DQ_Slotkins

Filled with good conversations, frighteningly real, a good script, and great performances (Hari Nef practically steals the show as Bex). This is the movie that the Purge flicks wishes it were. Thoughtful and fun.

Funny, charming, with a lovely onscreen chemistry between Brie Larson and Utkarsh Ambudkar (he's one to keep an eye on). Critics decry that there is not enough originality in films today and then a unique gem like Basmati Blues comes along—–a film like no other——and then most of the critics attack it for being different. What a breath of fresh air. The cinematography is gorgeous, the singing is great, the script is hilarious.

That was the worst movie I've seen in decades. I didn't believe the negative reviews, so I went to see for myself ... and it was worse than I had expected. Aronofsky must be stopped. An awful, awful, self-indulgent display of self-hatred. Aronofsky has nothing to say ... except that he's seen Buñuel films and doesn't understand them.

This is a wonderfully organized rare glimpse into the making of a rare artistic endeavor — Beckett's only work on film. What a treat. Film preservationist/historian/director Ross Lipman is the perfect guide through these never-before-seen outtakes and production recordings.

A beautiful film. It complete absorbed me in a way I did not expect. Tibet is gorgeous, but it was the ability to carry us along on a year long journey and at the same time let us get to know these characters that really is the most brilliant quality.

I don't get the negative reviews. This was well done and fun. I went in for the AC expecting nothing much and was pleasantly surprised. A hellava lot more compelling than the Capt. America: Civil War snooze fest. What a bore Marvel has turned into.

Boring! How can they make a film that costs this much and settle on a BORING STORYLINE!? I am dumbfounded by the high level of "meh" involved, here. Nothing new—nothing! I'd rather watch a Hulk cartoon. Hell, I'd rather watch Aquaman!

Just horrible. A bucket of cold cliches. Shame on everyone connected to this pile of junk. It's a Hollywood reworking (I wouldn't call it a remake) of a much superior Argentine thriller (winner of the 2010 Best Foreign Film Oscar). See the original.

Neil Jordan ((The Company of Wolves, Mona Lisa, The Butcher Boy, The Crying Game) does it again. If you've see Company of Wolves then you know what he can do with fantasy. He brings the old world into the new and new twists into the old stories. It's been great to have three interesting new takes on vampire films over the last handful of years—Byzantium, Only Lovers Left Alive, and A Girl Walks Home Alone At Night. What fun.

Oh, I wanted more. Much, much more. And they just gave me this mess of movie. It's as dumbly made as the Night at the Museum movies, so if you liked those steaming piles ... you'll love this steaming pile.

Seriously over hyped. I was expecting much, much more than the same old hitman's revenge story. The originality of the Continental Hotel setting gives it an extra point from me, but didn't make the tired plot anymore enjoyable. WHERE ARE ALL THE GOOD SCRIPT WRITERS?

Good comedies are rare these days. Really, you can count the good ones from the last several years on your fingers with room to spare. This is good mainly because it avoids the pitfall of most of the lousy comedies out there today — it refuses to go down the dreaded easy path of "goofy." Bad Words follows the lead of another under appreciated film, Young Adult (2011) with Charlize Theron. Both are centered on deeply damaged characters who quit the life that is no longer offering them anything and revert to a period that they (wrongly) assume to be a safe haven. In Young Adult Charlize Theron returns to the small town where she once was Queen of it all. Bateman's character in Bad Words steps back into the shoes of his 8th grade self that he's now much more prepared to handle.

Lucy is sexist and jaw-droppingly racist. And it's dumb. And very poorly made. Other the years, writer/director/supreme egoist Luc Besson seems to be doing the opposite of his lead character here — his brain power is decreasing with every script. (BTW, it's a myth that we only use 10% of our brains. We use all of it.)

The effects and the motion capture work was spectacular. The plot was so old and tired that I saw it coming after 7 minutes — the whole damn plot. It's as if they created the look of the movie and had no energy to make the story so they borrowed a plot from an old Johnny Weissmuller Tarzan movie. What a let down.

Snore! I really wish I could get back the 20 minutes I wasted before walking out of this gab fest from Dinesh D'Souza, Inc. There is nothing here that's not in his bland, fake-factoid filled books.

Guillermo del Toro really let me down on this one. Besides the very imaginative monsters this is nothing but a Transformers movie with a slightly higher age group target. Nothing was done with the mind "handshake" possibilities, which really surprises me.

When the lights came up after Spielberg's Lincoln the packed audience began exiting in an overly courteous and orderly manner. It was eerie. It felt like we were playing a formally dressed audience leaving an opera house after a beautiful ceremony. But it wasn't until I was walking up to my car that I remembered we had come for a movie. I remembered being excited about the movie. I remember 30 minutes of horrendous previews. I remember the opening credits and the low murmurings of the Chicago Symphony's brass section improvising Aaron Copland riffs. I remember Abraham Lincoln telling me to relax ... relax ... count backwards from ten ... then the feeling that I'm floating somewhere above the mid 19th Century. James Spader floats by eating crabs, and then David Strathairn in a Chinese robe. In the parking lot I have a faint feeling that I had just enjoyed myself. I think I ate a piece of hard candy

Every second of DiCaprio and Hammer in their rubber old man make-up (complete with terribly cliched old men shaky walks and bad shaky voices) is a blow against an otherwise interesting film. And there are enough seconds to turn the whole film into a joke. Dreadful performances. Eastwood really let this one get away from him. Too bad.

There is no better film out right now. Just dynamite drama and action. Is it too long at 5 1/2 hours? Hell no! I wanted more. There is a 60 action sequence equaled only by Scorsese's Goodfellas - yeah, it's that good..

After a ridiculously slow start (with an out of place moral lesson about not changing nature) the film finally get rolling when Caesar ends up in lock down. And the rest is great. James Franco needs to be edited out and left on the cutting room floor with Jar-Jar Binks. Andy Serkis (as Caesar) is truly amazing. The apes deserve the planet.