Remember the other day when I mentioned flavorless blockbusters concerned primarily with franchise building? This is the kind of crap I was talking about. Woodley's fine but unspectacular, and remember when Kate Winslet was an exciting actress? Just because you have an Oscar now means it's OK to stop trying.
Not so much powerful on a scene-by-scene basis, more a collection of moments that accumulate power as they build upon each other. A part of me winces at Linklater falling back on the asshole-stepdad thing not once but twice, but that's mostly a personal thing, and I have to admit it's effective here since the film doesn't overplay its hand in these scenes. Simply put, a rare film that gives the feel of life being lived, with so many keys…
This is exactly the kind of movie that seems like it'll be ideal for a Yesterday's Hits-style anthropological assessment in a couple of decades. Those elements that have made this so popular- the wall-to-wall CGI-based spectacle, the four-quadrant-skewing reappropriation of one of the classics of Hollywood cinema- will probably be what makes this look quaint and dated over time. Yet it also promises to be fascinating in a number of ways.
Most noticeably, this might be the first blockbuster I've…
So help me, I've got a soft spot for this one. Granted, as a comedy it's pretty hit and miss, although there are enough bits that work to forgive the ones that don't. But I have more affection for this as a corrective to the recent impulse Hollywood has had to give audiences grim and gritty tellings of the Robin Hood legend. What they invariably overlook is that, when it all comes down to it, Robin Hood is one of…