You lost me at non-binary kicked out of home for being non-binary. No they didn't in the real world. And allowing Nina Dumbham access to children didn't happen either. Wtf is your agent doing to you Alexandria?! Fire them asap.
Woke garbage. Nobody needs this bs. It's not art, it's DEI/feminism disguised as art. It lacks any/all artistic integrity. It's activism, which is the opposite of art.
Didn't even make it for 15 minutes before I got disgusted with it. I simply cannot support anyone or any film that glorifies the support of terrorism or terrorists themselves. The shame is that I love Paul Thomas Anderson's films. I can't think of any that I remotely disliked. This one soured me within minutes on both him, DiCaprio, and Penn. I found Teyana Taylor repulsive and it was unbelievable that anyone found her attractive. Seems like this movie's inception was during the wokest of times. I guess they thought so many people would just fall in line and love it because... Idky, honestly. This is the kind of garbage that got Trump elected in the first place. Romanticized radicalism. The characters are the kind of useful idiots every revolution depends on to do the violent and insipid work of blowing up the things that work in a civilization under the misguided idealism embedded in Marxism. It's live fast, die hard revolution as per Mtv nonsense. These are the first people up against the wall after a revolution is successful. Whatever communists they think they will impress will likely sacrifice them the minute they have dragged down Western Civilization, the very civilization that paved the way for all the rights we currently enjoying and will lose if these idiots win (they won't - they're too dumb and lazy to actually do anything of substance). Might as well have called this Antifa **** Hour.
At the end of the day, this is more about Emily than the case, which is what Emily herself specifically states are not her intentions. God bless her for trying and I think she brings a lot to the table as a podcaster, but not an investigator. I almost get the idea that Emily really hopes there's a murder vs. an accident to serve her podcast's purposes. Shes willing to throw law enforcement under the bust for incompetence with no real motive for anyone to lie. Who benefits from this girl's death? I dont think its worth ruining the reputations of people to investigate a probable accident as a murder with no whiff of any evidence or motive. And who is acting like its a cover-up? I think thats wishful thinking on Emily's part. Not everyone wants to participate in your hobby. And while we can admire Emily's "gumption," these investigations are best left to the experts until or unless there's evidence of incompetence or foul play.
As a documentary on how true crime, while intriguing and informative, can also be just marketing. This is a product built off of murder. Finding the truth is no longer the motivation, or at best, is incidental. THAT is an interesting documentary. Emily is not a sleuth, shes an influencer who found a niche. And Nancy Grace is the worst role model you could pick for anything but show business disguised as investigative journalism.
Phenomenal adaptation. Great casting, true to the book, just a pleasure to watch. I love how it went in lean and just allowed these characters to come alive on their own. Some accent issues, and that Asian kid seemed out of place (loke he should have been in 3s Chicago), but nothing the rest of it didn't make up for in spades. I'd put this up there with one of the best King/Bachman adaptations.
Looked great and the animal actor was great, but the while thing was light on story. The house was haunted? I thought it was a metaphor for the fear of death or something, a shown through the eyes of the dog, but nope. Just haunted. And no back story as to what or why. The movie brought the tension, but no satisfying ending. No point in the end.
Right off the bat there's an argument that shes the victim, because men are never victims and women couldnt be murderers. She was a cold-blooded killer. I dont care about why's, just the justice. She got hat she deserved and the me she killed did not deserve it. If you flip the script and this is a man, there'd be very few apologists.
I dont buy her **** stories. Too fantastical and she seems like the kind of person who brags about that. As soon as they meet you they tell you the worst things that they say happened to them. This person comes off as psychotic, narcissistic, and manipulative. I wouldnt trust a thing she says.
BS propaganda. No he has not. He has been fighting for Hamas a known terrorist group who started the war and hid behind civilians. I hope the Israelis wipe out Hamas. We know they won't keep their promises with regard to the peace deal. Even if they lie about it, they'll be hurling missiles and rockets over the border within a year. Next time I hope the Israelis turn Gaza and the West Bank into parking lots.
