869 Views Share:
Bml93's Film Experiences for 2017: Last Half
Movie list created by Bml93
Sort by: Showing 1-50 of 99
Decade: Rating: List Type:
For horror films that I see during the month of October, check out my "Bml93's Horror Nightmares - October 2017" list.
Zodiac is quite a lot of things. It's a masterful portrayal of actual events, sticking very closely to what actually happened during the investigation of the Zodiac killings. It's also an excellent serial killer film in and of itself. David Fincher skilfully manages to create tension out of the unknown, and despite the fact that we already know that the search for the killer ends up in dead ends, the journey there is made with a great deal of suspense. And finally, it's a wonderful portrayal of obsession and how it can completely change the life of those involved.
Fincher's film is long and it does contain a lot of scenes of people talking to each other, but Fincher manages to make Zodiac feel like way shorter than it actually is and once it ends, it leaves you craving for a lot more. The Zodiac killer is a fascinating study for those of use who are interested in that type of stuff, but Fincher adds so much depth, meaning and tension to it. I think it's ultimately his finest film.
To say that Ratatouille is silly, would be to undercut how ludicrous its premise really is. But to be turned off by that, would be to rob yourself from a very charming piece of animation. Ratatouille may not be the tearjerker that some other Pixar films may claim themselves to be, but Ratatouille is nonetheless a very heartfelt film that manages to combine its simple themes with amusing moments and an emotional core that should resonate with most viewers.
The Emperor's New Groove (2000)
Annabelle: Creation (2017)
Annabelle: Creation is a prequel to a prequel-spin off from The Conjuring franchise. It's a competent horror film. It's far better than its predecessor. Yet it lacks the visual flair and emotional connection that made James Wan's Conujuring films so wonderfully frightening. Not to mention the sense of unpredictability. While being technically well-made and with an effective set-up, Annabelle: Creation suffers from having too predictable scares and a story that goes exactly as you would guess it to.
Your Name. (2016)
It would be easy to pick this film apart if you were to approach it from a logical point of view. The film deals a lot with a far-out elements such a body switching and time travel. This raises a lot of questions and some of it doesn't logically make much sense. But if you approach this film that way, you're robbing yourself out of one of the most complex emotional experiences that have been put to cinema these past years. Your Name is a triumph in emotional and visual storytelling.
This is a film that truly needs to be experienced. It's beautifully told through amazing animation and the characters are richly explored. It's constantly touching, consistently funny and charming, and its love story is certainly going to evoke tears and moments of cheering. Aside from it at times being to reliant on the use of Japanese pop songs, I don't have too many issues with this film. It's a beautiful and playful romance that strikes the heart in full force.
I've seen Cars about three or four times now since it came out. Every time I watch it I find myself more and more impressed by how visually stunning it is. It almost reaches levels of photo realism, which is rather impressive for an animated film back in 2006. The visual spectacle that Cars delivers is top-notch and the sense of speed and adrenaline is absolutely present.
Cars struggles a lot more when it comes to story and characters. There are no surprises here and everything plays out like a wide-open book. Young children will quite possibly be emotionally touched by the sentimentality in it, but it doesn't quite work for me. I also find the main protagonist to be slightly obnoxious. I wouldn't say that it's as horrible as some people claim it is, but it's far from what Pixar can do on a story and emotional level.
The Circle (2017)
You know, there's a great film somewhere in The Circle. You can take this premise and do something really interesting with it. Not to mention something really horrifying. Now, you'd run the risk of turning this film in to a typical "technology and large corporations are evil" sci fi flick, but with a competent filmmaker that would be decent enough. The problem here is that The Circle is essentially about nothing. I do, in general, like to just let my eyes rest on Emma Watson (so therefore I don't hate this film), but this is really a film in which nothing really happens and characters to stuff just because.
47 Meters Down (2017)
47 Meters Down manages to do a lot with a very simple, yet equally terrifying premise. It's in many ways marketed as a killer shark film, but for the most part, the sharks takes the back seat of this film. Only to appear when the suspense is at its highest. Instead much of the tension in 47 Meters Down is built around limited air supply, loss of radio signal, limited space to move and decompression sickness. Director Johannes Roberts manages to do a lot with this, and there are several scenes that are nail-bitingly tense with the sharks being well-used whenever they appear. They are used in some sort of jump-scare way, but instead of it feeling cheap, the scares are well-earned due to how Roberts have built up the tension beforehand.
