Yet we are given valid reasons to hate these financial institutions - the source of foreclosed houses and crushed dreams. Are these brothers a modern day Bonnie and Clyde? Or perhaps Butch Cassidy and the Sundance Kid. Not exactly, although you'd be forgiven for making the connection.
Rooting for these guys is similarly problematic, but this is a tale with even deeper shades of gray. There are so many surprises. One violent altercation inadvertently provides a cogent defense for carrying a concealed weapon. The mentality of the vigilante perspective is presented so rationally, I was a bit taken aback.
There's sort of an odd mix of emotion that fluctuates wildly between compassion and disgust for these lawbreakers. Sympathy turns to aversion over the course of the narrative. It's the way these little unforeseen vignettes plays out that make this character study so captivating.
One of the most noteworthy dramas of Kubo and the Two Strings has all the attributes of classic folklore - an account that has been passed down from one generation to the next. But don't go looking for this fantasy in some sacred text. Given the contemporary origins of the saga, I suppose I can forgive the Hollywood movie star voices in the place of actors that could have better conveyed the authenticity of feudal Japan. Despite the somewhat generic "hero's journey" trappings of the adventure, the drama touches upon some weighty themes.
You have to admire a cartoon that challenges younger viewers to consider the nature of humanity. Is death really the end of someone's life when one is still held in the hearts of those that loved them? Along the way, the chronicle never ceases to be anything less than captivating. The style is so crisp, colorful and vibrant, that it's easy to get lost in the beauty of the craft. This picture is simply a joy to behold. Pete's Dragon develops into a sentimental bit of fluff. It certainly helps that young actor Oakes Fegley is extremely natural and the CGI creature is realistic as well.
Elliot is not your typical dragon. Instead of scales he has fur. He can even disappear when he deems it necessary to hide from danger. He's also exceptionally loving and protective. Their relationship is not unlike that of a boy and his dog. It's this bond that forms the foundation of the drama. The two unquestionably have a warm rapport but it's a wispy premise on which to build an entire production.
Oh sure once other humans discover Elliot, they threaten his safety, but you knew that was going to happen 20 minutes into this fantasy.
Peter Mahr (Illustrator of MOMSTER)
Everything unfolds in a predictable fashion. This "boy meets pet" fable was released to near universal acclaim. I expected a saga with a much higher level of creativity. I liked Pete's Dragon, but I didn't love it. I really wanted to love it. Even a parent with the best intentions can be flawed - and he is - in some pretty major ways actually.
Yet deep down he still truly wants to do the right thing. His children are given a thorough education in science, history, and the arts. They can not only recite knowledge but also apply it to real world situations. A memorable head to head challenge featuring his daughter Zaja Shree Crooks , highlights the superior success of his educational approach. The script is intelligent enough to value Ben's take on life but there's also a lot wrong with it as well.
His oldest - slim, ponytailed Bodevan George MacKay is socially awkward and he himself knows it. Bodevan yearns to attend a university where he can learn in a traditional setting and socialize with other people. The portrait is not perfect. Father Ben can be so stridently overbearing that he loses our sympathy. It's the nuance that gives this sincere story a soul. Viggo Mortensen is the heart of the drama. He's incredible, and the 6 youngsters are the veins.
Together they unite in a manner that will make you laugh, cry and cheer. This production presents the skimpy plot of an 8 minute short, not an minute feature. The screenwriters toss in some jokes along the way - mostly ethnic stereotypes. Let's see, a German tub of sauerkraut with a Hitler 'stache wants to exterminate the "juice". The lavash and the bagel are mortal enemies who bicker over their occupied territory in the grocery aisle.
Craig Robinson plays a jive talking box of grits who's got a problem with crackers. A lot of weak gags, but there's little story. Just a lot of bickering: If bad words still make you giggle, you'll be in heaven with this script. If you want witty food-related puns, then go watch Cloudy with a Chance of Meatballs. There's a better party than a sausage party 'cause this Sausage Party do stop. I'd fault Suicide Squad for not having a story, but that's not really the point. Introducing a bunch of characters is the plot.