So it's a remake of Not Without My Daughter? Pass. Oh and another girl boss action flick? Double pass. Stop this nonsense please. Surely we can come up with original stories that don't just mimic male-led action movies. For that matter, stop making formulaic action movies altogether. That whole genre needs an enema.
Not as bad as I anticipated, and that's a sad state of affairs. This and Superman were the most anticipated movies this summer and honestly, they're both mid. However, it did give me the opportunity to compare the two and, as I suspected after watching Superman, this was slightly better. The plot was more coherent and there were no dumb subplots. It wasn't as wokey doke as I thought it was, barring a few girl boss moments that were more annoying than infuriating. Most of all, I've grown so sick of Pedro Pascal I thought it would ruin the experience and he was the best part of it, imo. He's a good actor. There's a scene when him and Vanessa Kirby are kinda arguing and just the face acting is stellar for him and non-existent for her. She's not a good actress and she already appears to have ruined her face with plastic surgery. I'm guessing that this was all toned down for the final release and we could have had a much woker version, but it was entertaining and visually pretty good (not great, but good). I wish we would have had more time with Galactis(?) as he was the most compelling thing about the movie. Finally, while it was entertaining, it's nothing compared to past Marvel at its peak. I don't think there's much time left for Marvel movies if they're going to be as mid as this. The 50's/60's aesthetic was fun, though.
Also, take out the many shills in this review, and the score would be a lot lower.
I don't know why I watch these techno-thrillers anymore. They're entirely predictable and downright silly with their one-upmanship. Mission Impossible, I'd say, is the pinnacle of these, taking the seat from the Bond series, but again, very predictable, over the top, and, honestly, boring. I can't even remember what happened in the first part of this and worse, didn't want to revisit to prep for this. The movie does just enough recap to push you into another convoluted plot about something I don't really care about anymore. It tries to throw in some heavy scenes (poor Luther), but they just don't resonate. The stunts are amazing, and that's what we're here for now. Not the plot, not the drama (or melodrama), not even the beautiful women (Pom K. is gorgeous, but we don't get enough of her - instead we get Haley A. as the heroine - boring). The plot is just the same formula; end of the world and we have to get this thing to lead us to another thing which will allow us to defeat the thing and win something. I'm not a snob and I like good action, but I need a good plot and the good action needs to support that not be the showcase for it. Previous incarnations had that for me as do other franchises (the Clancy movies, Borne, older Bond - all accomplished this). This is entirely forgettable. I can't even remember what they were fighting for, but it seemed shiny and important. The payoff was a bland, slo-mo scene of yet another supporting actress looking longingly at the hero. It could have been any other supporting actress (hell, I think Cruise is currently dating Ana de Armas who would have been perfect for the role, especially given that she just did same for John Wick to get her own franchise, which, of course, flopped (not your fault, Ana, you were amazing)).
I like Brad Pitt and this looked to be exactly what it was - a typical racing movie. Very shallow story that was boring for the most part, and performances that were almost a parody. It's an update of Days of Thunder without Tom Cruise, or even more importantly, Michael Rooker and Robert Duvall. DOT captured everything that answered the question; why do people like NASCAR? This answers no questions about Formula 1. I still have no idea why people watch this. I did appreciate the racing scenes, which are the star of the movie, but didn't feel I got enough of it. Every time I really got caught up in the race, boom! Another wreck or melodramatic moment crashed in on it. There's just no story here that's worth hearing, no outstanding performances, and even the racing scenes seemed thin despite the run-time. All cards on the table, I've grown weary of action films in general. There's really not much new being done and most of them are just showcases for stunt work (no offense, those folks work hard). I just like a bit more meat on the bone.
