Da 5 Bloods
On the Record
I May Destroy You
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Besson has done much better and although the concept is cool the execution is not nearly at the level you would expect from him. Had it been made in a cleaner and tighter way it could have held its ground but instead it crumbles under a shaky plot that has no real story.
Possibly bias because of its immense impact on little me who started drinking milk and doing morning push ups to be more like Leon, seeing it now confirms the incredible value of this stylistic, well written, violent and moving action film. The story threads well and each scene advances the story, captured in a smooth and precise way. The wide lens is awesome, quadrant framing enticing and cutting on motion always on point.
A movie that really starts maybe 20-30 minutes in and never quite determined on what it seeks to be. It's got one good long take and the rest consists of mediocre dialogue and acting, when it is not showing pretty senseless and unemotional montages.
A prime example of the Coen's finesse with both violence and comedy, providing a great combination of the two so grounded in its setting that it makes you feel like you're there. A true experience and worth watching.
A simple start that serves to build the stamp the Coen brothers have continued to press onto American cinema. It is a great sample of a well executed first step into the world of features - portrays their narrative and visual style, includes the humor they are famous for and clearly introduces their approach to directing actors.
A powerful story in an embellished reality, told with such tact that no one but the Coen brothers could pull it off in that way. The violence is called for, the characters are alive and the sequence of events happens in an interesting, unpredictable and engaging manner. The best use of their signature plot in my opinion, and a must see film for lovers of cinema.
Enemy is an intelligently conceived film, both in its strong mysterious script and the way it is meticulously captured by Villeneuve. The story is somewhat slow, but each moment matters - and for that reason alone you are on your toes and engaged the whole time. Were it not for its small conceptual holes and slightly unfulfilling end, it would be a perfect realization of its intentions.
In my opinion his most romantic piece, Chungking Express captures the human psyche like very few films can. The typical grand gestures of love are replaced by subtle hints in tone of voice, in the look one gives another, etc.
giving the film a way into your heart that you don't see coming. The use of symbolism is also to die for, and makes it a movie worth watching multiple times.
Overall a series of emotionally and visually colorful moments that threads an absolute masterpiece. Enthralling from its first line of dialogue, all the way through with its unique style of storytelling - fallen angels is truly in my opinion Wong Kar-Wai's biggest and best gift to the world. A criminal story shot so specially and so grounded in its humanity that it will have you feeling like you were in it; Mixed with a story of a mute who's heart speaks louder than most. In addition to being his best combination of stories, it is filled with his best characters and most powerful voice overs.
Although a bit slow all the way through, a solid representation of the power of love as well as its universal and unpredictable nature. This 1960's story is an important piece as it stamps Wong Kar-Wai's style into film history. Every element of his storytelling is refined and applied in a way that brings it all together and offers a most complete experience of the infamous mood he tries to convey in his work.
Never-mind the minor inconsistencies, this is Hitchcock at his finest. He demonstrates that making films is about entertaining and stimulating the mind, which he does masterfully here through a deep dive into character psyche, a look into the dark charm of danger and criminality, and a conflict of morality that goes beyond right or wrong. Crazy how he brings out such complexities out of such simple stories.
A film of pleasant nonsense that is nothing less than I'd expect from Guy Ritchie. It doesn't try to be more than a fun ride of a mystery, and in that way it fully hits its mark. Doubtfully a film that'll stay with you, but a great fun start to the 2020 movie roster.
A beautiful and highly innovative piece for it's time, vertigo is a prime example of hitchcock's mastery of storytelling in all its aspects - the cinematography is original and fitting, the story is tight and the layers going all the way to the symbolism of truth in character's movements puts chills down my spine.
A self aware film that has the money gives the audience what it wants. If you can disregard the adhd tempo with non stop moving camera and no break AT ALL in sound, the painful writing, the eye rolling moments and you're able to appreciate the pretty sights in the useless scenes, then you'll see this as a solid embodiment of the 90s action flick genre. (PS: Must say, the humorous tone did get me through it).
A remarkable and inevitably moving/thought provoking film, regardless of one's genre preferences. It provides a well constructed narrative that blends 3 stories effectively and gives a beautiful and distinctly stylized insight into the conflict between people's values and circumstances.
Hitchcock laying the grounds for modern filmmaking through Psycho - its story and visuals seamless, allowing a powerful viewer experience that does not draw attention to all the intricacies and intentions weaved into it.
An almost perfectly crafted film (once you get past the necessary coincidences), that picks up every time it needs to and finds an organic way to thread its checklist of 'what will make a good war movie': humanity (the asshole, getting drunk, the coward, the brave, the young, the old, the 'we are all the same'), emotional juxtapositions with war (the baby, the flowers and pretty landscapes, the romantic tension of a seeing a woman, the intimate conversations and shows of brotherhood) and cinematic prowess (the dead man's land run, the jumping into water, the nighttime burning village scene, the truck scene) etc. Good stuff Mendes and big props to Deakins.
Happy to finally say the Safdie brothers have hit it out of the park this time, with an original story and interesting turns that keep you engaged throughout. This time they provided depth through a multi-layered character, and their pessimistic view of human behavior collides well with the optimistic view of human nature. The particular strength of this film is the mastery of physical stimulation for the viewer, through creation of tension and strong sense of environment. Must say I'm a bit worried as to how much longer/further they can push this signature filmmaking, but looking forward to find out.
Its redeeming qualities are Robert Pattinson's amazing performance and the Safdie brothers' understanding of their highly stylized vision. However, other than that it is a film that tries to make you feel things out of nothing, once again simply providing a sequence of events rather than a true story. Such a shame not to use Benny Safdie's character Nick in a more meaningful way. What could've been a beautiful look into the pure innocent mind of a criminal got snuffed in exchange for a look at a nonspecial character with no development. Also, what a shit ending.
From a confused start to... a confused rest of the film, this first for the Safdie brothers provided no more than an observational experience that simply didn't work for me. Neither immersive nor impressive, nor deep nor powerful, I felt detached from the start and could not manage to cling on to anything throughout.