Data_Deviant

A meta reinterpretation of slasher movies serving to explore transgender identity and sexual issues. While I appreciate how unique and achingly personal this film for writer/director Schoenbrun, it's also melodramatic, occasionally pretentious, and overly meta. Really, really, meta. I appreciate the artistry and visual flare, but it didn't emotionally resonate with me. It probably does with some younger and especially transgender audiences. To be clear, I don't mean to diminish the film for this reason. I just want to point this out since it will probably be more meaningful for some others than for me.

Awful in almost every regard. B3 manages to be tediously long (almost 2 hrs) with an underdeveloped story. The dialogue is trite and corny. Snipes and writer/director Goyer were reportedly at odds and it shows since Snipes' performance is listless and fragmented. Even the action/fight scenes are routine and bland. The direction is choppy, with too many quick jumps between different angles. The story and dialogue of the first 2 movies are mostly facile, serving mainly as a vehicle for the fights and action, but at least they're entertaining. B3 doesn't even work on that modest level. It's boring in almost every way, and the conclusion is an abrupt, annoying non-sequitur.

A brutal, grizzly, reasonably well-made crime drama that somehow unfortunately manages to be silly and boring. The story and antagonist motivations are absurd. While the production is competent, almost nothing about the story feels authentic and believable. One of the worst Brad Pitt performances I've seen. He mostly overacts, and comes off as immature, esp for a homicide detective. Morgan Freeman and Kevin Spacey are fine, but undistinguished. Se7en is such a ridiculous caricature, it would almost be funny if it weren't so melodramatic and pretentious.

A well made, but modest and slight seafaring horror-thriller. I remember enjoying it more in 1989 when it was first released than when I rewatched it recently in 2026. Even though well-made, it's a fairly familiar damsel-in-distress story set on the ocean. Overall, it's a decent, but undistinguished.

A unique and ominous premise and mood, but "It Ends" eventually runs thin. There isn't enough story for a 90 minute feature film. After about an hour it becomes monotonous and redundant. IE probably would have work better as a more succinct 60 minute short film.

As a teenager I sort of enjoyed this movie purely as shallow, immature entertainment. I recently revisited it as a 55-year-old, and it's dated and awful. Weird science epitomizes the worst of 1980s movies. The dialogue, music, and other pop-culture elements have aged terribly. I didn't even realize it was made by John Hughes. Not all of his movies are great, and most are dated, but he had a unique ability to present adolescent psychology with empathy and authenticity. WS has some of that, but in a shallow, facile way. There are a few young actors who eventually went on to better, more accomplished work. It's almost shocking to see them in something this awful.

Undertone sustains an ominous atmosphere and creepy mood more than it develops a compelling story. As the only physically present speaking actor, Nina Kiri effectively carries the film. Undertone feels like an over-stretched short film. As a 90-minute feature, it eventually becomes plodding and repetitive. The effectively chilling aesthetic isn't quite enough to compensate for the protracted, underdeveloped story.

A unique, subtle, slow-burn, religious-horror, psychological drama. Maud is a hospice worker who becomes a devout Christian as a means of coping with trauma. Writer/director Rose Glass adeptly builds tension and backstory without divulging too much. Maud is either experiencing delusions rooted in mental illness or struggling with genuine divine revelation. Glass keeps the proceedings ambiguous enough that it's uncertain which it is until the brilliant finale scene makes it clear.

The plot is a nice variation of well-worn two people survive a plane crash get stranded on a tropical island must learn to work together trope. The 45 minutes had potential, as both characters alternate between sympatric and awful. After that, Rami goes way over the top with violent gore and ridiculous plot contrivances. As one critic mentioned, the last hour digresses into two awful people being awful to each other. Unless you're a fan of over the top gore and ridiculous plot contrivances, skip it.

If nothing else, this awful finale' is apt for such an awful trilogy. The first film was a pointless remake of a better, but still mediocre film. The second was a prolonged, boring chase, with superfluous backstory. This film plods along with more tired backstory to a thoroughly absurd conclusion. I'm giving it 1-star only because the acting and production is mostly competent, though unremarkable. Nothing else is even slightly worthwhile.

A thoroughly generic corrupt cop drama. It's competently directed and acted, but the story and profane tough cop dialogue has been done better numerous times. I'm baffled why Affleck and Damon would bother making such a rote, inconsequential movie. How much money do they need? Don't they already have enough?

A pharmaceutical company manufactures an antidepressant drug that makes perpetually recall their happiest memory. While this premise is a creative hallmark of the 1990s (when antidepressants began flooding the market), the comedy is even more stale and dated than the TV series. I enjoyed The Kids in the Hall when it was originally broadcast in the 1990s (I was in my early 20s), but it has aged poorly. This movie is no exception.

