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If not for Hayek's performance and Taymor's interesting forays into Kahlo's mind, this would be a pretty forgettable biopic.
Thomas Jane is terrific and I like how Hilditch embraces the original novella's slow, agonizing death march plot.
A solid entry to the Breaking Bad-verse. Aaron Paul is great per usual and Gilligan more than justifies the movie's existence by providing the right kind of ending for this character.
If not for the CGI backgrounds and characters this could easily be mistaken for a "Wonderful World of Disney" TV movie of the week with its bland cinematography, community theater level performances, and uninspired direction.
Wonderfully profane madness. Even if the film's capacity to shock has diminished, Russel's vision remains unparalleled. You still haven't seen anything like this.
An enjoyable supernatural Noir. Whenever the characters or plot start to get dull, there's usually some striking imagery to distract you.
There's a lot going on, maybe too much for one movie. That being said it's hard not to admire the pure unadulterated vision of Barker here and I like that the movie isn't coy about its message or who the real villains are.
Falls prey to a lot of the typical biopic cliches and the ending is a little too sentimental but for long stretches its a fun musical anchored by Egerton's performance.
"Casablanca" minus the romanticism and 40s Noir style (or much of anything period actually). Few directors could pull off this kind of timeless evocation of the past, but Petzold correctly sees history as alive and knows how disturbingly close we always are to repeating it.
Worse than I anticipated. There are so many things it tries tries to be (a live action Noir-ish anime, a shameless cash grab, and a sincere emotional story about a young man trying to find his father) that each disconnected element ends up canceling all the others out. What's left is barely a movie.
With the exception of some well staged action sequences, the movie has almost nothing to offer and the excessively dour tone guarantees that fun will be had by absolutely no one.
Functions as sort of an anti-genre gangster film with a melancholy tone and an emphasis on the hard ways the passage of time changes people, countries, and landscapes. Tao Zhao's performance is incredible.
People mostly remember how dark this thing is, and while that's certainly true the movie is also much smarter than a lot of fantasy from this era. There's wizards and magic and a dragon but there's also subtle commentary. No wonder George RR Martin is so fond of this movie.
Gray isn't afraid to defy expectations even with the larger budget. It's a melancholy art house film dressed up as a standard sci-fi thriller. Yes humanity is in space but all our baggage and hang-ups are coming with us.
An interesting series of ideas that never fully take shape. There's the shared familial trauma, Christmas, and of course the titular devil locked in a basement. Each of these threads inherently have tension and meaning but they just aren't ever connected in a satisfying way.
Setting aside the fact that the movie's influence is massive, "Persona" remains a gorgeous and intimate experience, as much about watching films as it is a character study. Andersson and Ullmann give towering, absolutely perfect performances.
Travolta is obviously miscast but its not as distracting as I feared. Overall its a solid remake that, while not as good, still updates the original in interesting ways.
Both the movie and its source material were written at a time when merely being outrageous was considered subversive so several sequences feel like mediocre late period Monty Python sketches. Still, its worth seeing for O'Toole who holds the movie together with a hilarious and occasionally terrifying performance.
The focus on two young female characters isn't the most radical thing here, its that nearly every character ends up transcending the false perceptions held by their peers and the audience.