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.
The Shape of Water: A stylish tale surrounded by a vast chasm of nothingness. This entry into Del Toro's filmography ultimately falls flat, although not for lack of trying; the cinematography, and score try it's very best. The film doesn't exactly know quite what it wants to be; A love story, a heist adventure, a horror film, a sci-fi creature feature? By the end of it all it just feels like a hollowed out convoluted mess. The pacing is also very awkward, and makes it feel far longer than it should be.
That being said, Sally Hawkins and Richard Jenkins give always wonderful performances as a great, and unlikely duo. Another strong point of the film is Alexandre Desplat's stunning score that brings a wondrous element into it. And finally, the cinematography, a classy, sure-fire Oscar contender. Yet again, those attributes alone were not enough to save this dry bore that has gained the title of my biggest disappointment of 2017.
There is no getting past the unsettling symmetry of Wonder Wheel and Woody Allen's scandals, and past itself. However, the story is quite enjoyable, held up by superb writing, and a stellar cast.
While watching Woody Allen's most recent feature, I was overwhelmed by the claustrophobic, melodramatic aura the film immediately puts off, until I realized that is exactly what the director is trying to pull off. It's self-aware in a very meta-physical way. Every minute felt as if I was witnessing a stage play from the 1950s unfold before my eyes.
Each performance was expertly crafted. That being said, the chemistry between Winslet and Belushi is astounding. Kate has some beautiful, meaningful, and thought-provoking monologues throughout the film's run-time, and Belushi supports her with his towering, mournful portrayal of her husband every step of the way.
Overall, Woody Allen can at times be uncomfortably indulgent of his past, but he ultimately creates a charismatic, whimsical, yet melancholy tale with astounding lighting, and cinematography, and always charming performances from his actors.
Call Me By Your Name is a seamless, poetic painting, of love and heartache, rooted in a powerful script, with emotional performances from Hammer, Chalamet, and Stuhlbarg. The film succeeds with flying colors. The experience of watching this film was a peaceful journey, that continuously made me grin, but contrastingly made me well up into a puddle of tears. Call Me By Your Name has the potential to be an essential classic in any film connoisseur's library. The use of simple cinematography while going the route of photo-chemical film, rather than digital, was one of the smartest directorial decisions Guadagino made. It's not just a near perfect film, but indeed, a truly perfect film.
Murder on the Orient Express sounds phenomenal on paper, however the execution of this lackluster entry into Branagh's repertoire is disheartening. Putting together a stellar cast, with beautiful costume design wasn't enough to save this picture. The script, camera angles, and hairstyling, was so over the top, and melodramatic that it only serves as a distraction to the story, and doesn't further the audiences intrigue in any way (as much as it thinks it does). Easily the most disappointing film of the year, 2017.
This film is truly what dreams are made of. After delivering a perfect film (Whiplash), Damien Chazelle somehow tops it with La La Land. It's bright, colorful, dreamy, and awe-inspiring. Both Emma Stone and Ryan Gosling delivers relatable performances that very well could be there career defining roles. The chemistry between the two leap off the screen right onto your lap. A bygone genre is brought back to life with full force. The film is seamless and nostalgic. It's not made for a certain person, it is more of a film for all, or rather for the one's who dream.