The characters of the film are somewhat annoying, and I do think that they talk way too much and sometimes of things that they really shouldn't be talking about, given their circumstances. Yet, that's only a minor nitpick in what's a gorgeously looking and tense underwater thriller.
Get Out (2017)
Get Out is first and foremost a well-made film. Jordan Peele have skilfully managed to craft a film that continuously builds up the suspense and mystique while giving away slight clues at the same time. The comedic touches are also well placed and work beautifully. There's also some social commentary on racism here, that might be a bit too much at times, but it works fine within the film.
It's a film that improves on repeated viewings. The fine-tuned craftsmanship behind this film is given a proper chance to shine on a second watch. The excellence of Get Out is portrayed in how Peele manages to use the camera and sound in order to combine several genres and thoughtful commentary. The ending does perhaps get a bit too silly, but Get Out is very well-made and well-worth another watch if you've already seen it.
Pottersville is bizarre. It's not uncommon that famous "tough guy" actors take on roles in weird, good-hearted family films. Yet there's something rather odd about seeing Michael Shannon in this. Anyways. This is just weird. Shannon running around in a Bigfoot costume and Ron Perlman as a furry. It's somewhat funny, but more often than not it's just weird.
After leaving the cinema for the first time after seeing The Last Jedi, I felt slightly underwhelmed. So upon hearing that a lot of people seemed to like it a lot more after a second viewing, I decided to go watch it again. It didn't help. The Last Jedi is an okay film. There are several good moments in it and it does some interesting things with Luke and Kylo Ren, yet the overall experience is brought down by a huge number of glaring flaws.
The most obvious one is that the film doesn't seem to know what to do with several characters. Finn, Rose, Poe and even Leia feels completely superfluous to the overall story. The main meat of this Star Wars film lies in the exploration of Rey and Kylo Ren's relationship, as well as our reunion with Luke Skywalker. Writer/director Rian Johnsen does a few interesting things here and he does a good job in subverting our expectations when it comes to them.
Yet the film constantly distracts from that because they have to go to whatever Finn and Poe is doing. Their storyline is boring and repetitive with plot holes and illogical character decisions. It also ultimately means nothing. Particularly Finn's subplot is atrocious, with him and Rose's visit to Canto Bight being reminiscent of the very worst from the prequels. This is a shame, as Finn was one of the more interesting things with The Force Awakens.
I like that The Last Jedi more or less spits in the face of those who've spent countless number of hours trying to make up weird theories in regards to certain characters back stories and so on. I appreciate that the film dares to go in another direction than what the fans wants them to do. This specifically with Luke Skywalker and Snoke. Snoke's death was extremely satisfying and it served the character development of Kylo Ren well. It was also nice to not get another Darth Sidious. Luke's death, on the other hand,
falls in the same trap as Han Solo's death from The Force Awakens, in the way that it fails to provoke the emotional reaction it should have. Instead it just passes as a thing that happened.
It does look very good. The visuals are nice, the music is wonderful and some of the action is spectacular. The porgs are cute. Overall, it's fine. It's somewhat interesting. But it should have been much better.
After the prequels trilogy, it was clearly important to bring Star Wars back to what it was. Just to kind of remind us of why we love Star Wars, and in doing so, J.J. Abrams have essentially remade A New Hope, at least if you look at the biggest brushes. Which is not necessarily a bad thing as it sort of let them put the biggest focus on the characters, new and old.
Because the thing that The Force Awakens really gets right is its characters. Not only is Harrison Ford really bringing it home as Han Solo, but every new member of the franchise is great. I absolutely adore Rey (is there anyone out there who doesn't have a crush on Daisy Ridley now?), and I think that her chemistry between Finn is amazing. They're instantly likeable, funny, charismatic and relateable. When things happen to them, you feel real emotion. So it manages to capture the essence of Star Wars. Fun and emotionally engaging characters in a massive space adventure.
I've also grown warm to Kylo Ren as the villain. He represents some sort of a change from what we usually see from most of your typical villains, and manages to distinguish himself enough from just being a Darth Vader clone.
