Forks Over Knives is a very eye-opening, well-researched documentary. It is very matter-of-fact and even a little insulting at times, however; Food,Inc. is a little more subtle than this one.
Firewall has a good plot and acting, but the story is very cliched and nonsensical at times to achieve what the movie intended. The writing also could've been improved.
Flypaper is a silly mess with so many flaws and inconsistencies that by the end it makes no sense at all, but its still a notch above the worst movies of the genre, if that's any consolation.
Reportedly Kubrick's favorite film of his own as well as being his last feature film, Eyes Wide Shut is definitely an excellent movie. The non-linear story is very deep and can be easily missed if taken at face value.
Disturbia is a pretty good film; it features a solid performance from Shia LaBeouf before he wasn't famous anymore, and is very thrilling at times. The ending is a bit cliched, but the rest of the movie is worth it.
Devil's Knot tells a compelling story, but the movie is bogged down by storyline cliches, poor pacing, and being overlong. It's a shame that Witherspoon and Firth didn't have more scenes together, as their characters are what makes the movie interesting.
Deadpool is funny, fresh, and self-deprecating in such a way that the film is different from most superhero fare. Ryan Reynolds fits into the role perfectly.
Date Night is a fine film for a Friday night, just nothing special. It plays into cliches of "the people get thrown into dire situation and rise to the occasion" and "bored married couple's life gets interesting". Nonetheless, it's just typical genre fare in the best sense it can be.
The Da VInci Code is preposterous, but its preposterous fun. It stays faithful to Dan Brown's novel, while at the same time injecting enough movie effects to keep the audience entertained. Also, the theories and storyline is very clever, if historically flawed.
Creed just goes to show that any franchise can keep producing great movies as long as the storyline and energy stay fresh. As a Rocky movie, it stayed true to the elements the franchise is known for, at the same time adding original content and updates to technology. Another Creed movie will do just fine.
Conspiracy Theory isn't bad when it comes to most of the details, it's when we see the big picture that it becomes sloppy looking and barely pasted together. Roberts and Gibson have less-than-believable chemistry with an even less believable love story. The movie makes it look like Mel Gibson isn't even acting, the actor is just going through everyday life as a crazy, psycho conspiracy theorist.
Con Air is (hopefully) about as ridiculous as movies can get, but still be very enjoyable to watch. Nic Cage is his usual over-the-top self, playing a character with a Southern accent in which he constantly slips out of almost every take, but no one's paying attention to that. Instead, all that is needed here is a coherent enough storyline, a bunch of explosions, and plenty of car crashes.
Misleading title, great movie. Howard delivers an excellent film that is sure to inspire us all. Crowe's portrayal of boxer Jimmy Braddock is great, and luckily the movie forgoes the usual boxing cliches, albeit a bit long.
Casino Jack is enjoyable enough, but lacks pacing or originality; i felt like I was watching bits and pieces from other (better) films the whole time. Nonetheless, Spacey plays slick lobbyist Abramoff with just the right touch, and is well-suited for the role.
Cape Fear is surprisingly mediocre and is typical genre fare, even for Scorcese. It is ridiculous compared to the original, and the cameos of the original cast aren't enough to save this movie; it is extremely different from the 1962 version, and the plotting is less than perfect. Nolte and De Niro keep it watchable, but it still suffers greatly.
Anthropoid is a very complex and stunning drama that doesn't relent for a minute. The performances by Murphy and Dornan are surprisingly deep and emotional, and the movie benefits from a straightforward story and no gloss or unnecessary storyline. Mostly unknown director Sean Ellis has potential.
American Gangster is a stylish, thrilling movie with powerhouse performances from Crowe and Washington. Scott's film is mostly exceptional, aside a few pacing issues, but the acting is the main focus of the movie.
The Insider is one hell of a movie. It is moving, stirring, and beautifully shot in the process. It features two incredible performances from Crowe and Pacino, and crisp direction by Michael Mann. It is a little bit overlong, but the story is riveting nonetheless. The film genuinely shows how whistleblowers are treated in the US (i.e. Edward Snowden) and also subtly criticizes the way corporations run the media, and the country.
Captain America: Civil War is a few notches above the average Marvel movie thanks to an exciting premise and good effects. The movie is overlong, and by now all these Marvel spinoffs and sequels are starting to lose their edge-- it seems like now its only about the money.
Burn After Reading has the old Coen Brothers feel to it immediately, and it's a fun ride from there. The movie is short and over before you know it, but it is a nice little dark comedy with interesting characters and a ridiculously funny plot.
Bridge of Spies is the best Spielberg movie in years, and Tom Hanks' best performance in years. It is captivating, beautifully shot, brilliantly acted, and definitely has some of that ol' Spielberg charm to it, even during more serious scenes.
