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.
It's no surprise that Metropolis is still mentioned every time a new haves-vs-have-nots sci-fi film is released, as I feel that Fritz Lang's film still approaches this subject with the most grace, realism and the least naivete, while still retaining a sense of optimism. Lang seems to see the shades of gray, the corruptibility of ideals, how human beings can easily lose sight of what is truly important, and how most processes are guided by individual emotional whims. Lang refuses…
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…