Just adorable. The kind of earnest, cheap Italian B-movie I love. Perfect award season cleanse.
Natalie Portman’s supernova of a performance almost single-handedly made me not hate this movie (that and the Sia songs).
The themes about the merging of fame and tragedy in popular culture and the perpetual cycle of both are interesting to explore. Unfortunately, that exploration comes across as too shallow to justify the exploitation of the events that transpire, not to mention this feels like something that would have been more transgressive in 2006. Revisiting the shades of Columbine and 9/11…
I felt almost nothing while watching this. Not in the way that something like TRANSFORMERS beats you into submission until you’re numb, but in that the movie has no blood pumping through its veins. Feels like LucasFilm’s only goal after firing Phil Lord and Chris Miller was to not make a good movie, but a merely competent one that manages to avoid that dreadful green splat on Rotten Tomatoes. And it may barely succeed.
The reshoots are felt. Not in…
A perfectly fine diversion. Sound editing the screeches of the car and the gunfire into the music is inspired choices in an otherwise routine "one last job" crime movie. It becomes exhausting by the end (not to mention it feels overlong), but the movie works when it's at its most playful. When the drama kicks in (which holds no weight), it feels tedious.