Besides the characters, the film looks and sounds awesome. The visuals effects are amazing, and I love the fact that they've gone back to the visual style of the originals. The action is great, the pacing is fast and there's never a dull moment. It's also very funny. Probably the funniest Star Wars we've had. I was surprised by how many of the jokes actually landed. BB-8 in particular is comedic gold.
The Force Awakens is of course flawed. It does mimic a few too many plot points from the original trilogy for it to be put on the same shelf as the original three, and there's one very important scene that I feel could have been handled a lot better. One that didn't strike me with as much emotion as it should have done. There's also a scene in the middle that feels slightly out of place. But besides that, Star Wars is truly back. There are several other positive things I could (and should) have mentioned, but I'll settle on this. It did exactly what it should do, and because of that, it's great.
Rogue One: A Star Wars Story (2016)
Rogue One feels like fan fiction. For better and worse. It's different from the rest of the franchise as its tone is very reminiscent of a gritty war film, yet at the same time it's all too similar in that it puts in a lot of familiar elements, characters and unnecessary references. That's not to say that it isn't entertaining. Because it is. The action sequences in this film are spectacular and the last act is thoroughly entertaining. The visuals are spectacular and the music is wonderful.
The biggest flaw of the film is however the characters. Aside from Felicity Jones, who I think delivers a hardcore performance as a very nuanced character, none of the other characters manages to stick out and are instead reduced to superficial elements that'll have you to only recognize who they are. But nothing beyond that. Ben Mendelsohn puts in a solid performance as the bad guy, but he feels under-utilized. The plot of the Star Wars films have always been very simple and straight-forward. This is also the case with Rogue One. The plot is simple and fan- fiction-y, and there are no overall themes and ideas in it that manages to stick around once the film ends. So it needs the characters and action for it to be able to work. The action is top-notch, the characters ain't unfortunately.
That being said, I think Rogue One is totally fine. It's not as good as I would have hoped it to be, but it's certainly not a bad film either. It's solid. It's a solid entry in to the Star Wars franchise and it's a solid war film on its own. There's a bit too much fan service and reliance on nostalgia for it to reach greatness and the characters ain't properly developed. But in the end, it's very entertaining.
So Spotlight is pretty powerful stuff. Not only because of the source material and what it's all about, but because the film has been made in such a way that the emotional destruction that lies underneath the investigation and all the scandals is given a way to rise in front and center. Thus Spotlight becomes a very involving film and by the end of it, you're left just as exhausted as the characters in the film.
Spotlight is just an outstanding drama. It's wonderfully put together with terrific performances all around, and an example of good old cinema at its best.
Paddington 2 (2017)
This is one of the loveliest films I've seen in quite a while. Gorgeously charming and extremely cute, Paddington 2 is a blessing when it comes to family entertainment. The previous film was a surprising hit for me, but the sequel is even better. It's at times hilarious. The humor works almost every time. Striking the perfect balance between being accessible for kids, yet also being funny for adults. It also nails the emotion. This is one of the most heartfelt films of 2017.
The Girl on the Train (2016)
This is a film in which nothing really happens. It's presented as a "whodunnit" type of story, but at the same time it tries to delve into three various women and slowly unfold their complex personality. The key word here is "tries". It doesn't succeed at it, and the "whodunnit" aspect takes pretty much all the space. I will not say that the film never surprised me, as there is one twist in it that works pretty well. The problem is however that when you have a supposed murder mystery, you need to have a huge range of potential suspect. Otherwise, through the law of the economy of characters, you'll know who the murderer is quite quickly. Spoiling the surprise.
It's not that it's horrible. It's just meh. Emily Blunt delivers a really good performance, and you do really feel for her at times. But other than that, there not too much celebrate here.
Simple Simon (2010)
It's a Swedish romantic comedy involving some guy with Asperger's that is trying to fix a date for his brother, so that he himself can have order in his life. It's pretty much just as funny and engaging that you can imagine it to be. There's not too much to say about it really. It's inoffensive, harmless and emotionally stimulating fun. Well worth a watch if you can get a hold of a copy.
The Simpsons Movie (2007)
It's been a while since I last saw this film, and I haven't really seen any episodes of The Simpsons in quite some time either. I've never been on the bandwagon that the show have turned terrible, as I think it's always been hit-and-miss with its episodes. With humor ranging from brilliant to awkward.
