YungKang

This film bangs and is monstrously important to Western interest in Asian wuxia films. Buoyed by strong performances, explosive (though not literally) action sequences, and an atmospheric soundtrack, Crouching Tiger, Hidden Dragon stands as a tribute to all the classic wuxia films. I find it funny that all the people giving negative reviews to this film have names like Kevin, Todd, and Tracey.

Probably one of the most authentic, genuine romance films of all time. A grand precursor to the mumblecore movement.

A visual study in Poe's law, there's a reason why this film brought Guy Ritchie into the forefront of action cinema, with snappy dialogue and a slimy cast of characters that all collide into one another like a newly established CERN project.

Though it shares in many of the ideas and themes of Lock, Stock, and Two Smoking Barrels, which it will inevitably be compared to, the performances and more kinetic filming style ensures snatch. has enough panache to keep viewers entertained during the majority of its run time.

The film's movie-within-a-movie sequences are undoubtedly some of the best, but too many plot threads are started and resolved all too quickly to make this a resounding film in any one's mind.

Breathtakingly colorful, political without being ham-fisted, all pistons are firing in this film that is only dragged down by outdated attempts at humour.

It's not that original and the plot is a little sequential, but there are some smart writing moments that ensure at least slight chuckles that allow the performances to continue buoying towards the finish line.

It's not ground-breaking by any stretch of the imagination, but it's well-executed and consistently engaging throughout. Favreau somehow makes tropes seem fresh, where so many other directors would have simply let the staleness become all too apparent.

The brilliance of Dazed and Confused comes in how much is conveyed with such little substance. Curiously absorbing.

Definitely one of the most original films I've seen in a long time, even nearly 20 years after its original release. Superbly executed vision.

A better thriller than most thrillers nowadays, the pacing is expertly executed and keeps the audience engaged and riveted all the way through.

The slightly whimsical and charming cinematography helps this film compensate for its rather lackluster characterization.

If you don't like this movie at first, keep revisiting it. Eventually you will.

I'm giving this film a positive review because it's oddball nature actually elevates it, in my opinion, to a discussion on the conventions of cinema and absurdist film. All the loose ends and broken ideas unintentionally contribute to a film that unexpectedly challenges the audiences notion of narrative framework and what a film is supposed to be. And I have yet to see another film do so in such unintentionally comedic fashion.

It's clearly a labor of love from major Hollywood names that were big fans of the original film, but it's not altogether as charming, quirky, absurdist, or part of the so-bad-it's-good magic that allows the original film to continue enthralling audiences today.

Moving behind the lens this time around, Gerwig's vision of the indie drama-comedy is a fully realized sketch of 21st century coming-of-age narratives. Simultaneously courageous, witty, and frustrating, the performances and script make this a charming film bursting with talent every step of the way.

Gerwig is so frustratingly good at playing her character that it lends this film an air of credence that its oftentimes meandering script fails to capitalize on. An endearing, occasionally irritating film that succinctly portrays the aimlessness and mundane nature of friendship and growing up.

Whichever board of horndog film executives OK'd this film deserve to be dragged out into the street and shot. If anyone ever tries to tell you that the objectification of women is no longer a problem in mainstream film, get them to watch this movie so that they'll shut up.

It's quite stylish and enjoyable during the first half, but quickly takes a nose-dive in the latter half as the tonally inconsistent graphic violence spins the film into a chaotic overdrive.

A surprisingly stylish and entertaining action film that in my head seems to be a visual big-screen representation of all the imaginary Hot Wheels car chases I would plot out in my head on the carpet floor as kid. Unlike Drive, this is a film with the word drive in the title where the car sequences are actually a focus point of the movie.

While the plot is quite generic and predictable, where the film and script truly shines is in the little moments of hooliganism it captures. A light-hearted film about redemption and forgiveness that almost makes me hate calculus a little less. Almost.

As visual eye-candy, it's quite good. As a superhero film trying to stand out in a pantheon of ever-increasing numbers of such films, it's only decent.

This film makes my pee-pee rock hard. Jokes aside, this is probably one of my favourite films period. Filled with zany characters, slightly off-kilter dialogue, terrific performances, there's a little bit of everything on display here that helps to truly capture what makes post-modernist cinema so great.

The movie takes quite a few liberties with its initial set-up and premise and most of the dialogue isn't all that captivating, but it may still satisfy those looking for a slightly more profound rom-com fix.

I hate horror films but had quite a good time with this film. It does require suspension of disbelief on your part to accept the premise, but beyond that, this is a smartly devised and acted horror thriller that is sure to make you squirm.

Smothering close ups, crude cinematography, pushing-the-limits-of-good-taste dialogue all contribute to one of the most banal and absurdist comedies of this decade. It's not for everyone, but those who share a love for Ionesco-esque dialogue will certainly love this film.

A sweeping film of technical virtuosity and dazzling cinematography. A must-see war film.

Russel Crowe and Ryan Gosling's on-screen chemistry is of course the main draw of the film and they execute their roles almost flawlessly, but the plot and character arcs unfortunately do little to capitalize on the potential of the era it chooses to stylistically draw itself from.