Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
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.
Godard's experimental sensory overload is quite frankly boring and has nothing to say; serving no real purpose other than for the film maker to play around with 3D and shower us with painful pretences. It is quite visually sumptuous, which perhaps makes it worth something.
The sweetness and whimsical charm of this warm family comedy ultimately wins over the formulaic plot, silly star casting and daft jokes, but only just.
Bill Hader and Kristen Wiig (Hader is particularly excellent) give brilliant duo performances as twins in this bleak yet touchingly sentimental and sweet seriocomedy that tests the blood is thicker than water clichÃ©, but ultimately proves it to be true.
The brisk editing, intimate photography and Abramovic's own seductive personality elevate the film and make it somewhat watchable for me, despite not understanding what all the fuss is about regarding her famous, bizarre performance art. Still, I found it impenetrable, bizarre and sometimes unintentionally hilarious, as ignorant as that might make me sound to the modern art crowd.
Surprisingly, the casting of Adam Sandler is probably the best thing about PTA's stab at the romantic comedy. It's a very slight film when compared with the rest of his filmography and doesn't seem to have much of a point, but Sandler lends an awkward, endearing charm that adds a layer of poignancy and humour to affairs.
Uncommonly violent for its time, Argento's spaghetti slasher thriller shocked and left audiences in awe at the time, but today it feels a lot safer. That being said, even without that element of shock, it's more than serviceable horror fare.
Gus Van Sant, no longer the daring indie film maker he once was, settles for a fairly standard biopic template but thankfully a stellar script and excellent central performance gives its fascinating and tragic subject justice and emotional power.
Bruno Ganz plays a pathetic and broken yet still delusional and monstrous Hitler in his final days with chilling authenticity, portraying the infamous historical with note for note perfection. This makes for a very impressive biopic which provides a sobering view on the barbaric monster's downfall as seen by those around him.
While Bennett Miller's cold yet well constructed biopic may only scratch the surface of Truman Capote's psyche, Phillip Seymour Hoffman guides it to become something rather fascinating, nuanced and insightful of the sacrifice to his emotional wellbeing and self respect that was required for the author to write his final masterwork.
Shane Carruth's ingenious low budget debut is a better piece of time travel science fiction than any I can ever recall seeing. It's a cerebral ride, a thrilling and technical film for the savant and thinking man audience that isn't dumbed down for anyone's sake and is never less than convincing, or utterly perplexing.
Wim Wender's fantasy about the beauty of life is patiently paced and poetic, life affirming and sweet. The cinematography is ravishing and atmospheric while Bruno Ganz and Peter Falk delight. One of the best contemporary German films and a profound, languid meditation on life that makes for one of the best cinematic works with such a message.
One of the most poignant and unforgettable road movies of all time, Fellini's La Strada is landmark film made all the more better by the presence of the marvelous character of Gelsomina.
Ineffectual at the side of Kurasawa's far superior masterpiece and despite a well assembled cast it suffers from the occasional bit of hammy acting and slow pacing, but John Sturges' The Magnificent Seven is an entertaining Western that particularly benefits from the presence of Yul Brynner and Steve McQueen.
This Hammer production of the classic Holmes tale is one of the most entertaining screen adaptations of the iconic detective to date, with a marvellous turn by Peter Cushing and a terrific gothic style that carries great atmosphere and spooky tension throughout.
Begins with enough menace and mystery to provide thrills, but this hyper stylised horror-lite genre thriller ultimately suffers from sloppy execution and devolution into pure silliness that destroys any tension it had. Nonetheless, it's never any less than entertaining and Dan Stephens plays his part perfectly, demanding our attention and curiosity whenever he is on screen.
Lukas Moodysson's social realist drama is a relentlessly grim and hard to stomach depiction of teen prostitution in eastern Europe that's worth enduring thanks in no small part to Akinsjina's heart wrenching, scarily real turn as Lilya. Her plight is the plight of child sex workers all around the world and you'd have a heart of stone if you were left unaffected by it. Yet in the midst of all this misery lies a strangely life affirming message.
Amy is at once heartfelt and heart wrenching, a tragic and eye opening portrait of a truly gifted and troubled soul's exposure to the tumultous celebrity lifestyle and destructive spiral of addiction that benefits from the director's refusal to paint it's subject in a strictly positive or negative light.
Annoying, infatuous and much grimmer than the first movie. Jackass always aimed for the lowest denominator but here they aimed even lower still.
Moodysson satirises young, idealistic socialists here with this charming, bittersweet comedy of manners which ends in a surprisingly uplifting way.