Pride and Prejudice and Push-up Bras, more like.
While this could have screwed with both the marriage plot and zombie genre in a 'Shaun of the Dead'-manner, it's decidedly half-arsed. It's 'Pride and Prejudice' without the subtlety; it's zombies without the scares.
In cramming in all the zombie stuff, so much of the Austen characterisation is lost. With zombies around, there's no need for Caroline Bingley as a delicious villain, no commentary on the state of marriage, and so apart…
10/30 of Scavenger Hunt 13 – April 2016
Task 10) A film that was a hit before your mother was born.
If I had a time machine, I'd go on a date with Audrey Hepburn. We'll go out on the town. We'll drive to New York, have a quick drink, then go for dinner. I know a wonderful French restaurant on First Avenue. We'll go dancing. When they throw us out of EI Morocco, we'll go to the Village. And at the end of the day, we'll go to Paris.
Science, please, I need this.
Very cool watching Tom Cruise and Robert Duvall together and it's a relief to see Rosamunde Pike's character be capable and human and not fall in to bed with Reacher.
There's a moment where Cruise and a middle aged black gentleman stick it to the man without a word being said and it's perfect. That's scene follows another excellent McQuarrie car chase which is also perfect.
A botox free Liam Neeson is the best Liam Neeson in a movie that avoids being slick, knowing or artificial. His craggy, worn face closes out the last shot and it's because he's earned his exhaustion connecting the dots in this tight crime thriller.
The director goes for restraint and I really enjoy the lowkeyness of his storytelling, it's refreshing.
I rewatch it for the kid Astro's performance, he's perfect.
Some select quotes from the 12 and 8 yr old boys I watched this with:
"reba why did you put this on he's sexist"
"he should be dead"
"his eyebrows aren't on fleek"
"why doesn't he have any emotions"
"this is dumb"
"can we change the channel"
"why won't he die"
"that girl would be a better bond than him"
I'VE TAUGHT THEM WELL.
Full disclosure: I've never been a huge fan of the franchise. So, in a way, I feel more qualified to give an accurate, unbiased assessment of J.J. Abrams' treatment than the die-hard fan.
With that said, THE FORCE AWAKENS, one of the most significant pop culture events of the 21st century, is a colossal disappointment. It's inarguably better than some of the films in the franchise (I'm looking at you, THE PHANTOM MENACE), but I had hoped for more out…
For the majority of its runtime, it's something along the lines of this year's The Measure of a Man, but even starker and even stronger -- much stronger actually (coming from someone who quite likes TMoaM), and no comparisons could do this film justice. For me, Ken Loach's best film since Sweet Sixteen (which I thought was his best film since Kes), and maybe his best film in general. Cried, and cried, and cried my eyes out. No idea what to do with myself right now.
I will admit that Scanners is not without flaws. Stephen Lack (who plays Cameron) has such an intense stare that it gets him through most of the movie unscathed, but once he has a lot of lines to deliver, his performance suffers, especially when pit against Michael Ironside, and when Cameron finds his way to the ConSec building, the cold and biting atmosphere dissolves into a frenzied but boring mess that doesn't straighten itself out until the final duel.
Noam Chomsky talks through the ten social and political principles he believes have enabled the super-rich to preserve and grow their status, while creating a widening gap between everyone else. The format is simple enough, closely focused in on the weathered features of the philosopher, with cutaways to stock images and graphics based on Mark Wagner's Currency Collage art.
There isn't anything sensationalist about how Chomsky calmly talks through the financial institutions stranglehold over private and private sectors and the…
Many people never gave this film a chance because it's about Justin Bieber, another moment of cinebroism by film critics, but here's the secret: this film is hardly about Justin Bieber at all. Instead, Jon M. Chu and the other filmmakers wisely make this film about how Justin Bieber happened. Sound like semantics or a technicality? It's not. This film opens and closes with viral videos and how youtube fostered a meteoric rise for young pop star and the original…