The Good Place
Forgot your password?
Don't have an account? Sign up here
Got more questions about news letters?
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.
Birbiglia is warm and clever. His jokes are nothing mindblowing but it's solid, delightful humour throughout.
Nicolas Cage as the lovable yet ultimately misguided "Hi" is almost perfect casting. A wonderful ensemble piece that wallows in its middle-america setting, characters and storytelling.
An unsuccessful attempt to emmulate some of the greatest works of sci-fi leaves this film stuck between tropes and themes it never quite manages to master. A poor man's The Martian, with sprinklings of sci-fi greatness dropped clumsily throughout - struggles to be anything more than a low budget monster thriller with quashed aspirations.
In the way the film treats its subjects it can be accused of being too heavy-handed in the 'games as art' discussion. A sweet film that can appeal to gamers and non-gamers alike - it feels like a wonderful celebration of the artistic process as much as it does fan service for videogame hobbyists.
From its use of tension and claustraphobic setting to the casting and scenery, this film is a directoral masterpiece. One of the greatest thrillers made in recent years - it's violence, music and dialogue are all used incredibly. Every element is meticulously crafted into something that is pure entertainment from start to finish.
An ambitious and interesting new take on the Star Wars story - but one suffering from late-production decisions that seem to rely on crowdpleasing tropes and narratives rather than expanding into the challenging new areas this film was capable of. An overall decent film that could have done much more for the series had it been allowed to travel beyond the well-trodden paths of Star Wars films before it.
An amazingly touching and intimate portrayl of friendship and sexuality of a group of Palestinians living under the ever-present context of Israeli rule. This is a story completely worthy of the grace and attention the filmmaker lends, and one that is done justice through excellent storytelling and an endlessly charming cast of subjects.
A strong offering from Danny Boyle. Coasts by on nostalgia borrowed from the first film but sadly doesn't stand alone as anything other than a companion piece.
Simply one of the greatest animations ever made. A story with universal appeal that should be considered one of the all time classics in cinema. A must-see for families, children and animation fans.
A film that attempts to tell an important story - and one so rarely addressed in film and mainstream culture that it should be celebrated for its existence. Where A Sinner In Mecca fails is in its determination to achieve its singular aim. The film is at times touching, and sometimes borders on poigniancy, but struggles with the heavy handed delivery of its core message. In relying too much on Western narratives of Islam as shorthand its depiction of the world filmmaker Pavez Sharma inhabits is shallow and loses much of the nuance and context that a truly incredible film could have achieved.
A powerful and touching look at fatherhood and family - this coming of age comedy builds on its Hollywood (and Wes Anderson) inspirations to create a uniquely beautiful story that is sometimes dark, sometimes silly and yet pulls together into a wonderfully crafted film. The chemistry between lead actors Sam Neill and Julian Dennison puts this film comfortably above its peers in the genre, but what makes it truly brilliant is the humour and direction of Taika Waititi, and particularly his use of setting. The picturesque backdrops and lush scenery are perhaps the most important element of this characterful adventure tale.
A handful of incredible set pieces and some wonderful character design make this film a delightful addition to the franchise. Where it fails is in its heavy handedness, use of lazy tropes (more forced romance from the mandatory hetero characters) and a twist that screams CASH COW SEQUEL BAIT. A solid and enjoyable film, but not much beyond the fun-for-the-family adventure story it is content to be.
A vitally important film that offers a powerful depiction of sexuality, masculinity, race and identity. Not only does Moonlight tackle tropes and notions rarely addressed by mainstream filmmakers but it exists also as a landmark in bringing new topics to broader audiences. With rare sensitivity, strong dialogue and beautiful cinematography this film earns the hype and icon status it has already received.
Presented in an early form of Herzog's signature style, Bells From The Deep offers a charismatic and solemn look at religion and mysticism in post-Soviet Russia. Although the film does not give a complete overview of religion across the country (it does not even touch on Islam) the filmmaker instead focuses on figures ranging from the self-proclaimed reincarnation of Christ to the orphaned bell-ringer Yuri Yurivich Yuriev. Through these characters Herzog forms a series of deeply powerful vignettes that reflect the world in which they live and adds familiarity to an otherwise foreign setting. A hugely somber film that seems to echo the holiness of its subjects, it is slow, methodical and filled with touching and quiet spectacle throughout.
A delightful look into professional gaming which now feels like a beloved relic in our post-internet culture. Full of charm, brilliant characters, and a plot which happily sits alongside some of the best fictional underdog tales out there.
A perfectly serviceable film which holds up as a not-too-deep satire of aspects of the contemporary art world, but never indulges it audience in anything that might be mistaken for an education into street art, Banksy, or anything else.