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.
Thanks to superb animation, a lot of intriguing imagery, memorable creatures and fun fantastical elements, Fire and Ice is an engaging fantasy adventure flick with superb action sequences that serve so well in the context of the spirited adventure. Yes, the women are objectified once again and the storytelling is minimalist to a fault, but still this is undoubtedly the greatest, richest and most entertaining entry in Ralph Bakshi's filmography.
Hedwig and the Angry Inch is a polarizing experience. On the one hand, its rock music did not appeal to me at all personally, and the entire storyline is slight and it serves as the background to everything else here. It's an esoteric movie for better and for worse. But on the other hand, the imagery is admittedly intriguing, the central protagonist is so interesting and the movie's memorably artistic at times. John Cameron Mitchell delivered both in the acting and in the directorial chair.
Alita: Battle Angel is visually dazzling, very cool in its world building and fun in some well executed anime-inspired action sequences, but the characterization is very slim, Cameron's script is so mediocre and the entire film is incredibly rushed in both its pacing and its storytelling.
Spider-Man: Far from Home succeeds wildly in two particular areas - the humor and the romance. The humor is so strong, many characters are funny and the dialogue is superb. It succeeds as a fun teen flick. And the MJ/Peter romance is absolutely terrific as finally Marvel gives us a strong romance after Pepper and Tony. They are so great together thanks to two charming performances from both Zendaya and Tom Holland. The VFX and some action scenes are also terrific and so cool as is the film's great use of Venice in particular. However, no matter how good Jake Gyllenhaal was, Mysterio is simply a villain whom I've never taken seriously how goofy, cartoony and cheesy he is. Peter is ridiculously naive at times and the twist was obvious. And the whole movie is very low-key, very low-stakes in its plot and ultimately forgettable in the bigger scope of things. It's solid, but quite overrated and inferior to 'Homecoming'.
The Sin of Madelon Claudet is a theatrical and highly implausible melodrama which literally is a soap opera in its silly, unbelievable plot point after plot point. The third act is very effective though and Helen Hayes really delivered a strong performance which was important as the entire movie rested squarely on her shoulders. But it was still an obvious Oscar-bait role, and expectedly so it got her the award.
Different from the Others is a seminal early LGBT work that should be respected for its important message and inspirational dialogue, but it needs to be appreciated more how great of a movie it is in its own right. The storyline is not only surprisingly progressive, but also downright entertaining with its thrilling elements working splendidly. The intertitles are terrific, the emotion is felt and Conrad Veidt killed it one truly amazing, scene-stealing performance.
David Copperfield is - like many book adaptations - too slow, too talkative, overlong and filled with too many characters. Some of the actors were also quite weak here. However, W. C. Fields is excellent and very memorable in his role, the film is charming and elegant throughout, and it really benefits from its solid direction and impressive cinematography with some very cinematic, grand sequences in it.
Pet Sematary is a flawed, but respectable adaptation with a ridiculously slow-paced first act, but many memorable sequences and a dreadful, desperate atmosphere to it. For a movie with the word pet in its title, the animals are surprisingly sidelined, and it's also not scary per se, but it has a chilling atmosphere and ending plus it also deals with grief and death in a surprisingly effective, emotional manner.
Invaders from Mars features a terrific first half, and a mediocre second one. The psychology in the first half worked splendidly and in that case the approach of less is more suited it so well. It was creepy with good dialogue and realistic scenarios. But the second half introduced boring, endless military action sequences which significantly brought down the quality of the overall flick.
21 Grams explores its themes and its somewhat implausible storyline so well. The acting is strong across the board with Naomi Watts delivering the most outstanding performance in the most demanding role. The ending is too tragic and depressing as is the whole movie, but the dialogue is great and the characterization is strong. It's also emotional and very well connected throughout. It's a good sequel that is weaker than the original mostly due to its cheap-looking cinematography with obviously employed handheld cameras.
Animal Crackers is another solid, but overrated Marx Brothers film which is highly uneven in its quality. The dialogue is great and some lines are both funny and clever. The slapstick also worked to a degree. Groucho and Harpo stole the show from the less memorable other players and the musical numbers themselves were energetic, but quite unnecessary.
I'm So Excited has a limited appeal and it's definitely very soapy in the passengers' subplots, but the stewards and pilots stole the show here with their hilarious banter. The movie's humor is superb as the film made me laugh quite a lot while the stereotypical portrayal of its characters was both amusing and refreshing in this politically correct era. It's a very underrated flick.
102 Dalmatians again has fun Glenn Close in the role, but the emphasis on humans instead of dogs was a horrible decision that backfired significantly. The plot is bad, the action is even worse and this sequel simply never justified its existence. The first movie was at least passable whereas this one is so much worse.
Yes, Naughty Marietta is quite dated in its quaint opera numbers and in that regard it is never as timeless as it could have been with regular music. But still, it is a very solid flick which is adventurous, quite fun to follow and featuring two likable turns from Jeanette MacDonald and Nelson Eddy. It did not deserve its Oscar nomination, but it's an underrated film in its own right.
Broadway Melody of 1936 has not so memorable musical numbers, but the dancing is excellent, especially that of terrific Eleanor Powell. Jack Benny plays his character so well and he's the comedic highlight of the movie. This flick has so-so storytelling, but its humor is endearing as are some of the characters leading to what is a pretty respectable sequel of sorts to the original.
My Darling Clementine has a somewhat less interesting, overly slow second act, but it remains one of the most refreshing and different westerns from this period. Instead of action, it focuses a lot on dialogue, it is character-driven and oh so charming. This picture exudes charm in its every frame as the cinematography is among the best of the genre, the score is so wonderful and John Ford's direction is stellar.
Character is an original experiment, but it did not work for me. It is well made across the board and the beginning and ending are cool, but they still felt out of place as the film's mixing of historical and thriller elements seemed uneasy and unpolished. It's also overlong and slow-paced.
The Little Shop of Horrors is a comedy which has a very limited appeal, and for me it was often too annoying than genuinely amusing. Some of its scenes worked quite well and it's charming in its own right, but it overall sounded too cheap and repetitive with weak acting as well.
Horrible to witness and absolutely tragic in equal measure, Amores perros leaves a lasting impact. Its graphic brutality was too shocking to me as a big dog lover, but still it ended up being a quintessential film about the plight of dogs that is technically terrific, superbly directed and extremely well crafted in terms of storytelling. It is so well interconnected in its triptych structure that it ended up being a very involving and rewarding cinematic experience. It is also filled with many instantly unforgettable sequences with my favorite segment being the last powerful chapter. It is undoubtedly the magnum opus of Inarritu's filmography.
Reese Witherspoon is terrific in Election, and Matthew Broderick is also pretty good. This movie is rich with colorful personalities, memorable subplots and hilarious dialogue too. The ephebophiliac subplot is not only uncomfortable, but unnecessary for the plot. But otherwise everything worked splendidly here - the humor is great, the characters are unforgettable and it succeeds as a particularly potent satire on elections in politics. Alexander Payne is a hit-or-miss director for me, but this surely belongs among his definite hits.