That being said, I think that The Simpsons Movie is fast-paced, lighthearted and amusing all the way through. It's consistently entertaining and funny with sprinkles of emotion every now and then. You could say that it's essentially just a three times as long TV episode, but I think that's to cut short the achievement they made with this film. It's funny and it got its heart in the right place.
Human Trafficking (2005)
I was a bit unsure if I was going to include here, or if I was going to toss in to my TV series ranking list. After all it's supposedly a 4-part mini series (all though the DVD I saw was split into two parts only.) But seeing as I decided to watch it uninterrupted in one sitting, I'm counting it as one long film.
As for the quality of the film itself, it's mostly fine. The restrictions of it obviously having a TV-budget does occur in quite a few scenes, mostly when they try to increase the action and tension, but the film does a good job in showing the pain and destruction of human trafficking, as well as showcasing the huge range of it. The film does perhaps have too many characters, in which some of them ain't explored enough to justify their presence, but for the most of the time, it does deliver on the emotion for it to warrant a viewing.
Black Christmas (2006)
Black Christmas is an ugly and incompetent that fails miserably at whatever it was attempting to do. The tone is all over the place with very little holding anything together. It manages to simultaneously over-explain everything while also being a confusing mess. The characters are all over the place, the gore is violent, but not engaging or horrifying. It's awful all around.
Detective Downs is another Norwegian film that doesn't quite manage to live up to its potential. Being one of, probably, few films to feature a man with down syndrome as the main lead in a film noir detective comedy. The film manages to walk a very thin line between ridiculing the lead actor having down syndrome and embracing his difference with love and affection. In doing so, they have created a film with a few humorous and heartfelt moments without ever becoming nasty. The problem with the film lies however with the story. It's not very interesting, nor does it give the lead too many opportunities to properly shine. What should have become an unforgettable film becomes too mundane and easily forgotten.
We need more films like Krampus. A slightly children-oriented holiday themed horror film, that manages to perfectly combine humor with horror, without becoming too goofy or without feeling the need to pander to nostalgia or anything similar. It's a wonderful film with great sound and set design, as well as neatly-looking practical creatures. The design of Krampus is delightful and I love that he's sparsely used. The film is clever in its setup and while it doesn't really surprise me in the end, I'm happy to see that the film is consistently loyal to its own tone throughout the entire film.
This had the potential to be absolutely brilliant. Yet, the title only delivers broken promises. Aside for a few minutes, the only think that Jason takes is a boat, a dock and a sewer. Too much of the film takes place on a boat, in which we only get dull characters and lacklustre kills. There's nothing good or trashy about it. It's just boring. The scene with Jason on the streets of Manhattan is beautiful, but it's only a reminder of what could've been. Which render this part in the Friday the 13th franchise as unforgivable.
Dracula is not as good as my memory or its reputation would lead you to believe. For that, it's way too uneven. Even for its time. The first 30 minutes are however excellent. Brilliantly atmospheric with an underlying terror with great sets and memorable dialogue. Bela Lugosi makes the title character his own. He's menacing and charismatic, as well as suitably weird as Dracula. The lingering shots of Lugosi staring and stalking his prey are excellent for this film.
Yet, the film starts to fall slightly apart once Dracula arrives London. It becomes monotonous and repetitive. There are far too many scenes of characters either standing or sitting around to talk about the plot or explain vampire mythology. All of this leading up to an anti climatic ending. It's not particularly exciting or interesting, and it loses the atmosphere that the first act so brilliantly created. Lugosi takes a sudden backseat and the screen is instead filled with too many uninteresting characters, as well as some unnecessary comedic relief. It doesn't really help that the film is really showing how outdated it is when you can almost see the strings on the bats that shows up way too often.
Dracula is very much a result of its time. There are parts that works really well, even to this date, but there are too much of it that has aged horribly.
Norwegian film aimed at children. It does have its heart in the right place and I'm sure that young children will be won over by the emotion the film attempts to manipulate. It does not work on me though. The main protagonist is not very likeable and the acting is overall subpar. The story is lazily constructed with beats and turns that are predicted from the very beginning. The dialogue is weak and the editing is at times bizarre. It's a weak effort.
