Since "Oldboy" I've been a fan of this director, but here he really did a poor job. The whole film feels like a cheap French comedy. Weak acting, slapstick, and annoying music. Somehow nothing in the film really works, and even in the moments where some tension could build, it just ends up being boring. I was really hoping for a satire like "Parasite", but unfortunately it's just a farce that doesn't take itself seriously and therefore can't be taken seriously either.
I was a bit confused when I first watched the film, because they took a pretty bizarre, almost satirical premise and staged it completely straight. And for me, that was exactly the right choice. No magic, no flying reindeer. Just a good old story-driven narrative where Mel Gibson and Walton Goggins play their roles well and you actually care about what happens. At first I thought that Mel Gibson having a Black wife in the film might have been a DEI hire, but you quickly realize they simply cast a damn good actress who plays her role very well. It’s not a mainstream movie and it’s not a Christmas movie. It’s… something else.
The story and casting could have been much better, but the film is well directed and entertaining. Alan Ritchson's role should have been given to someone younger who can actually act, because there are a few moments in the film where it really matters, and Alan obviously fails since he can't portray any emotions beyond hunger and anger. In the second half of the movie there's a bit of a Predator vibe, and overall the film is "not bad", which already means something in the current movie crisis. Unfortunately, you still have to endure the terrible ending, which is the usual Hollywood garbage.
This was clearly the work of amateurs. You rarely see a documentary this poorly made; Ed Wood would be proud of this piece of junk. For instance, there’s a period montage with 80s music, but when it cuts back to the interview, the music stays at full volume. You can barely understand a word being said, and this happens constantly.Then there are people shown on screen for minutes at a time, but they forgot to include their names, leaving you wondering, 'Who the hell is this?' This whole mess is riddled with these kinds of amateur mistakes and blunders. As a huge fan, I was actually excited to finally see a documentary about Chevy, and I really tried to ignore the amateurish direction just to enjoy him, but it was truly hard to endure this trash!
Too many annoying characters ruin any movie and Z2 is a perfect example. Even a single obnoxious character can tank a film, but this one is packed with them. Combined with an incredibly stupid plot, it’s no surprise there was never a third installment. Little Rock should’ve been recast anyway, because she looks and sounds like a 40-year-old Karen here. The artificially inflated relationship drama between Jesse’s and Emma’s characters also makes you want to turn the movie off halfway through. And if you somehow power through, you’re rewarded with a completely ridiculous finale that leaves you wondering why you bothered in the first place. Emma Stone delivers only the bare minimum as well, not surprising when you’re clearly taking a role just for the paycheck.
If DiCaprio is only a supporting character in a film that's marketed with him as the lead, you're bound to be disappointed. He contributes almost nothing to the movie, and when he does appear, he's just annoying with his soft, whiny portrayal. Even Benicio couldn't shine here. His character, like almost every other in this film, is simply unlikeable, either because they're one-dimensional or just plain irritating. The only highlight (and that's a strong word for this film) is Sean Penn. At least his role has some depth. But what might have been intended as satire and completely fails to come across as such ends up making the film genuinely bad. Much of it just feels stupid, and the story clearly wasn't thought through. It's unbelievable that the same director made "There Will Be Blood." Truly unbelievable.
This isn’t a Predator movie; it’s a child-friendly, mainstream adaptation with no soul, no edge, and no ambition. PG-13 didn’t work for RoboCop, it didn’t work for The Expendables, and the PG-13 version of Alien vs. Predator should have been a warning sign that this rating doesn’t work for this franchise. But Disney is known for ignoring what audiences want and destroying franchises that have been loved for **** if you enjoy watching a Predator fight trees and giant bugs, this one's for you.Everyone else: bow your heads and observe a moment of silence for the franchise.
Finally, someone had the courage to make a film about what happens when America is under attack and only DEI personnel are on duty. The movie could easily pass as a satire. Everyone is overwhelmed by their tasks, powerless, and clueless. They just stare dramatically into nothingness and then the movie suddenly ends, leaving the viewer staring into nothingness, wondering what they just watched...
