Da 5 Bloods
On the Record
I May Destroy You
Forgot your password?
Don't have an account? Sign up here
Already have an account? Log in here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
No user info supplied.
An uneven film, though worth seeing for Tony Todd and Virginia Madsen. Tony Todd in particular has absolute authority over the picture whenever he's given screen time, though Madsen handles her difficult role with ease. The rest of Candy Man, aside from the sets, is average. One particular shot, where Madsen awakens to find herself in the middle of a murder in progress, is executed brilliantly. I found the direction to be a bit stilted for the majority of the picture, perhaps due to some amateurish script writing and execution. I should praise the look of the film though, as well as the practical effects- they're great, and the cgi for the larger effects is done tastefully enough. I did not care for the music though- it soars and clashes against the look of the film. The sound seemed poorly edited as well. One scene of child dubbing was spotty, but the stock sound effects were distracting (noticeable when characters open and close doors off screen). Bad mixing on the adr. This is a turn the film up with subtitles type of mix but, once again, Tony Todd defies limitations and has a suitably powerful and creepy voice. Candy Man: good, worth watching, could've been much better.
Hypnotic and potent. The allegory resonates ever more strongly as time passes, and the visuals have not lost their ability to mesmerize, even if the stock and transfer show their age. Strangely, the eroticism popular critics point out in the film features very little nudity, and is instead evocative without being obvious. There is something psychological in effect as the film's couple comes together, perhaps coming down to the sparse sound and lack of excess dialogue. The dream team of Teshigahara, Abe, Segawa, and Tekemitsu should have made more films together.
Low budget, pulpy, sleazy, and cheesy, but also immensely entertaining. Wings' cowboy boot and denim wearing wise-guy ex-cop character is hilarious. The script is a little uneven- some cracks and jokes work and some reveal an amateurish hand. The ending is dark but effective. I also like the score, the shots, the performances of the supporting cast, and especially the tone, which really does make Living to Die seem like a pulpy noir from the days of gritty detective serials. Criminally underrated. Perhaps the most underrated action film of all time.
General audiences will have the same complaints they did in the 80s, and for that, I say Villeneuve and his creative team were largely successful in telling the Hollywood Drone Committee where to stick it. However, 2049 is still a modern film, and its interpretation of the first film removes some thematic ambiguity for some critical plot perspective. Is the film weaker for it? That's what I find myself thinking. One particular line, when Gosling's "K" is confronted by the gigantic rendering of a key character, about pain seems to put some definite lines where before we only had a broad stroke. The character of Deckard has also been similarly defined- whether or not, as an old-school fan, you think the writers really understood the character is another story, but Ford's portrayal lacks the edge and animosity of the original.
Complaints are minor: A critical omission is Vangelis' Blade Runner theme. They couldn't have put it in the ending credits somewhere? Leto, for all his pomp and eccentricity lacks the commanding authority of Turkell. Gosling has a good show; in fact, I was very pleasantly surprised with the majority of the cast, but Leto's Wallace is a glaring short-fall where a more potent figure could have been. I think Leto was up to task but his character read a tad- tropsey. Perhaps it's Turkell's fault for establishing such an omnipotent and God-like persona in the original that he himself created a trope- and the characters of Wallace and Tyrell mirror each other closely.
The sets and visuals are simply sumptuous. This is perhaps the most beautiful sci-fi film I've seen since... the original. While the original Blade Runner had an omnipresent feeling of viscous density, 2049 is a bit cleaner even when it attempts to be dirtier. The street-level action in the first film, even if it really was just one street shot 20 different ways, came out heavy on the gritty punk aesthetic, while 2049 is a bit more cyber in this regard. The aerial shots in 2049, nostalgia aside, are far superior to what we saw before By now, I'm sure you find I'm nitpicking specific details of 2049 and comparing it closely to the original. I say for all this, 2049 definitely gets a pass then, if I'm sitting here comparing it favorably to a film we've had almost 40 years of bonding time with.
So thoroughly engrossing and entertaining you might have to pause the video to catch your breath, even during somber dialogue, which is no mean feat for a three hour long film. A cast and crew of this caliber may never come together ever again quite as stylishly and potently as in Heat.
A thrilling start to an excellent film trilogy, and a lovingly crafted adaptation of THE high king of all fantasy. Even with the minor changes, made more for the sake of brevity and dramatic impact, it all translates well and no grievous disservice is done.
Casablanca is simply sublime.
Compelling suspense that is always at work, holding your attention taught as if ensnared. One of Stewart's most interesting performances. Recalls Crime and Punishment in its key argument made by the duo responsible for the murder.
A feel good American classic of the 1940s that will pierce even the most cynical modern moviegoer's heart. The lasting impact of the film is due more to its darkness than its soap, and the measure of both played against each other is in just the right amount that the film is nothing like a Hallmark card. This is the kind of movie that will make you strive a little harder towards being a nicer to your fellow man.
One of the classic Columbia pictures. Much like Bridge on the River Kwai, Guns on the Navarone is about some tough guys blowing up a big thing. While Kwai focuses on the obsessive British pride surrounding the construction of the bridge, Navarone is more a straightforward heist movie with a broader and badder cast of characters. A great film with a great big climax, but I find some useless baggage just as the film enters its second half,, which serves almost exclusively to remind us that Gregory Peck is a soldier and a decision maker, which is a conclusion the film leads us to early on anyway.
Some minor flaws aside, (one dated racial typecast character, a simplistic mining- agriculture dichotomy) I consider this one of the best westerns you'll ever see, and a great movie outside even its genre trappings. One of the most interesting facets of this film is the interplay between its gun wielding characters, and their shaky alliance which unfolds in a riveting way. Bend of the River also contains one of James Stewart's darkest on screen moments, and it comes off as both believable and awesome.
A great go of some above average character acting, a surprisingly great crusty anti-hero portrayal from James Stewart, and a sizzling plot which unfolds at a nice place- and that's all The Far Country is. I'm surprised this film has received so much praise; there are better westerns that have garnered far less praise than The Far Country, in my opinion, like the often overlooked Bend of the River.
Aside from the sibling angle and great character acting, this is about as forgettable as any James Stewart western could be.
Your average James Stewart Western, but with some decent little things here and there. Despite his age, James does a surprising bit of brawling and wrangling. I would consider this a superior western than the likes of Night Passagey, but only just.
One of the most beautiful films ever put to print. Jacob's Ladder is American surrealism in motion, but the aesthetic is not quite supported by its story. There is so much potential here for a true masterpiece, but what we're given, though wholly entertaining, comes just shy of striking distance. The cast is very consistent as is the direction, but the plot offers so much unfulfilled brilliance that what we're left comes out as slightly underwhelming.
One weird film that has inspired countless works after its release. It's another amazing Hitchcock, no surprise there, but his females in this one have a unique weight and character. The birds look a little silly at times, especially on the latest blu ray print, but the overall effect is still pretty potent. The final shots are flawlessly executed.
Tons of fun, with an unintentionally hilarious ending to boot. It doesn't get much better than this! Another great film by a true master.
A very underrated film, Broken Arrow deftly and handily tells a great story. Jeff Chandler turns in an excellent performance as miscast Cochise, playing the Apache leader with an admirable diligence and respect. James Stewart's turn as Tom Jeffords is surprisingly understated and memorable, not just in the usual likable Jimmy Stewart kind of way. I also love the briskness of the editing and overall direction.
Competently acted, directed, edited, and hardly anything more than that. James Stewart turns in a great performance. As a whole, the film is enjoyable from start to finish.