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  • Edge of Tomorrow

    Edge of Tomorrow

    ★★★★

    At times a little weak in terms of action, but the concept, though slightly convoluted, is a gas, and Cruise and Blunt are movie stars I can't help but love to watch.

    ps. Still mad at all the dumb people who needed this to be called Live Die Repeat before they gave it a chance.

  • The Sword in the Stone

    The Sword in the Stone

    ★★★★

    Maybe not the out-and-out classic I once believed, but like Pixar's Monsters, Inc, it's easily one of my favorites despite its imperfections. I loved it so much as a kid that, though I have not seen it since the DVD era began in the late '90s, watching it now I could recall how each scene would play out.

    Sure, some of that was due to the repetitiveness of the various "lessons" Merlin bestows upon Wart (almost all of which end…

  • M*A*S*H

    M*A*S*H

    ★★★

    First of all, this movie does a great job of confirming the stereotype that surgeons are a-holes.

    Second, this movie weirdly reminded me of Buffy the Vampire Slayer, in that the TV show version is not only more memorable, but far more effective in getting its message across.

    Third, while I like MASH the show much better than MASH the movie, I have to admit I see this movie's influence all over the place, from The Longest Yard to Stripes, Top Gun, China Beach, and others I can't think of right now. Mostly this feels very modern (for 1970, at least).

  • Afternoon Delight

    Afternoon Delight

    ★½

    I love Kathryn Hahn, but ugh, this was a slog.

  • Mission: Impossible - Ghost Protocol

    Mission: Impossible - Ghost Protocol

    ★★★★

    Loses some luster when not presented in IMAX (which is how I saw it for the first and only other time prior to this), but it still does so much to set up all the good that came in Rogue Nation and Fallout, in terms of story, while rarely failing to deliver on thrilling set pieces. Brad Bird does a lot more with action in his animated films (the runaway monorail chase in Incredibles 2 bring a great example), but I wouldn't mind seeing him take another chance with live action.

  • If Beale Street Could Talk

    If Beale Street Could Talk

    ★★★★½

    The sumptuousness of James Laxton's cinematography and Nicholas Britell's score work in tandem as a countervailing force against the tragic love story, which is by no means without hope, but is surely far from uplifting. It is also painfully unfair.

    From the moment their beautiful faces first fill the screen, with their welcoming eyes, you cannot help but feel for Tish and Fonny, and before long, you cannot help but have that same empathy for just about every character that…

  • Paper Moon

    Paper Moon

    ★★★★½

    The impeccable cinematography and acting from the two leads (aka the two O'Neals) both feel very appropriate to an earlier Hollywood, while never feeling stuffy or old. Watching it decades later, it feels strangely fresher than something from the 70s.

    It's a paradox of sorts, but then again, with the whole thing riding on an easy charm and zippy banter between a father and daughter, it's an almost ageless tale. I have a feeling it will still entertain 40 years from now.

  • Logan's Run

    Logan's Run

    ★★½

    I laughed my way through some of the bad edits and awkward script choices, and it's comforting to know that discerning audiences of the time felt the same way.

    Meanwhile, it's crazy to me how this could win an Oscar for special effects. Maybe it's just been too long since I've seen an un-special-editioned Star Wars but it feels like that made a monumental leap forward just one year later, and on a lesser budget, too. (The droids alone make…

  • Hereditary

    Hereditary

    ★★★½

    Hail Paimon, I guess? I literally said when it was over, "That's the end?"

    It's far less scary than I had heard (though cleaning, making breakfast and exercising while I watched probably helped there). But also it's often more mystery/family drama than straight horror; the score and a few tension-filled push-ins are the only real hints of the genre in the first 30–45 minutes.

    I do think, had I let myself live in this a little more, I'd appreciate its…

  • Vice

    Vice

    ★★½

    I don't think the film was very effective in outlaying its central thesis, by which I mean I have literally no idea what was its central thesis. Dick Cheney is bad? Callous, power-hungry people running society are bad for society? It's confounding how easily the path of history could have changed with just one slightly different outcome?

    Weirdly, this reminded me a lot of BlackkKlansman and Sorry to Bother You, but those movies had a better central narrative backbone (in…

  • The Man Who Knew Too Little

    The Man Who Knew Too Little

    ★★

    Not that it would get made otherwise, but this would be mostly unwatchable without Bill Murray doing his typical business.

  • Lady and the Tramp

    Lady and the Tramp

    ★★★½

    First of all, cats are evil, none more so than siamese (if you please, and I do not). Second, as far as Disney talking dog movies go, I favor 101 Dalmatians and possibly even Fox & the Hound. But there's plenty to like here, even if it's clearly been done on the cheap—lots of static backgrounds throughout. Lastly, Aunt Sarah is someone I would never leave with my dogs nor children.