There are no heroes in Eddington. I think that is the point - to show the utter ignorance and close-mindedness of our society over the last decade, culminating in 2020 for this movie. There were no winners. We all treated each other like **** and it didn't end all that well. The nastiness has relegated itself to the extremes for the most part and out of sheer fatigue with ourselves, but Eddington encapsulates so many issues with American society. That's what makes this movie so wonderfully messy. I will say that there were a lot of loose ends I wish were resolved in the plot (Emma Stone's character and the weirdo cult she joined, Sgt. Cooke, and the ever-cowardly Antifa,), but we didn't get those resolutions in the real world either. I also don't know if I agree that the Sheriff should have gotten the worst of it. Finally, I hate protesters and I would have honestly liked to have seen them get more of what they deserve - shame. Overall, though, I love Aster's movies and this, while not the best of his few films, is still head and shoulders above a lot of other offerings.
No f-ing way. This guy is a race-baiting ahole looking to cash in on woke and get himself some publicity during his salary negotiations. I'm so glad it blew up in his face and he lost it all. Here he is with his hand out, again, trying to capitalize on his crimes. How he got out of jail is beyond me and just proves his claims of racism are bs, as everyone with eyes figured out quickly. But hey, Netflix saw an opportunity to cash in on it so here we are.
Great doc, mostly because it was told by the members of the band. Always been a fan and this filled in a lot of gaps for me. Little disappointed that the two main guys are basically socialists, even after we've seen how much of a failed idea that is, but as always with DEVO, it seems to come from a good place. The devolution thing is interesting, but I think they're dead wrong. I think it's less devolution than stalled evolution. And what do we do when we've run out of resources and innovation has stalled? We explore. I think they're ignoring the logical next step for humanity and that's setting up franchises throughout the solar system and beyond. Still, the music has always been the best on every level. I loved how intimate they were with some really big names in music too. That is something to be nostalgic about - that connectivity. I feel that that was one of the few things that the music industry did right and have long forgotten it. I love hearing about the early days of MTV. I remember seeing Video Killed the Radio Star live on the channel. My parents had just gotten cable and then they and my little sister all **** to go visit somewhere and I got to stay home alone with MTV and HBO. It was a glorious weekend. Too bad MTV **** the bed so soon and all those good bands and videos got replace with corporate ****. "MTV sunk as low in one year as commercial TV did in 25!" - Jello Biafra.
Schlock remake of a schlock film. The original Red Sonja was a Conan offshoot that didn't really work all that well. Conan had humor amidst the carnage and that was unfortunately absent from the original. This just looks like a slapped together version of a mediocre movie trying to create a female Conan. It can't even manage "so bad it's good."
I get where the writer/director was going with this, but it's lacking something that stops the jokes from landing. They don't really explain why the monkey is even a thing or why the curse happens enough to understand that whole part. That can work really well (show not tell), but this movie needs it. The son is such a drag and I'm not sure why he even cares about his dad given they don't have much contact. That we know there's a curse and the dad is trying to save his son from it, doesn't seem to matter. It's a lot of "comedic" (I don't find it all that funny tbh) splatter, but when there's no depth to the story, it's falls flat for me.
Very thought-provoking sci-fi story. I love how they didn't give us too much detail on how this world came about, but only just enough to understand that this couple wanted a child. Alicia Vikander is amazing. She really does a great job of dividing her time between adult and child. Elizabeth Olsen and Himesh Patel are the perfect, wannabe parent who really do not have any idea what they're getting into, like most first-time parents. The ending hits hard and deep, but ultimately is hopeful.
Predictable and over the top. We have zero idea why this guy is a serial other than he got kissed by a shark. Thw main actress is insufferably bad and mysandrist (she's 35 but looks as though she's already had plastic surgery. The love interest is forgettable. Jai Courtney has some sinister moments but his character lacks depth. The CGI is bad. Not sure why people liked this outside of some dump girl boss rah rah nonsense.
What a heartbreaking film. If you hate sovereign citizens like I do, this will make you even less of a fan. Amazing performances drive this film and though there are no concrete answers or even winners, it sharpens the points that it is often the innocent who pay the dearest price for out ideas of law and power. The sins of the state and the sins of our fathers both compete to put people in early graves with little distinction regardless of the sense of duty that compels action when reason fails.
