Ford v Ferrari
Blinded by the Light
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"Moneyball" is simply excellent.
If you are a fan of Miranda July's previous film, "Me and You and Everyone We Know," you will also really enjoy "The Future." If you hated that film, you will hate this film. I for one really enjoy her work. Sure its quirkiness literally slaps you across the face, but once you get past the stylization, there is plenty to appreciate. July excels at finding the extraordinary hiding inside the ordinary. This is similar the themes of Richard Kelly's films and "The Future" has much in common with "Donnie Darko" (in terms of theme, tone). The characters of Jason and Sophie are two people who are able to access recesses (literal and figurative) that most people can't, due to their acute awareness of their situation (much like Donnie from Kelly's film). The film is very well written and beautiful to look at. July's images are visually expressive of her mind, her character's turmoil and reflective of her very specific 'un-reality" where her stories unfold. "The Future" is a odd little film and it's hard to pin down, but it's well worth your time if you are looking for a deep, well acted (especially from Hamish Linklater, what a find he is!) and beautiful experiment.
The more details you know about Che Guevara going into Part One of Steven Soderbergh's "Che," the easier you'll embrace it. Soderbergh has a very unusual, emotionally distant, non-linear approach to this film, and while it's admirable, it's hard for a non-history buff like myself to totally grasp the story. Granted, this film isn't exactly about Che's life (which is misleading, but certainly thought provoking) and more about specific pieces (or more accurately, conversations) of a man's life that Soderbergh found intriguing. Of course, the film is beautifully shot and expertly acted, but just be warned, do your homework before hand- it will help.
It's also mandatory that you view both parts to "Che," for neither film is satisfying on it's own.
"Drive" is a sort of masterpiece of cohesive directorial vision. The film is hypnotic and engaging and never lets up on being cool.. "Drive" effortlessly blends aspects of American and European cinema with a healthy dose of film noir. In fact, "Drive" may be the purest noir I have seen since The Coen Brothers' "No Country for Old Men," and it's just as stylish and violent as that film. Wonderfully performed by it's stellar cast and featuring the best cinematography you'll see from a 2011 film, "Drive" is a tense, challenging and stylish little movie.
There is just so much good going on in this film.