While Noah might be Darren Aranofsky's most uneven and inconsistent film, I certainly don't think all the vitriol aimed against it is warranted. I believe Noah is rich thematically and there's plenty here to dissect and discuss, even if Aranofsky doesn't deliver his themes in a subtle way (this seems to surprise people. Aranofsky has never been a subtle filmmaker and I'm not sure why it's suddenly become a problem).
The Raid 2 certainly raises the bar for hyperkinetic action and the amount of what-the-fuck-how-did-they-do-that shots, but I feel that by taking away the clarity and straightforwardness of the first film, this sequel loses some of its predecessor's oomph. It's not convoluted or anything, but the film just doesn't live up to the crime saga ambitions that it aims for. However, I still respect Evans for trying something different with the second film and, like I said, the action is very much worth your money.
During 2012, there was more than one instance of a renowned film critic declaring the death of cinema. But I think it’s safe to say that while Quentin Tarantino is making films as great as Django Unchained, we can dispose of any such notion. There’s a lot to say about Tarantino’s epic dissection of slavery, but simply put, Django Unchained is cinema through and through.
To not put it simply, with this film, Tarantino cements his position as modern cinema’s…
I like CHRONICLE, I really do. But I bet had it not been done in the found footage format, I would have loved it. It's an original superhero story mashed with CARRIE and with just the right amount of Amblin spirit mixed in. And the gimmicky aesthetic just damn near ruins it. I'll give director Josh Trank some credit for cleverly going around the limitations of the format, especially in the end, but all that effort just begs the question…