Paul Blart: Mob Enforcer. Give me a break. I swear these movies are put out by production companies started by movie stars to get a tax break. This looks like the classic geezer teaser.
It's a miss for me. Nothing worked for me. I kept waiting for something to explain this man's strange behavior and it never appeared. It's just an odd, not mystery, not character study, barely a movie at all. I know, people will say I'm just dumb and didn't get it, but I would argue that I routinely watch challenging films. In fact, I enjoy them very much when they actually have something to say. This does not speak to me in any way. Maybe if I were French it would?
Hedlund's performance really holds this all together. It's got a lot of twists and turns and honestly subverted my expectations. Unlike so many trailers, the twists were not exposed and I enjoyed being surprised. The ending is brutal and sweet at the same time, something you don't often see in a Hollywood where some kind of happy ending is mandated. I'll give it props for that, but there were some missteps along the way. However, like any good movie, if you're drawn into the plot, you tend to be more forgiving of them.
Not a fan of Ramy Malik, **** this didn't change my mind. He's odd. Hes odd and it doesnt serve his acting. The Amateur is no exception. I watched the John Savage version from 1981 not long ago and it is superior to this in every way. This almost feels like an apology tory for the CIA. Sorry for all the skullduggery, but we've turned over a new, DEI leaf and its all good now. Any further political.murders will be woke af. Outside of that, it was a mediocre techno thriller, offering nothing new to the genre.
Overall a fun watch, but some things fell flat of better LDAR episodes. The animation, when it was landscapes is gorgeous but the people looked odd and baggy. Maybe thats a style choice, but it takes you out of the story when you see this gorgeous landscape with crude, human characters (the predators were awesome).
Vikings was great, but the Samurai/Ninja was my favorite. The 1943/WWII did not resonate at all. It was too far-fetched and Torres was annoying.
I love Nick Cage and he does not disappoint in The Surfer. Mandy is one of my favorite Nick Cage movie. I'm glad it wasn't a revenge flick or he saves his son, it's a ritual - a right of passage, and I dig that vibe until the end, which was a bit of a let down for me. I would preferred something subtler, but thats not gonna happen in a Nick Cage movie.
I was a fan of the first one and as sequels go, this hit all the right notes to complement the first one and expand on its little universe. Affleck and Berenthal had great chemistry, the action was, while a bit over the top (thats kinda what you get with action movies), still fun and not overbearing. Great plot, imo, and i hope there's a third. Affleck line dancing was worth the price of admission, as was the brotherly bonding.
I really enjoyed this. Not sure why it hasn't gotten better views. For what it is, action/thriller, it had an interesting plot, good production values and I thought both Afleck and Berenthal were great.
100% racism here. How did this even get made. Can you imagine a documentary about how it's far more likely a black person will kill white person than vice versa?
Just mush. From the stupid concept we lt to the lame action to the boring plot. No redeeming qualities. This film has zero personality and no life to it. Even the DEI crap wasn't interesting enough to start a conversation - just a box to tick. God I hope the Fantastic Four is good.
One of the most senseless "activists" takes I've ever "heard." It's one thing to compensate for not having one of your senses, and I applaud all who do, but to push that as a choice and a culture is senseless to me. And wouldn't it serve the institution better to have some who can straddle both worlds? They would be the ideal spokesperson for the university. NOT letting a hearing person be the president of the university is bigotry. Another lesson in how identity politics ruins everything. I bet these are the kind of people who would throw shade on a deaf person who decided to get new surgery to give them hearing.
Everything about Kulu is fantastic and interesting. Truly interesting animals who definitely need to be saved from poaching. The show suffers from too much of his "savior." He comes off as a rich, white person who just couldn't find anything else to do with his life. That would be fine, as he's chosen to champion these animals, but the show all too often veers into his personal story. We don't care about the guy, we want to see Kulu.
How can the studio even distribute this movie after the tragedy? I, personally, don't blame Alec Baldwin, I blame the armorer for even having live rounds on the set for any reason, but that woman dies and no one should profit from it.
