Easily the best film directed by Ridley Scott in 2021. Jodie Comer is great and Adam Driver is good as usual in the role that is quite small by his recent standards. Matt Damon and Ben Affleck aren’t as distracting as you’d expect from the two of them wearing weird wigs and make-ups in a period piece, Damon is pretty good even, Affleck is just there.
The film has pretty high production value and narratively it’s amusing despite the fact…
Stunningly gorgeous film with two luminous lead performers. At this moment, it’s not the Wong film I personally connect the most with, but it has so much to offer stylistically that I can enjoy it while searching for that connection.
Interestingly, I think I love Happy Together the most out of all Wong’s films, a film that is quite subtle and restrained in comparison with things like this and Chungking Express and usually not held in the same regard.
Call it Bad Nuns or something.
Seriously speaking I haven’t really gotten into Verhoeven but this was a decent introduction. More entertaining than I expected and the acting is good by the likes of Virginie Efira, Daphne Patakia and Charlotte Rampling.
There is a lot of nudity and it’s obviously all very male gazey. I didn’t really read anything about this before watching, but I knew there had to be some discourse, because this is basically the most male gazey lesbian film since… Blue Is The Warmest Color, which is basically ancient given the cultural change and turmoil since then.
Cute, funny and charming in all its awkwardness. Compared to an average Pixar film, it’s less existential, less universal and more directed at a certain target group, but nevertheless it has some interesting ideas and a big heart. Perhaps a bit heavy on the strict asian parents trope.
There are worse Black Mirror episodes. But, for a full lenght feature film, this is a bit messy and lacks the suspense and style of Ex Machina, film that it obviously reminds. Has its moments, but it never really feels like the story and the way it’s told are going to be super exciting, intriguing or surprising. Miles Teller and Chris Hemsworth are pretty good, but it’s just not the most cohesive project they were blessed with.
Not quite up there with Linklater’s best, but still a very pleasant watch. On paper it’s basically once upon a time in… Houston, but it has so much narration that outside of the certain Mike Mills vibes it almost feels like a documentary. Anyways, a good new entry in the long line of autobiographical films about a director’s childhood in the last ten years.
I find Kenneth Branagh boring. And it doesn’t help that this franchise has mediocre screenplays and underwhelming (cursed) casts.
I like Emma Mackey, but other than that there’s not much to compliment. Decent, harmless entertainment I guess, but Gal Gadot and Armie Hammer are poor and I don’t really understand the thrill of having British-looking British actors playing French or Belgian characters.
Might help if I was heavily into Agatha Christie, but these films feel miscast and uninspired akin to Disney live-action remakes.
Kind of underrated tbh. Between this and The One I Love, Charlie McDowell is becoming a bit of a one-trick pony, but I like that trick.
Maybe I’m not enough of a Hitchcock fanatic to call this out as something unoriginal and underwhelming. Or maybe I just always like these one house, one day films (yes, even Malcolm and Marie to some degree).
I like the people involved. You simply can’t go wrong with Jesse Plemons. And Jason Segel is an underused drama actor. Also, while Lily Collins and her husband McDowell could certainly be described as nepotism babies, they do have some actual talent too.
One of the best sports films in recent years. It’s obviously bit of a traditional, over-the-top, rags to riches fairytale. But what sets it apart from your average sports film is that the games and the players look very real. Because here, they are.
Sports movies are often full of painfully terrible and clumsy looking players who have clearly never played the sport. So having actors who are actually capable of doing those things is a huge strength.
And the…
As a whole, not really Tarantino’s most refined work. But, it’s definitely fun in all its playfulness and has a couple of fantastic scenes and a brilliant ensemble cast. Christoph Waltz is the obvious standout, but the likes of Mélanie Laurent, Daniel Brühl, Brad Pitt, Michael Fassbender and Diane Kruger are all great, as well as unsung heroes such as August Diehl and Denis Ménochet.