A juvenile film from Nolan's mid-life crisis that feels like a cheap gimmick the longer the childish narrative continues.
I fault the editing and sound mix for creating an atmosphere where there is absolutely no breathing room for the audience to reset, which I assume is a pitch to kids who Nolan thinks have the shortest attention spans in the world and need constant motion and noise, in a desperate attempt to feel relevant with "the youth". The whole film feels like a cheap experience, further proved by the Fortnite advertising, Travis Scott's credits song, terrible one-liners, and a predictable, flat plot.
Nolan creates a world where there are no rules, so there are no stakes. Nothing makes sense. The Protagonist never has a low point. No character is worth caring about. Forced chemistry, and a poorly written woman...writing has never been Nolan's strong-suit.
Ludwig did alright with the score, but the editing makes it near impossible to settle into a track for more than a short while. Certain cues were strangely energetic for no reason, and others were intrusive into the dialogue.
Overall, this film's "important" moments come across as comical more often than dramatic (car speeding erratically in reverse from the distance, seagulls flying backwards, cheesy screams, awful one liners...). The opening scene was the high-point of the movie. Nothing else is memorable.
The Safdie Brothers know that effective, tasteful, anxiety-inducing cinema is 2 engaging things happening on screen at once, not 50. Every performance is great in this with Sandler making a convincing Best Actor pitch. After watching, it's clear that this movie thinks no good comes from vanity or the jewelry industry - it's built on deception and shaky moral ground in the first place.
More optimistic than I expected. Sane people are hurt the most by a divorce system that rewards cruelty. A simple story told with passion, contempt, and love. Entertaining watch with some charming off-kilter moments and direct, painful conversations. Careful watching with significant others...
A cut-and-dry progression of characters through increasingly difficult video-game-esque war levels, which can be distracting, though it gets easier to enjoy the spectacle of it all. Some moments are goofier than intended, though extremely entertaining nonetheless. A handful of shots and music cues make this movie stand out from other war epics - the atmosphere is dream-like and unrelenting thanks to Deakins and Newman, but it feels too much like its own bubble. I just wish the stakes of this movie felt higher.
This film's energy feels like if The Running of the Bulls took place in a sewer tunnel. The characters don't seem to care much about what's stampeding towards them, and when they do, it's a filthy, beautiful mess. I love it.
A perfect film - every narrative tool Bong Joon-ho employs has a clear purpose. No pandering of dumbing down, it's simply a direct, water-tight, thrilling, funny film. Smiled like an idiot walking out of the theatre because it was such a well-told story. Haven't done that in years.
Not often a story this quirky, uncomfortable, and bizarre actually delivers. Similar energy to the video game Portal, with a style reminiscent of Season 2 Atlanta, but successfully its own world. Not smug, just a fun rollercoaster of weirdness and commentary.
A plane movie - fun, entertaining, and not something that sticks. Predictable with a handful of emotional moments that add minimal depth. Hard to take the absurdity of Ivan Drago and his storyline seriously.
Electric opening act, with the 2nd half of the film dragging. David Robert Mitchell creates something truly his own, with so much enthusiasm for his world. You feel like a kid again watching it all develop in its strange, surreal way. However, without the excellent soundtrack pushing things along, you'd fall asleep in the last 30 minutes. The music makes this film.
Feels like a memorial service with no speakers or speeches, leaving little context for the situation at hand. The heroism is overshadowed by the relentless brutality, and you're left wondering why Hollywood felt this movie needed to be made. Likable characters and global awareness are the bittersweet silver lining.
Dry, not in a good way. Boring writing and lack of much character depth lowers the stakes of the film - hard to feel that connected. Kudos for the subdued depiction of tribal rivalries and balanced storytelling of the Americans and various ethnic groups. Learned more than I thought I would about the first response to 9/11 and the region's politics. I have this film to thank for ending up on Wikipedia right after the credits rolled.
Slapped-together production with a weighty, tragic hook. A cautionary tale about what entitlement mixed with lack of focus and consideration can do. The intelligent, kind skaters like Hawk seem to be the ones who rise to the top, leaving those jerky, self-absorbed ones like the Pappas brother stuck in drugs and denial, trying to justify their failures by saying they were screwed over by the skate industry. Misguided and poorly researched, though it includes an engaging human story of brotherhood and loss.
Felt like a first draft of a Paul Thomas Anderson movie. John Travolta's acting is pretty bad, and Tarantino's cameo on screen is cringey as hell. Dialogue is outright dumb at times, taking me out of the world.
Masterful use of archival footage. The sound of artillery closing in before a trench clearing charge is pure gold. Only complaint is that this movie could've been longer and gone into greater examination of some other related areas. The after-credits documentary is almost as great as the film.
Overly compact with fluff dialogue and useless, uninspired characters. Velvet Buzzsaw doesn't even come close to a parody or statement on the art world, since every attempt at critique of the art-world social circle comes across as a "look-at-me-I'm-so-great-isn't-this-commentary-so-intelligent-and-deep" move by Dan Gilroy. By the end, you'll be confused as to what direction the film was trying to take: campy over-the-top, or romantic-thriller? If it was good, you'd know.
Icing on the cake is that most of the featured art in the movie is cringe-level bad, and I don't mean that in a "Oh, it's a statement on the art world! They're selling bad stuff", I mean it in the fact that it looks like someone with the emotional intelligence of a 6 year old threw together art in MS Paint and pretended it was "creepy".
With Barbara's performance so legendary, it's hard to focus on the little details that detract from the film. Omar offers a quirky, humble performance, and electricity flows through their relationship and throughout the film.