This is an excuse to create archetypes and parade them around for minutes in a gleefully exuberant devil-may-care spectacle. That might have been acceptable. If every member of this battalion had as much pizzazz as Harley Quinn Margot Robbie , I'd be loving this flick. She is often the voice of calm in a calamitous haze, reciting exposition to clarify the script's more ambiguous passages. The problem is that the rest of the cast is lacking.
Not the actors' fault. Their parts are simply underwritten. Suicide Squad is better than Batman v Superman. I'll give it that. It's just that it still has a ways to go. Cafe Society is a blast from the past. Jesse Eisenberg and Kristen Stewart have an established chemistry, this being their third collaboration after making both Adventureland and American Ultra together. Their synergy is the most exciting reason to see this picture.
There are a few missteps. The account doesn't end as strongly as it begins. It just sort of fizzles out. Woody Allen also chooses to narrate the story himself. His gravely voice is so awkward when juxtaposed with the beauty of the age.
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But oh what a time! The cast is bathed in the retro glow of the s. Legendary Italian cinematographer Vittorio Storaro soaks the film in rich hues. His photography celebrates the spirit of the era. If you needed more, his work is validation enough to see Cafe Society. Even the title lacks definition. May I suggest Star Trek: Generic Space Action Movie. Sadly, most of Beyond plays out more like a Fast and Furious movie with visual effects here substituting for much needed depth. The adventure is shockingly routine for a production of this magnitude.
The story is just too insubstantial for a 2 hour motion picture. This develops like a rejected plot from the 60s TV show expanded to feature length. Then the music of the Beastie Boys makes an incongruous appearance in one key scene. The song's arrival is eye-rolling to say the least. What in Gene Roddenberry's name is that song doing here? However 24 hours later, and it's the only thing that still stands out in my mind.
At least I remember they played 'Sabotage' really loud. What a shame that it's all I remember. What we get is a lot of perfunctory chase sequences with shaky cam photography of chaotic movement edited with a hacksaw. Ladies and gentlemen, I present an entire feature made up of fast cutting. No scene lingers for more than 3 seconds before proceeding to the next shot. The ADHD cinematography can frustrating. Two people simply have a quiet conversation and the camera refuses to remain still - a nervous bundle of energy, constantly moving.
Ok so at times it can be exhilarating as well. The camera jerks and dives to thrilling effect during a climactic fight. The motion gives the feeling of actually being physically hit before descending into a blurry mishmash where the human combatants are no longer discernible. Director Paul Greengrass is known for favoring this technique. He's had much success in the past United 93, Captain Phillips , but the plot developments aren't memorable this time around.
We're just going through the motions. In the end, I didn't hate this movie. It's too competent to be egregious. The effort fuses high production values with well choreographed action. Jason Bourne isn't great, but it's significant because it exemplifies how this kind of entertainment is now available on TV for free. Hunt of the Wilderpeople is a beautiful blending of a road movie and a coming of age tale.
Like the novel, the production is divided into chapters, each with its own title. The whimsical adventure fashions amusing vignettes that, like delectable morsels, are easily digestible in bite size pieces. With gorgeous scenery as a backdrop, a musical score charms with a retro 80s feel courtesy of the band Moniker. Musical interludes are inserted amongst sharp, witty moments between Uncle Hec and the tender lad.
If there is a quibble, it's that the plot drags on a bit too long when a tighter narrative might have made the ending pop a bit more. By the time the story finally wraps up, we're more than ready for things to end. Still, there's a preciousness that touches the heart without ever being overtly twee. It recalls the work of Wes Anderson. Believe me, that's a compliment of the highest order in my book.
Actor Sam Neill and newcomer Julian Dennison have an odd couple chemistry that makes this "hang-out" yarn thoroughly enjoyable. The veteran actor is good but the rookie is even better. Julian Dennison steals the film and probably your heart as well. Ghostbusters is a largely uninspired take on a well known property. The story scores points for changing up the plot at least.
Like a remix of a classic song with a new singer and modern production, it entertains based on familiarity but not through excellence or innovation. Ok so Kate McKinnon and Chris Hemsworth are amusing, but the script hangs the rest of the cast out to dry. In lieu of a Sumerian deity from another dimension brought back from the dead, there is a nerdy petulant weirdo Neil Casey. He is a weak excuse for the main villain. Humor is subjective, but I rarely laughed and that's a deal breaker when assessing a comedy.
