New Reviews - TOP Users

About the same as the first part. The battle is maybe a bit better, because we have lightsabers in a bigger extent. The script is a big mess. The idea is there, but Zack Snyder can hold it with all the weird dialogue and nonsensical behavior of the checkerboard pieces. I want to see the uncensored version to see if anything interesting can be done with the material or if it is just bullshit. To be continued. P.S: There's still not enough of Anthony Hopkins' Jimmy out there.

Matt Bettinelli-Olpin and Tyler Gillett, from Radio Silence, deliver their tried and tested recipe once again. Why change something that works. Here we have a group of thieves who kidnap a little girl and are tasked with guarding her for 24 hours in a huge mansion, but what seems like an easy job soon will cost them their lives – they have no idea whose daughter Abigail is. A very likeable cast (I enjoyed the original introduction to the characters, where Melissa Barrera uses details to identify everyone like Sherlock Holmes), the big surprise is Kevin Durand, who is a very funny insert throughout the film, and it was nice to see Dan Stevens as well. The film has a very fast pace, nice visuals, effective jokes, it's decently suspenseful, there a few twists and turns at the end, and it's also decently gory (the house ends up painted in blood from the roof to the basement, so evil can't be pissed) The final explosion was literally a gore epic!!! Too bad the atmosphere doesn't work much and some of the vampire rules change to serve the script, but never mind that, it's the cool ride that they promised, and delivered. Quite possibly the best Vampire movie of recent years? And if you doubt about it, give me a better choice. 8/10.

What The Bear is to restaurants, The White Lotus is to hotels. Both are in the industry for me, so it's definitely an issue that's very close to my heart, plus it's all set in Hawaii and it's nicely exotic. But it's more drama than comedy, though some there are some entertaining black-humored. The cast is great the clash of the Hollywood boobies with Alexandra Daddario and Sydney Sweeney is real eye-candy, the director was very crazy, the twists and turns and the nicely escalated relationships on all sides are good, and who ends up being in the casket, I really didn't expect. I was expecting a more bizarre choice of characters though, after all, I know from the hotel business that you run into all sorts of weirdos, and these ones were even normal compared to reality, and they also could have pointed out the guests' complaints more, but otherwise I'm cool, it flows very well. 75%

Olympic level in the discipline of "inducing a feeling of deep inner turmoil". I haven't seen something so often beautiful, yet repulsive and disturbing in a long time. And my apologies to A24 for wrongly suspecting it of producing a straightforward war blockbuster. It's, of course, another auteur film, just the way we like it.

What starts as a very slow genre film demanding a patient viewer, with a very likeable sinister atmosphere, turns into a sequence of authentically scary scenes just before the halfway point. I enjoyed it. But then one plotline climaxes and the story takes a bit of a turn, and you suddenly realise that you are watching something more ambitious and sweeping than you had initially thought. And at that moment you regrets watching it with not very good English subtitles, because you get a bit lost in it :D So my advice at the moment is to wait for better language support, I'll definitely watch it again then to catch some details. Still, I suspect there hasn't been a better Asian horror film of this calibre since The Wailing.

A weak biopic, whose quality is on par with typical TV Lifetime content. However, Brittany Murphy's story is worth telling, and if this attempt inspires another team, it will only be a good thing. There was once an ambitious girl, and even though she was destined to play ugly ducklings in the nineties, she gradually climbed up alongside colleagues Alicia Silverstone, Kirsten Dunst, Amy Adams, Denise Richards, Angelina Jolie, and Winona Ryder until she ended up in Ashton Kutcher's arms. From a duckling emerged an anorexic swan fulfilling all the stereotypical assumptions of beauty in the new millennium. In private, she was focused on her mother and husband, Simon Monjack. And here it comes: Murphy dies in December 2009, her husband, seven years older, just half a year after her. A true-crime story in the making.

If I had to compare Adam Wingard's previous Godzilla vs. Kong and this one, I would compare it to a concert of Def Leppard vs a concert of the grindcore band Cannibal Corpse. I mean, sleek, a bit predictable, safe rock vs. totally unhinged wildness in the front row of the audience to the point of being health hazard. I've seen almost all Japanese Godzilla movies from the SHOWA and HENSEI era, and I can say with certainty that none of those 25 or so movies had the kind of insanity I saw here. Not even in Ishiro Honda or Jun Fukuda's films, which were made with a kind of judiciousness, a kind of safe kaiju mainstream, even if Godzilla and Kong were putting on wrestling holds, or in other works there that mixed in aliens, octopuses, monsters spawned from toxic waste, etc.. This movie was bonkers. The script looked like it was written by an 11 year old with an overactive imagination, with one absurdity after another, but it was all topped off with amazing fan-service. Human characters reduced to useless goons? Checked. Protector Mothra? Checked. A plot that gives no trace of elementary logic? Checked. The only thing missing was a baby godzilla with a little Japanese boy. I laughed in disbelief at what I was seeing the entire movie, but my similarly kaiju-fan buddy and I had a terrific time. At the same time, I felt sorry for the elderly couple in front of me who had to suffer terribly at this – the gentleman got up halfway through and went to sip beer in the cinema bar instead. I absolutely do not understand (and at the same time appreciate) that a Hollywood studio, which routinely makes financial calculations, predictions and audience surveys, gave such a budget for such a basically non-mainstream and also fan service for the insiders and knocked this insanity off Wingard. I’ll probably never want to see it again, but the unexpected feeling in the theater was priceless. KAIJU is still alive, dude!

