintains itself on that frame for the majority of its runtime, but at times it stops playing with the goofs and pretends to be self-aware of what else it may accomplish in different territories, but even when Spielberg's direction is not always on point, Goldie Hawn maintains an enjoyable-naive presence throughout the whole film, adding plenty of its comedic element
Nahnatchka Khan has some solid comedic-direction, although conventional nevertheless, but Randall Park and Ali Wong share some strong-hilarious chemistry with each other, enough to carry on the majority of the film, even when it isn't that funny, but thankfully its cleverness is bigger than expected, and the appealingly-charm presence of Keanu Reeves portraying himself helps to bring an unexpected life to an average comedy.
With a superb combination of dazzlingly energetic dance-musical numbers, terrific portrayals from Richard Madden, Jamie Bell and Bryce Dallas Howard, as well as the excelling main lead in Taron Egerton, Rocketman might fall into some conventional storytelling aspects, typical out of a biopic, but Dexter Fletcher's take on the iconic popstar has a unique (and surprisingly profound) way of telling its own story by adding context and thought-provoking themes to an already exhilarating film.
Nicely shot, for the most part, and well performed as it should be, considering its cast-quality, Dark Phoenix comes as a fourth and last installment of the now former X-franchise, but unlike what it could be expected out of a last entry of a veteran saga, the film never exploits a considerable potential or the expected grandeur of these characters, delivering mostly decent action without any effective substance to it, mostly due to Simon Kinberg's mildly-solid script and inexperienced direction.
Continuing the now-stated-franchise with a different direction, commanded by Michael Dougherty, King of Monsters surely enough delivers proper continuity and enlargement to the continuously-expanding Monster-verse, with depth and substance towards its monsters, as well as some dazzlingly spectacular kaiju action, unfortunately, the "human drama" it's neither enough interesting nor rich, or invested to sustain the overall plot or the weak characters around it, making this more dumb-fun than smart-entertainment.
Guy Ritchie's live-action remake of the 1992 animated jewel at times tries, at times doesn't really provides much effort to even recapture the original's charm, musical spectacle nor its famous extravaganza, lacking for the most part a solid structure towards its mimicking-script, or an evident direction that here its clearly imitating something far superior, the few good elements the movie possess relay on some visual aspects and a decently mediocre performance from the three lead roles.