The stars are mostly for the spectacular first 20 minutes, which boils down most of my favourite things about Argento's films to the barest essentials. The movie ends reasonably well, too, but there's a whole lot of nothing inbetween.
The change to a piano score from electronica hurts it pretty badly, because there's a lot of scenes here which could have been fantastic with the right music.
I wish he'd made a movie with literally zero dialogue. All atmosphere. No plot, no nothing.
From the reaction of others, including critics and award groups, it seems this film succeeds fairly well at what it's attempting. Unfortunately I have no interest whatsoever in what it's doing. The closest comparison in my mind is A Gun in Each Hand, which I liked even less than this.
Four unbearable men discuss their sex lives while elsewhere four unbearable women do the same. After an hour of that, the groups combine and they talk about nothing at all…
One of the year's very best movies.
David Fincher never gives me exactly what I'm expecting. Here, I wasn't even close. I'm told that while the plot sticks close to the book, the utterly bizarre sense of humour is new for the movie.
It's a tone that turns an insane plot into something truly special. Fincher knew how crazy this story was, and by the time it gets where it's going, it felt like the plot itself was part of…
Look, it's exactly as good as the last one was. What that means depends on who you are.
For my part, while it's one of the biggest special effects spectaculars of the year, it's still an hour too long, and filled with humour that doesn't work and action you can't see.
It's almost incredible how little replacing the lead characters changed the movie. Wahlberg is supposed to be the hero, but he's repetitive and annoying about his daughter the whole…