It's much better than I Wanna Dance with Somebody. It's still not entirely great, but it's decent. Even the relationship with Robyn Crawford is not really suppressed here, so the only reason someone might want another Whitney biography is to bring that material to the movie theater.

If I had gone to the movie theater to see this biography, I would have been disappointed. I definitely agree with the opinion that even an average documentary would easily surpass this feature film. A weak, uninteresting work that only exists to illustrate the book of Whitney Houston's first partner Robyn Crawford A Song for You: My Life with Whitney Houston (2019).

Imagine being tasked with writing a fairy tale about a young witch and an evil sorceress for kids aged 8-12, but you're not particularly inspired. The result? A tale that's simple, predictable, and brimming with the most basic lessons about the power of friendship triumphing over evil. At times, viewers might find themselves scratching their heads — like pondering the origins of the evil sorceress, or questioning the necessity of certain explanations (did we really need a detailed account of the princess's relationship with her brother?). On the bright side, the animation holds up decently, and there are a few imaginative touches, like the amusement park scenes. However, the film lacks the enchantment one would expect from a story about witches and magic. Elements like game consoles and the oddly dressed Chitose (T-shirt, shorts) feel out of place amidst the traditional fairy tale setting of princesses, knights, and castles. Romance attempts fall flat, and many characters, including the protagonist, fail to charm. While it might entertain some kids for a single viewing, it didn't leave much of an impression on me. It's a passable watch once, but I doubt I'd revisit it or seek out more stories from this world. 4/10

A great resume. Emotions, drama, everything take to the max. The brilliant Angela Bassett in the lead role, with Laurence Fishburne also having a very expressive performance. Even though Tina Turner is not my favorite singer, her story belongs to the important female destinies. At the time of the premiere, she still had several good years ahead of her, but there wouldn't have been anything if she hadn't divorced and stood on her own two feet. Classic #WomenPower

Texas' revolt has done Civil War some fine advertising and A24 can celebrate. Alex Garland is keeping his head down with the script and direction. The artistic arrangement is there, but he still focuses on the rawness, underscored by black-and-white photography by up-and-comer Cailee Spaena (the kid from DEVS), and serves up a classic road movie through the disunited states of America. The scariest stop along the way is the one at Jesse Plemons, and it towers over the entire film like the top of the Everest. I understand why Garland doesn't explicitly state the reason for the conflict, though it is implied, but I missed that very conversation whose absence Wagner Moura laments. The excellent Wagner Moura, by the way, easily nudges the brooding Kirsten Dunst. The finale is predictable but formally breathtaking. Great soundtrack.

Get this guy a shrink.

Zack Snyder must have gone definitively insane because he made not one, but two completely useless movies with nothing in them. The first one at least had a stupid recruitment of heroes, the second one is based on slow motion shots of farmers in a field and one poorly shot fight. You won't care who survives and who dies. You can't count how many slow motion shots Snyder crams in. You'll just sit and wonder where the filmmaker who was poised to be the new genre star after 300 has gone. It's a harrowing film. And slowed down most of the time.

The great work with music and detailed camera want to let you know that this has something to do with an artistic generational statement, but that is not the case. The film is absolutely lacking in passion and a drop of drama. The transformation from a promising athlete to a porn star is rushed, and fatal injuries are presented as trivialities that don't really hurt. It lacks doubts about one's own dignity, a stronger clash with family values (the unused character of the father), and anything else that would make it interesting (besides the theme). It's like porn - it gets straight to the point, ticking off towards a predictable climax, but you catch yourself tending to skip over some passages.

The premise is estimated to be about 45 minutes of film material and the 113-minute running time is quite noticeable in some passages, but it is good for Chiwetel Ejiofor's directorial debut. The compelling story of a boy who manages to save the life of his family and village with a clever invention is filmed simply, with a few key and clearly delineated characters and their interactions and connections with each other, plus the misunderstanding of his father, the corruption of the government and the hard life in a poor country in the middle of Africa - as a necessary peppering of the plot. All the key points are sketched out decently and the narrative value is worthwhile, even if the film doesn't usually go completely in depth and rather just skims the surface and focuses primarily on one level.

When you consider that Netflix canceled Season 3 of Mindhunter because it was too expensive and then put a lot more money this shit that looks like it was written by retarded A.I., it makes me really sad. The only reason I won't give it a Boo! rating is the fact that the VFX guys really worked their asses off and it shows, but otherwise I'd ask Zack Snyder to take a few years away from movies and Netflix to channel their funding into something meaningful. It almost seems like Snyder has some kompromat on the boss Netflix, otherwise I can't explain their marketing strategy. PS: I really like Djimon Hounsou and I'm sorry he has to be involved in something like this.

