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  • Kes



    Kes has a very good, cinematic and actually sweet first act with a terrific score in particular, but the rest of the movie quickly succumbed to boring, bland and forgettable coming-of-age storytelling with long stretches of sequences which don’t go anywhere and grind the movie to a halt how boring they are. It’s thus another overrated Ken Loach movie that constantly had me wondering – Is this really supposed to be one of Britain’s finest?

  • Suddenly, Last Summer

    Suddenly, Last Summer


    Suddenly, Last Summer surely is sensational and pretty dated in its pretentious psychology, but it’s still an underrated, very intriguing and constantly engaging movie which deals with some very provocative themes for this time period. The mystery is fascinating, the dialogue is tremendous and the cast is terrific with Elizabeth Taylor and Katharine Hepburn in particular being the acting standouts. It’s also well directed, well scored and quite suspenseful in its tone.

  • On the Town

    On the Town


    On the Town is extremely slight in terms of storytelling and some songs are weaker than others, but two stand out: You’re Awful and Count on Me. The former is the funniest, most endearing part of the film whereas the latter is the most spectacular in terms of choreography. It’s a musical that benefits from palpable energy, amusingly reversed gender roles and a profusion of charm.

  • Destry Rides Again

    Destry Rides Again


    Destry Rides Again has too many characters, messy pacing and a somewhat familiar storyline, but it ultimately works because it’s so skillfully crafted in most areas. James Stewart is likable in his typically pacifist role and Marlene Dietrich killed it in such an unusual, but ultimately scene-stealing role for her. The flick is a lot of fun thanks to its more comedic and realistic approach with the western genre.

  • Hallelujah



    Hallelujah is a highly important movie in Hollywood’s history for dealing with an all-black perspective and cast. Certainly it may be viewed as stereotypical today, but it was groundbreaking back then and thus it needs to be appreciated more. As for the movie itself, it features an overly melodramatic, even soapy storyline, but the score is terrific, the sound is incredibly polished for its time and King Vidor’s stellar direction was deservedly Oscar-nominated.

  • Don't Change Your Husband

    Don't Change Your Husband


    Don’t Change Your Husband never quite captured the humor and the charm of its opening sequence which was delightful. The film is predictable in its plot, but it still works as the message is sound, the romantic and comedic elements both worked very well and the central Gloria Swanson performance is terrific. It was a welcome contemporary departure for Cecil B. DeMille.

  • Cool World

    Cool World


    Cool World has very good, imaginative animation. But that’s about it. Everything else here is so bad starting with terrible acting across the board. The characters, especially humans, are so mediocre, the dialogue is weak and the overall story is badly constructed, unoriginal and entertaining, but for all the wrong reasons. It’s the director’s worst film.

  • James and the Giant Peach

    James and the Giant Peach


    James and the Giant Peach has a weaker first act and some overly childish and/or silly sequences, but overall it’s a perfectly solid movie which benefits from the typically whimsy charms of Roald Dahl storytelling and a particularly stellar world building with terrific stop-motion animation.

  • Brightburn



    Yes, watching Brightburn one can never escape the feeling that even more could have been done with this incredibly awesome premise. However, I disagree with the critics that that made the film weak as this is still such a good, very interesting and even sophisticated superhero horror hybrid, and I will take original superhero films like this one in favor of any Marvel or DC film out there. The dialogue is stupendous, some scenes are quite creepy, Elizabeth Banks’ performance is terrific and the movie potently showcases the mother’s conflicted reactions upon the realization that her child is a monster.

  • Rocketman



    Rocketman is certainly infinitely better than Bohemian Rhapsody, there is no question about it. But it’s still not a particularly good movie by any stretch of the imagination. Yes, the third act has some levity to it and it’s technically very well made, but most of the movie felt like a standard biopic about a struggling musician and the majority of the songs bored me a lot. It’s just an over-the-top music video with very little of actual substance to it.

  • Enchanted



    Thanks to beautiful animation, excellent characterization and a perfect mix of old and new in its storytelling, Enchanted is one of the greatest Disney hybrid films that only gets better upon each subsequent viewing. Amy Adams as Giselle was a revelation, and she here delivered one of her career’s finest performances. The references to Disney’s Golden Age are all wonderful. The soundtrack is fantastic with the highlights being very catchy and endearing True Love’s Kiss and scene-stealing That’s How You…

  • Of Human Bondage

    Of Human Bondage


    Of Human Bondage is at its best when dealing with its protagonist and her rocky central relationship. The dialogue is great and Bette Davis is fantastic in this breakout role for her which set the standard for all of the other performances that would follow. But the movie is otherwise dated, overly slow and frankly even dull in its supporting characters who are never as interesting as the main one is.