Breach is a fine-tuned spy thriller with a great story. It lacks originality somewhat, but makes up for it with fine performances by Cooper, Linney, and Philippe.
Paul Thomas Anderson's controversial film Boogie Nights remains great to this day. The raunchy subject material is handled in a sleazy, raw kind of way-- exactly what was intended. Character development is surprisingly good, and the direction is excellent. Haters of the film most likely can't handle the pornographic material. But, the movie captures the 70s porn scene very well, and the film is excellent, albeit a little too long.
Blancanieves is a charming little Spanish film with great cinematography, but never seems to really fit into the genre. Its details are fitting, but the overall picture is only average.
The Bank Job is not the usual Statham vehicle-- it's actually quite smart and compelling. It is easy to watch and there are thrills to be had. As far as a heist movie goes, the movie is much more interesting than its title.
The Nice Guys plays off of 70s movies well, and stays above usual genre fare. It is funny, and the jokes are well-timed. The only thing significantly wrong is the casting of Kim Basinger; she had poor delivery and played a caricature rather than a character. Other than that, the movie is solid.
One of Inarritu's finest earlier works, Babel succeeds as a drama with a real human heart, and gets its message across easily. It requires patience to watch, but is a must-see for film buffs.
Annabelle is a horribly acted, boring, unoriginal, incoherent mess of a movie that isn't even scary. Avoid at all costs, do not waste two hours watching this.
It's astounding that American Beauty was Sam Mendes's directorial debut; it is a film of awe and wonder, and is the kind of film you would expect from a seasoned director who knows how to incrporate complex themes and imagery into his/her movies. Nonetheless, it is an amazing picture about how not to judge a book by its cover, because the inside might be nasty and problematic. Its gorgeous cinematography, excellent acting, and superb direction earn its Best Picture Oscar.
The American is a refreshing film to see in a time when most movies are sequels, spin-offs, or big-budget blockbusters. It is a character study of an assassin, played by George Clooney, taking place in the beautiful hills of Italy. The cinematography is amazing, and the screenplay allows for many overhead shots of villages and mountains to be seen. The film's premise and storyline are reminiscent of an Italian film from the 1960s, and it captures most of the magic of that era.
10 Cloverfield Lane is barely a sequel to the original Cloverfield story-- and that's what makes it so great. It finds an original story to tell, taking place (with the exception of a couple scenes) in an underground bunker. The acting, screenplay, and effects are all above average, and the movie finds exciting ways to tell the story, including an ambiguous ending, opening up the door for more sequels. It will probably go down as one of the best sci-fi movies of 2016.
Blood Diamond is a gem of a movie. Leonardo DiCaprio and Djimon Hounsou give excellent performances, but the story is somewhat neglected in some aspects, taken as violence and car chases instead.
Johnny Depp puts on a capable performance as Bulger, and the film's dramatic story and harrowing musical score make Black Mass a good movie, if not a slightly forgettable one.
The Big Short is a bold, matter-of-fact look at the housing market crash of 2008. The movie runs smoothly, explaining to the viewer the more confusing terminology with examples, almost like a documentary. Adam McKay's direction is a step up from his previous films, and the screenplay is genius. Overall, it deals with its subject matter quite well, and never oversteps its bounds.
Enough Said features great performances from Gandolfini and Louis-Dreyfus and boasts a compelling premise a notch above the usual "divorcees find love" story, but my biggest problem with the movie is the ending. It is ludicrous to think she would end up in that situation when the story gave her plenty of opportunities to confess to Gandolfini what happened and keep their relationship intact, but the movie doesn't let her do that. Also, the bad marriage between Eva's friends mixed with her over-parenting with her daughter's friend are weak plot points. Other than this, the movie is worth watching.
Rushmore is an interesting film. It is Wes Anderson's first big feature film (unless you want to count Bottle Rocket), so his signature quirky style isn't quite developed yet. However, there are elements present in the film that he later used more often in his movies. Consider this a pre-concert to his philharmonic debut. As for the movie itself, it has a sweet story, and Jason Schwartzman's character is one that we can relate to. The concept of Rushmore itself is a metaphor tossed around during the film, and the movie's themes of loyalty and friendship are well-received.
Gone Girl is one of the best films of 2014. Fincher is the master of the slow burn, and he achieves it with this film. Those who have read the book will be satisfied with this adaptation, as it stays almost completely true to the source material, and when it deviates from the book there is an intended purpose that elevates the movie even higher. No spoilers, but when the big secret is revealed, I like how it is revealed halfway rather than the end, because the viewer feels more connected to the story if we know what is really going on. The performances by Affleck, Pike, and even Neil Patrick Harris are all nuanced in the right way as they bring these characters to life. The movie deserves every second of its 141 minute runtime.