Nothing can save this because it doesn't give you enough to root for anyone. We have no idea why these idiots ripped out their vocal chords or who the crappy vampires are (if they're even vampires). No idea why this baby is so important, and no idea why they're the only group in the world doing this. There needs to be an anchor in the plot to tether it to the real world, and Azrael just doesn't give us one.
Like the legend, only the part we know is interesting and the film definitely captures that iconic moment. And with so many well-budgeted historical fictions, especially in the last 5-10 years, we need a parade of poc actors and women wedged in for DEI points.
It's well-filmed and the acting is fine, but you can't help but feel that Westerners can't even have their own history anymore without paying a DEI tax. Tell is an action-adventure make-over, light on any but the minimum of historical accuracy, with an amount of DEI that feels so 2020. Its formulaic and lacking any real statement about the event and why we still remember it.
Bonus crap plot point, a muslim woman giving a battle speech to Swiss rebels. I often wonder if there are dudes watching historical fiction films in non-white countries, **** about all the white dudes who keep showing up in the story at odd places. I feel you, bro.
I wanted to like this more, but it fails on a lot of levels. What saves it is the cast and, in all honestly, Britt Lower. Her unhinged performance is what gives this its little bit of weirdness. Steve Buscemi can do no wrong, but he can be a known quantity. I've come to trust John Magaro in the same way. Nobody else really stands out and the plot itself is flimsy.
This is the twisted fantasy of every Harris voter. She'd get in there and show all the strongue wamans how a strogue black waman would run the country. And just like Harris, it's all a fugazi. At least White House Down was silly, popcorn fun. This is meant to be take seriously and all us dirty old white men should take note.
I went into this with the expectations I have for any music bio pick; low. I was surprised. Timothee did an amazing job. Not just an imitation, which it was and it was a good one, but he captured the rebellious spirit of Dylan not just against the old-guard of America, but also of folk. Ed Norton was great as the "villain" too (I always suspected Pete Seager was a bit of an ahole - turns out he was). The only low spot was Joan Baez. Never been a fan and she always seemed pretty phony, what with her Ivy League origins singing about oppression and whatever, but this Joan didn't even have that. Totally forgettable. In fact, the second best part of the movie is when they sing the duet and he basically lays down why she's out of his picture live. The BEST is him going electric. I've always admired Dylan for that move and his music got better as a result. It takes balls to be the one to break up with what got you famous.
Slow burn, but its got an original yet familiar flavor. Wind River rings a bell as does the most recent True Detective (which ****). There's a dreamy quality throughout the film. Every character seems to be plodding to a kown ending they see but can't escape. The plot is a bit thin, though and I would've liked a little more detail on the whys.
A classier version of Mr. and Mrs. Smith (though I prefer the Amazon show over all three). Both Blanchette and Fassbender shine in what turns out to be a surprisingly romantic couple who actually give a crap about each other... at least as long as neither finds an advantage. Tom Burke is also charming, but Marisa Abella is gorgeous and fun - can't wait to see more of her.
Rockumentaries are pretty formulaic and this one us much of the same. That can be a good thing as most who watch them are fans of the band. While BLZ provides that foundational biographical info, its disappoi ting that we only got to hear part of the story. I love seeing live performances, but I have to say that there is a limit. I dont need every note of a 20 minute jam unless I'm at the concert, and BLZ turned what is normally the crown jewel of a rockumentary into drudgery. I'd rather hear more from the band and not finishing the story just feels disingenuous. Like they're hiding something. There really wasn't much to this that I didn't know. Aside from some found footage and interview with Bonham, the doc lart was little more than audio liner notes. Still waiting for a feature-length and solid doc on LZ in the same vein as the excellent Velvet Underground doc. Still worth a watch for the concert footage and interviews.
Looks like a remake of Jack. Seriously, I feel for kids who have these rare diseases, I truly do. What I'd rather see is this kid talking to people on YouTube or in a doc, not this smarmy money grab of a movie.