Wes Anderson likes this. That’s a fact. The renowned offbeat filmmaker has admitted that he counts himself among the avowed fans of Buckaroo Banzai, which shouldn’t come as a surprise at all. We can find echoes of the film’s team of eccentric characters facing absurdly exaggerated obstacles with a straight face not only in Anderson’s direct homage, The Life Aquatic with Steve Zissou, but also in all of his other films. We can even say that Anderson’s first films, Bottle Rocket and Rushmore mirror the desire to live life along the lines of Buckaroo Banzai in the dull real world and with the same sincere naïveté that we experienced as young boys founding our own version of Our Gang. Starting with The Life Aquatic, Anderson finally had the means and the renown that allowed him to subsequently do nothing else but aesthetically polished paraphrases of Banzai-esque team-based movies freed from the bonds of reality. ____ If we leave aside the waggish conspiracies of fans and filmmakers who highlight the film’s incomprehensible and offbeat nature, Buckaroo Banzai comes across as a live-action antecedent of Adult Swim’s animated series, especially the channel’s retro-meta productions. Like Sealab 2021 and Mike Tyson Mysteries, Buckaroo Banzai is based on the comic-book ethos of classic team-based series such as Jonny Quest, G.I. Joe and Scooby-Doo with their trash premises and sincere naïveté. But its ethos also links it to later projects like Mister T (and perhaps even Chuck Norris: Karate Kommandos), which stood on the cult of personality of the central character, the semi-divine leader of the team. But unlike the stoner logic and subversive absurdity of Adult Swim’s productions, W.D. Richter and Earl Mac Rauch took the route of intellectual-nerdy camp. They thus take delight in the highly convoluted histories of the film’s world, characters and individual artifacts, and revel in references to the entire field of fantasy and pop culture, ranging from Thomas Pynchon and Orson Welles to rotoscopes and B-movie sci-fi to martial arts and pulp comic books. The whole project is imbued with a sense of tremendous exaggeration, as well as with the joy that comes with being able to childishly goof around in its world, leaving aside needless rationality. Thanks to that, this commercial failure became a beloved cult classic that appeals to the same group that its creators came from. The pastiche of cult movies and trash flicks itself became a cult movie that stimulates its viewers’ desire to again be young boys who thumb through comic books and hope that someday they can the sidekicks of their favourite heroes. But in this case, they rather know that’s not going to happen, but it’s fun to give it some thought. Buckaroo Banzai is thus actually Star Trek and Galaxy Quest rolled into one, though its fandom revolves around the meaning of watermelons instead of wildly overclever theories.

Tell me which Fallout you like, and I'll tell you if you'll like this series! It's pretty straightforward. If you're a die-hard fan of the classic Fallout 1 and 2, and everything after that felt like a betrayal of the brand, an inexplicable genre shift, and a mishandling of the post-apocalyptic world, then this series bearing the Bethesda logo in each episode's intro might not be for you. It's likely to trigger some serious PTSD, reminding you of the demise of your beloved childhood... Now, if you're into Fallout 3, 4, or even Fallout 76 (remember when those folks were rarer than vault dwellers on the surface?), then you've struck gold. This series is a treasure trove with a million nods to your favorite games. Whether it's a dog named Dogmeat (though he made an appearance in the earlier games too), a character with the surname Howard, or familiar locations like the Red Rocket gas station and Super Duper Mart, you'll feel right at home. Even fans of Fallout New Vegas get their cowboy fix, with management and corporations as the main antagonists. But what if you haven't played any Fallout games? Well, if you have a soft spot for post-apocalyptic themes, you're likely to enjoy this series too. It's got atmosphere, a unique charisma distinct from, say, The Last of Us. It's gritty, occasionally bizarre, and sometimes cynically funny. The story is intriguing, though it takes a bit to unravel all its twists and turns. The characters are quite likable, though you might need some time to warm up to a few of them. So let's break it down - die-hard fans of Fallout 1 and 2, you might want to step aside and let it pass, maybe one star at most. Fans of Fallout 3, 4, and 76, step right up with your 5 stars. New Vegas fans might lean towards a 3 or 4-star rating. If you're new to the Fallout universe, you could end up anywhere, but with interest in the topic, it's a solid 4 stars. And for those who've seen and played it all (well, except for Fallout 76 in my case), it's a respectable 7.5/10. IT JUST WORKS!

The most praised film of last year from South Korea is finished and it is a very important historical work for country. 1979 was a very dark time in Seoul, where a coup was carried out after the assassination of the president, with various military factions fighting for power over the Korean state. It's a dense atmospheric political-war piece that will grip even the uninitiated viewer. There are two top actors on both sides of the barricade, with Jeong-min Hwang playing the bastard who wants to take over the state and Woo-seong Jeong the good guy who wants to stop him. I'm not a big fan of political thrillers, but this one has such a sinister and uncomfortable atmosphere woven throughout, where the tension builds and builds incredibly, that I almost didn't breathe. Top craftsmanship, top actors, top dialogue, top atmosphere and there was some action (not much of that though), and all the intrigue and power struggles are rendered very believably. A scary and crazy night on 12.12.1979, where the ending quite pissed me off. 8/10.