This cacophonous spectacle wants it both ways. Embrace a modern take, while constantly reminding you of nostalgia for the original. The idea of a summer blockbuster that headlines 4 women celebrated for their witty minds, and not their physical attributes, is exciting in theory. I so very wanted this movie to be spectacular. Instead it's just barely acceptable.
The pup in Wiener-Dog features heavily in each episode. Yet despite the title, this is really about people, not the canine. The beloved pet is merely a construct that gives us an excuse to follow an assortment of characters. There's a world weary tone to these sagas, but there's also the soul of humanity as well. For example the relationship between Remi and the dachshund is pure and sweet. They share a friendship to which his parents are immune. We sympathize with the various heroes in their respective vignettes, even though they may have serious flaws.
There's an authenticity to that. I mean we are flawed too, right? As the film marches to its inevitable conclusion, we brace ourselves. Todd Solondz has contempt for the Hollywood happy ending. Wiener-Dog is typified by a grisly finale that hits you like a slap in the face. Then the camera lingers on the event. There's a palpable rage against society here. The experience may sting, but the script still makes a sincere plea for mankind. I saw hope amidst the despair.
That's kind of powerful. The Secret Life of Pets is largely a joy that beguiles almost as easily as it evaporates from the mind. That's actually part of the script's ephemeral appeal. The cartoon is brought to you by Illumination Entertainment, the highly successful film production company that brought you the Despicable Me movies. This flick wants to charm us with unfettered antics. There is a purity to that. You'd have to have the cold heart of a grinch to not at least chuckle at some of the random absurdities.
At one point a bizarre hallucination sequence in a sausage factory involves a Busby Berkeley number of dancing weiners clad in hula skirts. As their heads are bitten off, they gleefully sing "We Go Together" from Grease. Sadly, a compilation of all this diverse music has not been released but you can download the selections individually I suppose. Humor targets run the gamut from behavioral shenanigans to poop jokes. And yes there are several of the latter. There is very little sense to this.
At times, I struggled to discern the focus of the story. And yet it pops up every now and then when it needs to make an appearance or simply make us laugh. An undercurrent of evil is usually a common theme in his stores. The potential for death is a most definite possibility. In The BFG we're told hideous giants are responsible for the disappearance of children. They regularly raid the cities under the cover of night to eat "human beans".
The BFG would rather spend his time on other things. Sophie follows him on one of his runs to harvest dreams. He then gives the good ones to children with the aid of his trumpet. This talent is later utilized in a section involving Queen Elizabeth II. This is where story developments finally take place, but they form the last 30 minutes of the plot. For most of the chronicle we have essentially watched these two make small talk and chill.
The lack of action plainly begs for a musical number or two at the very least. A bit of judicious editing would have helped tighten the tale's languid rhythms. I can't recommended this to everyone but I will to a select few. The BFG is a cult film - a production whose leisurely charms will undeniably delight a passionate, though very small, audience. Not bad in the ridiculous, let's relish it for the folly of it all. That was the original flick. This is so mind numbingly lifeless, it's awful. When the very existence of mankind is at stake, that's a problem. I couldn't give a care about what happens.
It's clear the filmmakers didn't either. Poorly edited, drearily acted with sloppy CGI that has no sense of breadth or scope. If this was one of those Syfy channel pieces of schlock like Sharknado I'd be a little more forgiving. No this is a shining beacon of gross ineptitude for a mega budget blockbuster. There's a moment in the last half hour where the movie does something right. A Godzilla-sized queen is seen tearing down the desert as planes encircle her. The climatic battle gives a hint of what might have been, but it's too little too late.
Then the inevitable tease for a Part 3 slaps you in the face. There's still some fun to be had. Save your money now. Invite your friends to watch this when it's on DVD. First one to fall asleep is the loser. Or is that the winner? Regardless, it'll be a short game. Central Intelligence isn't a horrible movie. It coasts on the charm of its leads.