Well-made and often entertaining, but protracted and overly convoluted. I agree with another reviewer who said the story would be better if it weren't part of the 'Knives Out' cannon. While Craig is a fine actor, his character is too casual and debonair for the plot and aesthetic. Despite some shortcomings, it's mostly well-written, with clever, oft funny dialogue. I think murder-mystery fans will especially enjoy it. I did, but found it fairly light and breezy, so probably won't watch it again.

As others have said, unfortunately this is a trite Disney version of Predator. The production and visuals are competent, but not spectacular. Elle Fanning's acting is solid to the extent the weak script allows. The story is simple and tired, and the dialogue is mundane and corny. The conclusion is obviously a set-up for probably multiple intended sequels. This is the type of movie you won't feel badly about viewing for free on a pirate site since it's not worth paying for.

BR 2049 is beautiful, with a promising premise, but the execution is plodding and protracted. It's 2 hour 40 minute duration is self-indulgent. It's mostly well written and acted, but I wish it deviated from the template and mood of the original more. A story centered around the daughter might have helped move the BR universe forward. BR 2049 is gorgeous and well-produced, but seems unnecessary since it doesn't do enough to progress the themes and aesthetics of the original.

This is a tale of two halves that diverge significantly in terms quality. The first half, set in Marine bootcamp, is focused, with many rivetting scenes and unforgettable images. The second half, set in Vietnam, is a fairly standard war film that meanders, without leaving much of an impression. While much of the first half left a lasting impression, I can't remember much about the second half. FMJ is competent directed, but the directionless second half renders it mediocre.

As others have said, ST2 is just tired, pointless nostalgia. It's at least 20 years too late. Had it been made when the actors/characters were just starting to get old (mid-late 50s), it probably would have worked better. Now that they're all about 80, it's more pathetic than funny. Most of the closing concert is so deadpan and dull it doesn't even feel satirical.

At it's best, Midsommar is beautiful, provocative, and disturbing. The cinematography and production is excellent, and creates a uniquely unsettling mood. That said, its unnecessarily protracted duration is tedious. The second act drags, and there's very little plot development. It's somewhat redeemed by a satisfyingly bizarre finale (which is really saying something for this film), but not entirely. For me, at its best Midsommer is uniquely enjoyable in the moment, but probably won't have much long-term resonance. I doubt I'll be inclined to view it again.

Ignore the whining of traditionalists who won't accept any creative progression from the SW paradigm. With TLJ, Rian Johnson takes chances that mostly succeed in growing the characters and moving the story forward. The characters are more complex, flawed and genuine (especially Luke) than since The Empire Strikes. TLJ isn't quite as good, but close. Both films effectively integrate clever humor that's unfortunately lacking in all other SW films. As others have noted, the middle does sag. An unnecessarily protracted 150 minute duration is TLJ's only major flaw. It's sad Johnson success in moving SW forward was entirely dismantled by JJ Abrams in The Rise of Skywalker.

“Weapons” effectively sets up a mystery and builds suspense, but it's more technically impressive than emotionally impactful. While the antagonist is genuinely creepy, eventually their motivations are revealed to be disappointingly conventional for such a character. The denouement is surprising and shockingly funny, but so abrupt it's a little unsatisfying. Ultimately, “Weapons” is more of an impressively structured technical achievement than an emotionally satisfying story.

As always with Eggers, Nosferatu is visually mesmerizing. The sets, cinematography, and atmosphere are beautiful and haunting. But the screenplay is plodding and the dialogue is stiff and seems under-developed. The pacing is repetitive and there's not much story arc. The acting is generally very good but they aren't given much to work with. As others have said the 2hr+ duration seems protracted; it should have been about 30 minutes shorter. While aesthetically impressive, Nosferatu didn't have much emotional impact on me.

A well conceived subversion of the standard slasher/horror genre. Much of the time the camera follows behind the killer as he walks through woods, mundanely stalking his victims. For me, this fairly unique perspective is probably the film's most appealing aspect. The plot is pretty standard. Many years ago someone died horribly and unjustly, eventually returned and went on a killing spree. He was eventually buried and his mother's amulet prevents him from resurrecting. Young visitors take the amulet so he returns and goes on another killing spree. While the aesthetic is initially appealing, the plodding pace and facile story become tedious. After about the first 20 minutes, it's pretty obvious how the story will unfold (though I did like the tranquil conclusion). It probably would have worked better had it been an hour long, but seems protracted as a 90 minute feature film.

An entirely pointless nearly exact facsimile of a somewhat more interesting but mediocre 2008 film. Here's the plot: A young couple's car breaks down in a remote small town. The local hotel is conveniently closed for repairs so the only place to stay is a cabin in the woods. The couple is subsequently terrorized by a trio of masked psychos. Yes, this film is just as insufferably cliché as it sounds. While competently directed and reasonably well acted, it's undistinguished from innumerable other horror/slasher/suspense movies. It's just more shallow, pointless violence and sadism. I don't feel at all guilty having viewed it for free on a pirate site since the filmmakers should have to pay anyone who sits through such tired, cliche' dreck.