The movie is apparently like "The Emperor’s New Clothes". There are people who claim to see the clothes and cheer about how amazing they are because otherwise they would be considered stupid. But the truth is, the movie has nothing to offer. There is maybe five minutes of actual plot, and the rest is just told through dialogue. You don’t see any of the “interesting” parts. They might as well have made it an audiobook. Terrible actors, terrible music, everything happens off screen, and idiots call this the greatest time travel movie ever made. So go ahead and call me stupid, but I had a lot more fun with "Back to the Future" and even "The Terminator", both of which in my opinion are far more intelligent films.
Very well acted, especially Anthony Hopkins, who is wonderful. He’s a pleasure to watch, but that’s basically all the film has to offer. There’s no real plot, no twists, just a wrongly portrayed view from the perspective of a dementia patient. For emotional people, this is probably a good film; a few feelings here, a bit of drama there, and they’re satisfied. But if you actually think about it, the film makes no sense. Dementia patients don’t relive the exact same moment over and over again, that’s complete nonsense. And when you sacrifice logic just to make a film seem more dramatic, you might as well produce it for television.
10 years ago, this movie would have been a 6, but compared to all the garbage from the last few years, it feels like a cool breeze in hell. I’ve always been a fan of Shane Black, and even his weaker films have always been entertaining and I definitely don’t count this one among the weak ones. The film delivers what you expect from Shane: sharp dialogue, average action, strong characters, and a whole lot of fun. For the first time in ages, I could genuinely laugh at a movie; not just out of despair at how the film industry is going to ****. Thank you, Shane!
What makes the movie unbearable is Rami Malek. It’s a complete mystery to me why anyone considers him an actor; some even claim he’s a good one. He can’t convey a single emotion, and the scene where he runs alongside the car like a dog is just plain creepy. Everything else wouldn’t even be that bad, but Malek single-handedly makes you want to switch it off. The movie would have been much better if he had at least taken a few acting lessons from Steven Seagal, because even that would’ve improved this lifeless puppet.
The movie would have been worlds better with just two changes: 1) an R-rating and 2) a better cast. While the lead roles were well cast, all the supporting roles were filled according to the woke checklist, and unfortunately you can feel that in many scenes. As a result, the film loses a lot of depth, and the action scenes lack tension because you simply don’t care about the characters.
This film is no masterpiece; far from it. It’s not exactly intelligent or logical, but it has a certain charm and two truly great actors who play their roles wonderfully. It was a genuinely welcome change of pace, and I’d be happy if there were at least more films like this, because right now, 99% of what’s being made is garbage.
The screenplay is very weak and the dialogue is dumber than Trump. The action is occasionally good, but mostly bad. Maybe Chad Stahelski shouldn’t have just reshot a few scenes; he should’ve redone the whole movie. Not that it would’ve helped, given Ana de Armas’s wooden performance. The fights don’t feel like real combat but like rehearsed choreography, and she simply doesn’t have the ability to sell it to the audience.Even though I love John Wick, they could’ve skipped those few minutes with Keanu Reeves if they were just going to make him Ana’s **** you want solid, believable female-led action with a female character you can actually root for, watch Kate (2021). a very underrated film that does everything better than this one.
Normally, I don’t judge films I haven’t watched all the way through, but in this case, I had no choice. After half an hour, there was still no sign of a plot, just a sequence of meaningless scenes. Not even *good* scenes that might make you want to see more. So I had to leave the theater and head home, annoyed about the time I wasted on this film.
I don’t really know what to make of this film. Nothing much really happens, and by the end you get a few good scenes, but up until then, I was just bored. The typical Tarantino-style dialogue is completely missing. There are some random movie inserts (which at least add a bit of action), and that’s pretty much it.Very little about the film actually sticks with you. But maybe that’s just me. My friends, who usually have great taste in movies, liked it, but even they couldn’t quite say what exactly makes it good. I think this is one of those films you just have to watch for yourself and decide.
As a teenager, *The Godfather Part III* was the first one I saw and I loved it. Probably because I hadn’t seen the first two and didn’t know it was considered the weakest of the trilogy. But even the weakest *Godfather* is still great cinema, with outstanding performances (except for Sofia Coppola). And even though the film loses some of its edge once it moves to Italy and slips into sentimentality, it’s still absolutely worth watching and definitely belongs in any **** can skip *Coda: The Death of Michael Corleone*. The film is poorly edited, and it lacks the tension and impact of the original cut. The title itself is misleading, too, especially since this version doesn’t even show Michael Corleone’s death. And then someone will inevitably argue, “He dies inside”… yeah, right. Nonsense. The original cut remains the best... by far.