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Dwayne Johnson is eager, overzealous and blissfully unaware. He imagines this close personal friendship with Kevin Hart's character that was never really there. He's so naive he seems almost mentally challenged. Kevin Hart plays an exasperated, persnickety fuss-budget. The two are a mismatched pair. If you can appreciate the constant mugging from the two stars then you should cuddle up to the film's modest charms. I was hoping for a bit more story than the threadbare plot that's served up here. For the record, it's some nonsense about selling critical U. There's also some confusion as to whether Bob Stone is actually a good or a bad guy in the CIA but you'd have to be fast asleep not to figure that out.
Yes it's totally predictable, but that's not the issue. I found their hijinks mildly amusing. I simply never laughed out loud at any point. It's so thoroughly generic. Directer and co-writer Rawson Marshall Thurber has done better work. A True Underdog Story over this. I recommend this to very forgiving fans and only fans for whom these celebrities can do no wrong.
Finding Dory is a lot of fun by amping up the craziness. After Dory is captured by two aquarium employees, the primary setting shifts to the Marine Life Institute. It might seem odd that the majority of action takes place on dry land. After all Dory is a blue tang who needs water to, ya know, like swim.
This is one of the constructs that is most unexpected. The journey is not without its challenges. The Kid Zone touch pool scene is an absolute nightmare of grabby hands from the perspective of the aquatic life within. Nevertheless, Dory is able to navigate the outside world with surprising ease. She leaps from one tank to another. Fish move distances using the spouting geysers of a fountain. Others travel in a bucket of water grasped by Becky the loon and carried in a coffee pot by Hank the Octopus.
You might think that that's stretching things. Wait until you see the car chase. Finding Dory doesn't top Finding Nemo. It's sillier and more frivolous than its predecessor. Although there's some consideration for mental illness and the importance of family, it doesn't attempt the emotional depth. No I didn't cry. Pixar is usually so good at that. Although there is a poignant moment that certainly tries. However, the movie does goes off in a bizarre, completely zany direction, and forges its own identity that way. Once it does, it's a warm, good-natured, non-stop hilarious, gag-filled joy of a film.
Two talents elevate this script. Jeremy Irons and Dev Patel play off one another. To say that this is Dev Patel's greatest performance since Slumdog Millionaire sounds a bit like damning with faint praise.
After all the actor has struggled since that breakthrough in films like The Last Airbender and Chappie. Patel gives the part a sweet determination that honors the man's accomplishments while giving us an appreciation for all the sacrifices he had to make. The Man Who Knew Infinity isn't a great movie. Yet let's consider the fact that it exists to honor the contributions of an unsung hero. That alone makes the biography worthwhile.
Director James Wan is back. Besides helming the original The Conjuring, he directed Saw and Insidious so he knows horror. Wan focuses on the traumatized family first. For a while this is a document of how a close knit household, united by a single mother, is torn apart. Then the focus shifts to the Warrens and here's where the superior acting skills of a couple of actors strengthen the account. Wilson and Farmiga are Christian paranormal investigators relying on their faith and working for the Catholic church.
They are portrayed as sensible people with a healthy skepticism. Through it all, director James Wan keeps the shocks coming. The events are fashioned like a roller coaster ride with a rhythmical ebb and flow of tension and calm. Scares are artfully presented in a period atmosphere. It lends the proceedings the look of quality that gives horror aficionados joy. Furniture moves by itself.
There's 4 feet of water in the basement.
The demons are scary too. One demon looks like rocker Marilyn Manson dressed up like a nun. Pasty white fingers reach out from behind a painting. A spinning zoetrope brings a "crooked man" to life. I jumped a few times, but to be honest, this shtick all feels pretty familiar. Ultimately the movie belongs to Wilson and particularly Farmiga. Their unmitigated sincerity sells this picture. I was invested because of them. The script is a marvel with pleasantries and barbs doled out in equal measure.
The individuals Jane encounters are sophisticated, educated and polite, but overly mannered to the point of being finicky, almost uptight. Director Whit Stillman exploits an erudite segment of society that other filmmakers would relegate as side characters for comedy. He has such love for these people. Even when he is making fun of their foibles, there is a palpable admiration for their temperament as well. That makes his comedy less hostile and more satisfying. The age of Jane Austen is perfectly suited to Whit Stillman's aesthetic. His The Last Days of Disco in was a period piece set in the s.