Morgan is fine enough for you to waste 90 minutes on Sunday night, but it does ultimately feel like a compilation of much better films, in which the depth from those films have been lost in the mix. It does have ideas and themes, but it never dares to venture into exploring them - instead opting for mediocre action.
The Bye Bye Man (2017)
The Bye Bye Man is one of the worst and most incompetent major theatrical releases in a few years. It's a truly horrible and awful film with next to none redeemable qualities. Which is why it's also a little jewel of a film. This is "so bad it's good" material, with the last 30 minutes going absolute bonkers of awfulness. It's a film where nothing makes any sense. The acting is atrocious. The plot holes are a gigantic. The film is full of exposition, yet it only makes you even more confused. The CGI is terrible and scenes that are supposed to be tense and scary turns out to be comedic instead. The first hour is mostly boring, with a few laughable moments sprinkled here and then, but I suggest that everyone watches this for the last 30 minutes alone. It nearly made my brain explode.
Groundhog Day (1993)
It's a plethora of fun, while also having the heart and emotion to make me care more than to just laugh at a few amusing gags and jokes. It also cleverly uses its gimmick in a way to properly develop the character, and it never gets in the way of the character development which later films that have used this gimmick tends to do.
The Truman Show (1998)
I've never been the biggest fan of Jim Carrey. He's at times too goofy for my own personal taste, which is why I very rarely watch his comedies. I do however like him a lot in The Truman Show, despite him occasionally leaning a bit too much on his rubber face. In this film he gives us a very poignant and emotional performance that carries us through this film's thoughtful themes. There are no surprises here, but The Truman Show is a fascinating watch.
Justice League (2017)
Justice League does have enough cool and fun moments sprinkled out through its two hour long run time for it to be an entertaining film, but overall, Justice League is a disappointing entry in the DCEU.
It's strength lies in the characters. The chemistry between them works, and despite some of them not being as developed as they should have been, the characters work. Particularly Gal Gadot and Ben Affleck have some great moments, while Ezra Miller and Jason Momoa offers some comedic relief. Actors like Amber Heard, Amy Adams, Diane Lane and J.K. Simmons are more or less wasted though.
Justice League is however brought down by ugly visuals and awful CGI. It does actually look unfinished at times. There's also occasionally some sort of tonal crash, this most likely due to parts of the film being reshot following Zack Snyder's departure and Joss Whedon finishing the film. While Whedon's influence shines through in some of the better scenes, it also makes the film tonally inconsistent. It goes from somewhat dark to goofy in a finger snap.
The plot is ridiculously simple and forgettable, with Steppenwolf being a contender for one of the worst villains in superhero history. The action is something taken straight out of a video game and everything is quite simply a mess. Yet, it's enjoyable for what it is. But it should be better.
Big Fish (2004)
The father-son dynamic of Big Fish is so beautifully explored through Burton's visuals, and the imagination and playfulness of the story. It's a film with a lot of depth, warmth, emotion, charm and humor. It's in my eyes Burton's absolute finest film and it's one of those films that have inspired me the most throughout my life. It's a magical wonder of fantasy and love. A film that pulls on your heartstrings. It's a storyteller's wet dream.
The Sound of Music (1965)
So I finally sat down with my girlfriend to watch this classic. It was an overall rather cozy experience. The film is very charming with likable characters performing catchy songs. The only real issue I have with it is that it's way too long and that the last act feels unnecessary, and even tonally wrong compared to the rest of the film.
The best thing about The New Blood is that it introduces us to Kane Hodder as Jason. He fully embodies the role and its a blast to watch him whenever he gets the opportunity to shine. This includes what's probably the finest kill of the series. Aside from that, there's nothing that really makes this installment stick out from the rest. The telekinesis aspect of the film is more annoying than interesting, as I've never been much of a fan of those kind of powers in horror films like this.
Even if Seven ain't my favorite serial killer thriller from David Fincher, it's still a perfect film. A wonderfully moody and gloomy thriller that immediately set the standard for this genre. It gives us an engaging mystery, well-developed characters, terrific cinematography and a whole lot of tension. There's a chase sequence somewhere in the middle that is nail-bitingly good. All of this leading up to its haunting finale.