The Judge is a powerful and emotional movie, way more than I expected. Duvall is brilliant, and the movie's themes of reputation and abandonment really come through in a couple crucial scenes. But don't let that deter you from seeing it: those crucial scenes are what make the whole movie worth watching. Other than that, all that's left are the usual separated couple with a young daughter, cocky lawyer, honest and tough father, family drama, and rekindling with an old flame. The "small town" setting is the right choice for this movie, and it does its best to incorporate everything else.
A classic thriller with very memorable scenes, Fatal Attraction features great performances by Close and Douglas, a chilling score by Jarre, and very off-kilter direction by Lyne (in a good way).
I'm very surprised. Not only is Walk of Shame not a complete fail, it's actually not so bad. The story itself is pretty farfetched (as it sets out to be), but Banks makes you root for her character by adding just enough charm and sweetness to the role. Yes, there are stereotypes and clichés running amok here, but this kind of movie doesn't work without familiar characters.
A worthwhile action movie with some great CGI, San Andreas does feel a little bit too similar to "2012", but is good nonetheless. The plot and the script is below usual standards, but the film makes up for it in special effects and explosions- isn't that why you came to see it in the first place?
Spy is one hilarious movie. Melissa McCarthy has made some duds lately by be type-casted as the same old "fat slob", but this movie is different. Everything in the film feels fresh and exciting: the locations, the cinematography, the jokes, the sight gags, the satirizing of the espionage genre, and the A-list cast. I was never once bored in this flick; it even features 50 Cent! This is ten times better than Bridesmaids.
Mad Max: Fury Road is quite impressive; I would go so far as to call it close to a miracle. I almost never see, rather than review, movies in this genre, as its not my thing. But, I was pleasantly surprised to find that Mad Max was pretty good, and it paid homage to its Gibson-esque prequels. The film works on almost every level: as a comic book movie, as an action flick, as a character study, and much more. Also, it has beautiful cinematography and performances to burn; some of the CGI was almost as good as in the 2009 movie "Avatar", I dare to say. It was a really well done movie overall, that will satisfy almost any viewer, and I highly recommend the experience.
This movie will probably be a forgettable entry in Statham's film legacy, but it gets the job done in terms of action and eye candy on screen. As for James Franco as a villain, it is hard to take him seriously.
I've never been a fan of Baz Luhrmann's filmography, and his new Gatsby project is no exception. This is an amazing book, but his adaptation to the screen employs rap music and modern references here and there that do not fit the story at all. Now, I'm not a cinema purist when it comes to adding modern hints in period pieces, but the way Luhrmann does it is too obvious to benefit from subtlety. Also, Carey Mulligan and Isla Fisher should've switched their respective roles as Daisy and Myrtle: the casting choices there were not great. Each woman would've played the other character better, and the movie would've benefitted greatly. As for DiCaprio and Maguire, they played their characters on par with Fitzgerald's writing, and added some character nuances that only great actors can pull off, so bravo to them. If you're a fan of the story, it might be worthwhile to check out the movie, but don't set high expectations.
Although Unfriended isn't very scary (it sells itself as a thriller/horror movie), it manages to be innovative. It is done in real time on a Mac computer screen, and we only see the narrator (Blaire's) point of view the whole film. This same technique was done on an episode of Modern Family, so maybe the creators of this "movie-in-a-computer" setting are on to something. As for the movie itself, it's not great. The characters are all stereotypes, and the story is pretty passive, leading to a predictable conclusion. However, it is only the beginning of film mastery in this new medium.
Giving us one of Al Pacino's best performances, Serpico brims with the frustration and anger of its protagonist, ripping open NYPD corruption like a bag of chips. Most of the characters in the movie don't matter; they are meshed together into one big, sleazy, corrupt, blob. This was Lumet's intention, as only Serpico, his friend Blair, and his colleague Green are given individual attention. No matter what he does, Serpico seems to find more corruption, and he increasingly becomes angrier until he finally snaps. The pivotal scene after getting back from the mayor's office is the best and most important part of the movie by far, where Pacino really shows his true colors as an actor, and Serpico shows his true anger. A classic like this will remain timeless, especially with all the symbolism and raw emotion it possesses.
Well-shot, well-edited, and well-acted, Kingsman: The Secret Service is the first great movie of 2015. It parodies classic spy movies like James Bond, yet shows its appreciation for them at the same time. Some scenes seem unnecessary (the church scene was something out of a Tarantino movie on steroids), but overall the movie works.
Despite an A List cast, Movie 43 is a tasteless exercise that feels like a 90 minute collection of rejected Saturday Night Live skits. It tries to intentionally parody itself, yet that fails, and the movie is really a bad parody of that parody. If that makes sense. Stay away. Don't waste your time. At least George Clooney had the common sense to reject a cameo, his response being "No f**king way". Do what George did: reject this movie, completely.