Regrettably, the director has never made a costume drama from the 18th century until now. It's about time he did. The era suits him to a T. Let's hope he returns. Yorgos Lanthimos also directed the extremely misanthropic comedy? Devotees of that picture should find his disaffected worldview appealing here as well. Less cynical individuals may discover his malevolent characters a bit harder to endorse. Surprisingly, I was on board.
The silly rules at the Hotel are ridiculously wicked. But I checked out during the tedious second half. Opening segments that fabricate the story should be absolute catnip for anyone who vehemently despises the very concept of a holiday like Valentine's Day. If there's such a thing as discrimination against singles, then this satire will surely hit home with any viewer who feels like a victim. Once the script throws the foundation kit and caboodle out the window, the fable emerges merely as an excuse to parade a group of antisocial types around for the viewer's pleasure.
These people are really hard to embrace, especially in the second section where the narrative and the jokes come to a grinding halt. To like these people is clearly not the aim. However after spending minutes with these thoroughly unpleasant people, I wish I was a lobster too. If characterization and plot are truly what you crave, you probably should try an indie drama. Amazing action set pieces are the mark of a good superhero film. Apocalypse presents several that give virtually every individual the opportunity to shine.
Magneto has retired from super-villany and so he has been working at a factory in Poland as Erik Lehnsherr. After an incident there reveals his true self, Magneto must confront a threat to his wife and daughter. Let's just say, her locket is a lot more dangerous than you think. The return of the Quicksilver Evan Peters is an opportunity for another slow-motion rescue sequence in the middle of the movie.
Professor X's battle of shared consciousness with Apocalypse is a conflict that technically takes place in the mind. It's an interesting concept that should be difficult to portray, but it's executed in a most captivating way. And finally Sophie Turner as Jean Grey gets a chance to tap into something called the Phoenix Force in the film's rousing payoff which ably juggles most of the cast. Yes, the entire climax rests on a lot of invincible people using their supernatural strengths to stop a godlike villain until one exhibits the greatest power to surpass them all.
That's not the optimal recipe for creating a heart-pounding conclusion but it's certainly not boring. I'll concede it may not be the best in the series Days of Future Past. X-Men Apocalypse is enjoyable fun, sitting comfortably in the upper half of the X-Men franchise. Every scene of this haphazardly plotted film bursts with more computer generated imagery than the human eye can even absorb. Each display vies for the viewer's attention as effect is heaped upon effect.
One exhibition competes with the next for space within the frame. There is little relief from the uninterrupted excess. The crowded extravaganza is so staggeringly overindulgent, it's vulgar. I've played with kaleidoscopes that had a more coherent narrative. Meanwhile Johnny Depp minces with abandon as the Mad Hatter, lisping all the while in another fey performance so cloying it inspired me to brush my teeth afterward for fear I might get cavities. Helena Bonham Carter, so wonderful as the Red Queen in the last film, bickers with her sister to the point of annoyance.
Her decades old hate for her sibling, the White Queen Anne Hathaway , revealed as having originated as a lie to the question "Who ate these tarts? Alice Through The Looking Glass is stridently obscene in its desire to distract and confuse. The production is focused on satiating the basest component of visual desire and nothing more.
The Meddler subverts expectations. As the narrative begins to play out, I kept anticipating that Marnie would become the butt of the joke, but she never does. Usually relegated as a background character, Susan Sarandon's role is reminiscent of a sitcom trope I call "overbearing mom to celebrity comedian". Yet she is not banished to the background of the story, she IS the story. The plot is lovingly constructed around her saga. She is sweetly sympathetic. She behaves like a caring mom, if perhaps a bit suffocating. If nothing else, the drama is a suitable showcase for the veteran performer.
It's nice to see that in , great actresses of a certain age can still excel in indie films amidst all the FX and explosions of blockbuster Hollywood. This has been a recent trend. Sally Field and Helen Mirren have also scored this year with indie hits. Susan Sarandon's achievement is more than enough reason to enjoy The Meddler. The Nice Guys is at heart, a simple B-movie thriller dressed up as a period piece. The feature is a loving evocation of s excess. Need to know how to enable JavaScript?
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