It has a social commentary on moral and ethics that's actually a bit terrifying when you give it some thought. Seven is a film with a lot of depth to it. Making it more or less a timeless classic.
Murder on the Orient Express (2017)
Going in to a murder mystery while already knowing who the murderer is, is not exactly the most optimal way to experience the film. Yet the solution to what's probably Agatha Christie's masterpiece is so well-known and famous. Not only through her novel, but also through other adaptations, like Sidney Lumet's version from 1974. So I'll assume that most people already know what's to come, and I do believe that director Kenneth Branagh is well-aware of this. This means that Murder on the Orient Express should dazzle us on the journey, as we already know the destination.
Sadly, despite Branagh's best efforts, this film is a mixed bag. It's well-shot with an all-star cast doing the best with the little they're given, but there's quite simply nothing in it to wow us. It's all a big shoulder shrug. Branagh does his best as the detective and he has certainly nailed the mustache, yet he fails to get us involved in to the mystery. The film does a poor job of letting us in and giving us clues to figure it out for ourselves. We never see how Poirot comes up with the answers. We're never a part of his journey. We only find out about things whenever he showcases his brilliance in expository monologues. In a murder mystery, the audience should be given the opportunity to solve the murder alongside the protagonist. This adaptation of Murder on the Orient Express doesn't give us that opportunity, creating a distance between us and the characters on the screen. Add in the factor that we already know the ending and you'll end up with a less than satisfying film experience.
It takes on a full comical approach. In nature, it's almost like a spoof. It's a dumb film, and it's fully aware of that. From a ridiculous resurrection of Jason and all the way til the silly last act. It's all extremely goofy. Not that the Friday the 13th films haven't been before, or after, but its definitively taken up a notch in Jason Lives. This does provide us with a few chuckle-inducing moments here and then, and a zombiefied Jason is a lot of fun. The problem is that very few of the kills are worth remembering, the characters are more annoying than usually (and I'm really not digging Tommy Jarvis) and the comedic elements distracts more than they amuse.
It does try to take the franchise in a new direction after the supposed final chapter, but it does so in a why that completely lacks the entertainment value of some of the other films in this franchise. That Jason is revealed to not be the killer is not even that much of an issue. It goes for the more mysterious feel that the original had, with the killer barely being shown and thus the kills themselves being very uncreative. The problem is that the film lacks tension for this to work and it quickly turns in to a boring and lackluster film with substandard kills. There's a great scene involving some nudity, but A New Beginning lacks everything that makes a film like this enjoyable.
My girlfriend really likes Winnie the Pooh, so it's a treat to watch one of the films with her. She gets so adorable while watching it. The film itself is short and sweet. It's not as funny as I thought it would be, but it's so harmless and its heart is in the right place, that I can't really see why anyone would dislike it.
Thor: Ragnarok (2017)
Thor: Ragnarok is quite possibly the funniest Marvel film to date. Helmed by What We Do in the Shadows director, Taika Waititi, the humor takes the front seat of this third installment in Thor's own franchise. This does not however mean that Thor: Ragnarok has nothing else to offer. Everything else that we've come to expect from Marvel in form of visuals and spectacle is still very much present here. It's colorful, frisk and energetic. The pacing is on point and the action is constantly engaging without it ever dragging on too long.
One of the major flaws in most of Marvel's films have been that the villains haven't lived up to the same quality that the rest of the films have been on. To put it simply, they've been poor and forgettable. In Thor: Ragnarok we get Cate Blanchett as the Goddess of Death. She's quite simply wonderful and is easily amongst the best villains in the MCU. The rest of the characters in the film are also well-done, and there are quite a few amusing supporting characters. I must say that I was a bit underwhelmed by Hulk in this film, all though he did have his moments.
Thor: Ragnarok plays more like a comedy than anything else, but it does so without forgetting to bring the action, spectacle, charming characters and an effective emotional core.
Blade Runner 2049 (2017)
Denis Villeneuve's Blade Runner 2049 is everything that I wish Ridley Scott's original Blade Runner was, and it definitively lands on my list of one of the best sequels ever made. It does almost everything right. It takes everything that was great about the original and expands upon it. The film is just as visually gorgeous, probably even more so. The characters are wonderfully created, with particularly Ryan Gosling having a very intriguing arc throughout the film. The film shares some of the same themes as the original, but it manages to explore them in much more gripping matter while also bringing in plenty ideas of it own. It manages to be emotionally engaging throughout the entire running time, and despite it almost being stretched out to three hours, I was never bored with it.
