Relentlessly stressful, but very beautiful, Gravity is a simple and very human story. It's got near-future sci-fi trappings, but it's really just a story about people in a crisis. You could see it as an allegory for anything from overcoming depression to bootstrapping your own tech start-up. It's such a universal story, you could apply it successfully to any stressful challenge.
The cinematographer is the same guy that made The Tree of Life moderately watchable, despite the vapid content. With…
This film has some of the laziest and most awkard exposition scenes I've seen outside of 80s porn. After the first half hour, I realised I could ease my pain by substituting the word "Macguffin" wherever appropriate. Try it, it's fun.
There's too much wrong with The Dark Knight Rises to even begin, so I'm going to spin this review to list the positives:
1) Catwoman was not just an out-and-out villain. There's complexity in her characterisation, if not too…
The thinking man's horror movie? This is a clever take on an old formula, and is the first film to approach the cleverness of the inimitable Scream.
I saw CITW a few months back, and immediately decided I'd be watching it again soon. It's just as good the second time around, but I picked up a bunch more of the "meta" dialogue.
Definitely watch this one with friends. They'll see things you don't, and vice-versa. I kind of want to…
Great soundtrack. Stone Roses/Primal Scream/The Doors/etc. Very nostalgic.
Very shouty in the last half hour.
The same team brought us Hot Fuzz and Shaun of the dead. Both of those are far more worthy of your time.
This is basically a British Superbad with fewer subplots, and the plot from Bad Taste jammed in. Both of those are far more worthy of your time.
Easily the best of this trilogy. The other two films were increasingly flawed and overlong, with broken narrative promises and offensive assaults on my suspension of disbelief.
Batman Begins is as solid and coherent as a superhero movie can be. It packs an unbelievable amount of story in with near perfect pacing, and solidly sets up the next two movies while still being complete in itself. An astounding work of art.
A staggering work of genius from the Coen brothers. Every image, every frame and every word is crafted to perfection. On the surface, this is a gloriously tense thriller with nods to films like The Terminator, but if you dig a little, there's a subliminal allegory in every moment.
You can enjoy it without thinking about it, and the beautiful land- and sound-scapes are hauntingly beautiful. Javier Bardem is breathtaking as the cold-as-ice, bat-shit-insane killer. Tommy Lee Jones' small-town lawman…
I watched the so-called Director's cut, but I suspect that Sir Pete didn't actually cut anything from this version. It's SOOO long. I love that the trilogy exists and is of such stunning quality, but I really have a hard time watching this episode. It's truly a labour of love.
After the third hour of high tension, I just needed a rest. I started screaming at the screen "End it! End it! End it! End it! End it! End it!…
A good performance by Cate Blanchett, as you've probably heard. I always find Alec Baldwin slightly unnerving. I'm not sure why. He doesn't seem real, somehow.
The many flashback sequences are handled in a slightly unconventional way, which I found jarring until I settled into the style.
Other than that, this is a pretty straight- forward retelling of A Streetcar Named Desire, with a few Woody Allen flourishes, including one or two awkward ad-libs that should have been re-shot.
If you enjoy the spectacle of beautiful, vapid socialites becoming mentally unhinged, watching this film is classier than many of your other options.
I love Paris, and this film made me very nostalgic for the city. A subtext of the story is that simply strolling around a lively city at night with no purpose will expose you to new and exciting experiences. I find that idea very compelling and romantic.
There is a strong fantasy element to the film, and even some low-key time-travelling (although it's not explored deeply enough to excite sci-fi fans), but the film is overall closer in pitch to…
This film is 2 hours and 20 minutes of slow-paced wank. Terrence Malick should be compelled to provide lube.
It would be unfair to say that this film is not art. However, I feel totally justified in saying that it's bad art. It's the film equivalent of those framed pictures you see in flea markets, with whales rising under a sunbeam or a huge wave breaking over a lighthouse. Stunning visuals, rich colours, no artistic integrity at all.