Really great cast and with that cast, plus Martin Scorsese and Steven Zaillian involved, my expectations were naturally high. Very high, in fact. But right from the beginning of the film, I was brought back down to earth and it didn’t get any better from **** first, I couldn’t quite put my finger on what went wrong with this movie. Was it the awful digital de-aging? The weak soundtrack? The excessive runtime? Yes, of course. But unfortunately, it was also Martin Scorsese’s surprisingly weak direction.
Yet another example of critics failing to recognize a good film—or simply having no real understanding of cinema. A critic score of 57 for this film should be a red flag, and the critics who can’t see the value of this movie should be "relieved of duty" and no longer allowed to rate films at all.I came here from IMDb because the scores here still felt honest, and I never had the sense that ratings were being bought. And here, my reviews aren’t deleted just because Amazon (which owns IMDb) doesn’t like them, at least not yet.*Scent of a Woman* is a prime example of what great acting looks like. Al Pacino’s performance has been praised a thousand times, but even a million wouldn’t be enough. The film consistently delivers excellent dialogue, the direction is solid, and the music ranges from good to outstanding. Sure, it feels a bit long at times, but that’s easy to live with.Anyone who still hasn’t seen this movie is lucky, because in today’s world, films like this just aren’t made anymore.
Taste in movies is one thing, everyone has their own, and that’s perfectly fine. But what makes a good film critic isn’t what they personally like or dislike, or what speaks to them emotionally. It’s whether they can actually recognize a good film for what it **** when a movie like Mission: Impossible gets a score of 59, it’s fair to question the competence of the critics. In most cases, the user score reflects reality far better than the critic score. That’s why I believe the user score should be shown by default everywhere, not the score from these Dunning-Kruger candidates.
Even if you skip ahead to the so-called "good" parts, you don’t actually get to see anything good. It’s an endlessly long teen drama with a few boring murders thrown in, and by the time the plot wraps up, you just roll your eyes and wonder if there are really people who read this script and thought, "Hey, this is good. We should turn this into a movie." It feels more like they *had* to make the film, no matter how bad the script was.What’s truly annoying throughout is the music. Yes, we get it, the film is set in the '80s. But even in the actual '80s, most movies had decent soundtracks, not this awful synthpop/electropop mess.
The direction is good, the actors are likable and even seem to have some talent. The horror effects are well executed, but that’s about it for the positives. Because what ruins everything is the truly dumb plot. So stupid. Really stupid. I’ve never played the video game, so maybe I missed a few references, but the only thing that really sticks with you is how extremely dumb the story is, with its idiotic dialogue. Why??? This could have been a genuinely good movie. Four out of five things were done right, but that one thing ruins it all. Such a shame.
Overly dramatic, too woke, overly dramatic... I've enjoyed every Mission: Impossible film so far, except for the third one. That one felt more like a TV version of a Mission: Impossible film than a theatrical release. But even that weak third installment is far more entertaining than The Final Reckoning. Of course, being the final film, it follows the same pattern as James Bond and John Wick: extended runtime, killing off main characters, overly dramatic scenes, and so on. While John Wick at least managed to remain consistently entertaining, James Bond and Mission: Impossible failed. The humor is severely lacking. The plot is uninteresting, and the stunts are rather dull. Even Dead Reckoning was significantly better, and that was already a weak entry compared to its predecessors. The numerous flashbacks are more than pointless; they feel contrived and forced. There's no real tension because the film is essentially a sequence of overly dramatic scenes accompanied by excessive, poor-quality music. It's a nonstop attempt to tug at the heartstrings with idiotic dialogues and sometimes even more idiotic scenes. For instance, characters appear out of nowhere intending to kill someone. Ethan has to enter some sort of tank to communicate with the Entity, even though the Entity is supposedly omnipresent—in every phone, computer, etc. This installment achieved something none of the others did... it made me praise the third film.