Aside from it being visually exciting, clever, thematically rich and emotionally investing, Blade Runner 2049 offers us a damned good detective story. A little gripe that I have with many of these films is that there's very little investigation and actual detective work. In this film, Ryan Gosling is a freaking detective and it's exciting as hell.
However, if there's one thing in this film that I could have done without, it's that it occasionally uses a flashback voice-over to highlight and make certain things clearer. It's probably useful for some viewers, but I feel that those who are already in to this film, would pick up that information without the flashback. This is however just a minor annoyance, and nothing that occurs too frequently for it to drag from the experience of watching such a rich film.
It's slow and long. It does take its time. Yet, when the credits appeared, I felt utterly rewarded for my patience. It's a great experience. It's an outstanding film. It should be seen on the big screen and it should be celebrated.
Blade Runner (1982)
Aside from some outdated technological equipment, Blade Runner holds up extraordinarily well in the visual department. It looks gorgeous. The special effects, art direction and cinematography that have been used in order to build this dystopian sci-fi world is quite simply top-noth. So is the music from Vangelis. Which is why it's such a shame that, aside from on a technical level, I can't appreciate Blade Runner.
It's a film that heavily deals with visual immersion and themes, more than action and suspense. Which I'm totally fine with. The problem is that besides admiration of the visuals, I don't care about anything else and to be very simplistic, I find the film to be boring. This has nothing to do with me lacking the attention for a film like this, as I've seen and enjoyed plenty of films that moves much slower than Blade Runner. The problem is that I don't find the story or its themes emotionally gripping, and thus, I'm left with very little.
The Terminal (2004)
You know, I have to say that I was rather surprised that this film doesn't have lot more positive responses than it currently has. I mean, it's barely fresh on Rotten Tomatoes. I found this to be a genuinely funny and deeply touching film with an emotionally satisfying performance from Tom Hanks. The plot is of course all nonsensical, but realism to a film like this is really not needed when its emotional core is strong enough to carry it. It was a warm and sweet experience to watch this film, and I would happily make myself a hot cup of chocolate and watch it again.
Kingsman: The Golden Circle (2017)
If you liked the previous film, you're definitively going to enjoy this film as well. It's much of the same in terms of over-the-top action, silly humor and an insane villain. So I was pretty much quite entertained throughout the film. Yet, I found myself looking for more. The spectacle is certainly here, and while the action sequences are a bit too reliant on CGI, to the point that they looked a bit too fake, I found them to be fine. The issue is however that the film seems to have lost some of its edge. The edge that made its predecessor so memorable.
This is probably going to be one of the more divisive films in this decade. It's a film that's slightly difficult to talk about without going in to slight spoiler territory, but I do honestly believe that having some idea of what you're getting yourself in to might help. It's most definitively not the home invasion horror film that some the marketing have made it out to be. It's a completely bonkers film for sure, but this is absolutely not for everyone.
The whole film is really, in my interpretation at least (though I fail to see how it can be read any other way), a very obvious biblical allegory for how we treat Earth. One that is filled with symbolism and metaphors. The whole film is exactly that. This is very interesting filmmaking in itself and I salute Aronofsky for his ambitions. I admire filmmakers that dares to take risks with their films. I also admire the cinematography, performances and especially the sound design in this film.
Where the film slightly tips on the wrong edge for me is that once you realize what the film is about, it becomes slightly pointless. The film lacks a final point. Some sort of statement. Knowing what it is also remove me emotionally from the film. The exact moment that I realized that none of the characters in the film was real and that the events that unfolded wasn't real, I honestly stopped caring. There's a scene in which Jennifer Lawrence is brutally beaten up, one that should be hard to watch, yet it failed to get an emotional response from me as I knew that what I was watching was just a metaphor. Nothing real.
mother! is a fascinating watch, even if it doesn't entirely succeed at what it aims to do. For that it's a bit too obvious and emotionally distant.
Mortal Kombat (1995)
Yeah, I don't get it. It's an awful film. Aside from the theme song, there's nothing redeemable here. Adapting a video game like Mortal Kombat doesn't really require much. It's more or less just to toss in a few awesome fights, but this was beyond boring. The fights was lackluster as fuck, while everything surrounding it was just bad. I see that many people are claiming it as some sort guilty pleasure, but I fail to see the entertainment value here. It's just bad.
Incarnate (2016) (2016)
You know, I thought the premise of Incarnate sounded rather promising. Mixing exorcism/possession with Inception. Unfortunately that premise is squandered by an awful script and overall lazy filmmaking. This is a cheaply crafted film that I think no one even barely cared about during developing it. I'm positive that Aaron Eckhart demanded to sit in a wheelchair for the most of the film, as he couldn't even bother with standing up for this film. There's no tension or suspense here. It's a complete flat line for the entire running time. The characters are a waste and every attempt at creating emotion fails. There's quite simply nothing to see here.
The best thing about this new rendition of Stephen King's famous novel is the characters. They are, for the most part, well fleshed out and we're given proper reason to care for them. This makes the horror feel slightly more involving, even though we know that none of the kids are going to die.
So I think that It did a well job when it comes to most of the characters. I do however think that it struggles in the horror department. First and foremost, it's never scary. It looks scary. There is scary imagery in it. But aside from one or two moments, the film never feels scary. The problem is that I feel that the filmmakers have overdone it. They've gone out of their way to make sure that everything looks and sound really scary, but in their effort to do so, it turned the opposite way. The slightly poor CGI overtakes the film so much that the film loses its impact. The most glaring example however is Pennywise himself. He's quite simply not frightening. They should have gone with the "less is more" approach here. When he looks so overly scary, he loses the creepiness that made him so frightening to begin with, and is then reduced to an average horror film monster. One that we've seen a countless number of times.
The 1990's version of It had a real sense of atmosphere and dread. It was never properly scary either, but there was a sense of terror surrounding it that made it so great. This version doesn't capture that. It does a wonderful job with the characters, and it did never get boring because of that. But I never felt the horror. In the end, it's just fine.
Donnie Darko (2002)
I can't state enough how much I love Donnie Darko. It's pretty close to being a perfect film. It's a film that truly understands how to put together a complex mind bender without it feeling too pretentious or without it being complicated for the sake of being so. It's a thoughtful film in which the pieces comes together naturally once you've seen it a couple of times, given it some thought and patience. It's a rewarding film. One that gets better every time.
Yet, Donnie Darko is not all about its mysterious time travel and various universes. It's a film that one can enjoy simply for its atmosphere. Its dark and somber mood balanced with an interesting take on the traditional coming of age story provides for a very reflecting and relaxing film experience, aided by fascinating visuals and a brilliant soundtrack. Donnie Darko is a cult classic for a reason, and it's one of the more treasured films I have in my collection.
Silence is a film that I really admire, yet it is also a film that I didn't particularly like or care for. It's a film that I admire for its technical craftsmanship and for its ambitions. Martin Scorsese does know how to put together a film and the premise for the story he chose to tell is interesting in its own right. It's a long and slow film that deeply explores the questions it raises. It gives you time to reflect on it and it gives you the opportunity to soak it all in. The performances are good, even though I believe that Andrew Garfield is slightly miscast. The cinematography is beautiful. This is a fantastic looking film.
It's a film that raises a lot of question, but it's also a film that doesn't really succeed in making me invest in to answering those questions. In the end, Silence doesn't provide many answers of its own, which is fine, but it leaves me so cold and emotionally distant that I fail to see a reason as to why I should care about it. When the film ended, my initial thought was "well, that's it, I guess." I offered it no extra thought, because it didn't engage me. It was just some thing that I saw and admired, but not something that got me emotionally or thoughtfully engaged in to it.
Load more items (49 more in this list)
People who voted for this also voted for
Marvel Cinematic Universe: Best To Worst
Watched In November 2014
JP's October 2014 Movie Journal
Moviewatcher122's 2015 Film Diary: August
2016: Films I've Watched in January
BAMF's June 2015 Cinejourney
Best Films Seen 2016
2015: SwornShadow's Viewed Films
watched in december 2014
Ricky's Movie Log: July 2016