Zack Snyder has directed a lot of films, but only three of them are truly great: Dawn of the Dead, 300, and Watchmen. Each of these is an experience from the first to the last minute. His other movies have their moments, sure, but that’s about it. Dawn of the Dead shouldn't be compared to the original, same goes for Night of the Living Dead. I like the originals, and I like the remakes of those two as well. All of them have their place, their own style, and a certain charm that makes them worth watching.
Marvel brought the B-team to the big screen, and it feels exactly like that. Everything about this film screams second-rate, and the story? That’s not just bad, it’s several layers below rock bottom. I spent the entire runtime trying to find at least one character to care about, but nope. Even Sebastian Stan, usually effortlessly likable, somehow manages to be off-putting here. Same goes for David Harbour. And Julia Louis-Dreyfus? Her screen presence is painful and shereally shouldn’t be in front of a camera anymore, not after whatever she did to her face. It’s distracting in all the wrong ways. I figured, worst case, at least the action and effects would deliver. It’s Marvel, after all. But apparently, they cut the effects budget along with the script. Whatever was saved probably went straight into buying glowing reviews and bribing critics to pretend this mess is watchable.
I’m honestly a bit surprised by the negative reviews for this film, because there’s far more that works than doesn’t. It’s genuinely entertaining. Sure, it’s not the best film of the year, but it’s solid, above-average popcorn cinema at its finest. Jeffrey Dean Morgan is cooler here than George Clooney. Chris Evans is funnier than in any of his other roles. Jason Patric is delightfully evil. And the rest of the cast holds their own just fine. Maybe people didn’t like how easygoing it is, like the A-Team remake or any of The Rock’s movies. It doesn’t take itself too seriously, has only a few dramatic moments, and that’s okay. It’s a feel-good, have-fun kind of movie and it delivers exactly that.
A well-made film with a solid story, decent suspense, and — surprisingly — Ben Affleck actually pulls off playing an autistic character. Even though I know it’s not some cinematic masterpiece, I keep coming back to it. It just has a certain charm.
The film isn’t even half as smart as it thinks it is — but who cares? It’s an absolute blast. Great characters, sharp direction, and a soundtrack that keeps the energy up from start to finish. It pulls off something most films these days forget entirely: it actually entertains.
The film is a total slow burn — and not in a good way. Nothing really happens for ages. Then it finally starts to get a bit interesting… and suddenly it just ends. Abruptly. You’re left wondering why you even sat through it. Apparently, the screenwriter wasn’t smart enough to finish the story and thought, “No ending? That’ll make it seem deep.” Wrong. The only thing I took away from this film is that I won’t be watching anything else from this writer/director ever again.
I honestly don’t know why this film doesn’t work. The story isn’t bad, the cast isn’t bad either — but somehow, it all feels flat. There’s just no tension. Maybe it’s the clunky dialogue, maybe it’s the way it was directed... Normally, you can tell right away when something’s off in a film. Here, I just know it doesn’t work — but I can’t quite pinpoint why. Maybe you’ll have better luck figuring it out and I’ll have one of those “ah, that’s what it was” moments.
When movies like Anora win Oscars, it's a clear sign that the film industry is in serious trouble. Twenty years ago, a film of this quality would have been dismissed as a B-movie — the kind you watch once and never think about again
Short version: You can watch it… if you lower your expectations. The plot is beyond stupid, and the dialogue somehow manages to be even worse. In movies like The Raid, when everything else clicks, nobody cares about the story — but here, everything else only works in a few scattered scenes. There are a handful of good moments buried under a mountain of bad ones. Visually, it looks like a cheap 90s B-movie. The shaky-cam is obnoxious and overused. No one expects realism, but a bit more believability in the action scenes wouldn’t have hurt. The cast is full of good actors, but they’re completely wasted — forced to deliver idiotic lines while pretending they don’t realize how brain-dead the script is. The only reason the movie is watchable is because there are barely any brutal, bloody films being made right now. Compared to the sanitized garbage flooding the market, this at least dares to show some guts — and for that alone, it’s a breath of fresh air.
A female biologist teams up with a lesbian environmental activist to capture a female shark in the saine because the female police chief doesn't believe her. And the female shark has evolved and no longer needs a male shark to reproduce, and so the world is in danger of being overrun by female sharks... really??? I watched this film because director Xavier Gens made one of my all-time favorite films (Hitman), but what has happened to him since then? Did a female shark bite his balls off and his brain too?
