After losing her mother and accidentally killing her sister, a young girl gets institutionalised, mentally withdrawing to an alternate reality, to produce an escape plan.
There is no real need for yet another review on Sucker Punch but, stumbling upon a horrible critique the other day, I felt like watching it again and writing about it. Directing, acting, cinematography, visual & sound effects, editing, music, casting, costume design, makeup, art direction, stunt coordination, choreography… get 10/10. The opening sequence alone could be a landmark for montage in the 21st century’s Hollywood.
As for the script, this is an excruciatingly dramatic story written and uniquely developed by Zack Snyder. A more symbolic logline could be: A fragile, young girl descends into madness after reality hits her harder than she could ever imagine, not even giving her the time or arsenal to defend herself. Possibly the most artistic way of examining the mind’s coping mechanisms in multiple layers. Read between the lines; there is a huge amount of information waiting to be discovered. For more spoilers, have a look at this one. Very interesting: https://www.imdb.com/title/tt0978764/trivia?item=tr1610675
It’s always easy to cast stones and judge from the comfort of our couch. To go out there and actually do though is what takes real “cojones”. You don’t have to like it. Whoever thinks s/he can do a better job, by all means, give it a shot – and write about your experience. The number of hours and amount of effort put to bring such a film to life is beyond understanding. If you are passionate about German expressionism, Italian neorealism, experimental/avant-garde, or even art-house cinema and you still decide to watch it and don’t like it… at least don’t attack it.
They say words are mightier than the sword. Unfortunately, in this case, it proved to be true.
Four teenagers meet at a campsite when the world gets invaded by aliens and it is up them to save humanity.
Well, well… if I haven’t elaborated before on exploiting kids and races! Anyway, you know what, I’m not gonna go through it again. So, let’s focus on the film itself.
It’s Independence Day (1996) meets Jurrasic Park (1993), meets Stand By Me (1986), meets E.T. The Extra-Terrestrial (1982) (and quite a few more) but, unfortunately, it’s neither! Not even close. On the plus side, it’s fun. Made me chuckle a few times. Should you decide to watch it, don’t have any expectations. Put it on and forget your problems for just over an hour and a half.
For a chance to win $10,000 finding their way out of a challenging escape room, six strangers must work together for, ultimately, a chance to save their lives.
Right… So… If you are under 15 y/o: Enjoy the dynamic of the characters, the kind of far-fetched yet enjoyable riddles, and the brilliant production design, art direction, and set decoration.
If you are over 15 y/o: Still watch it if you want to but I would go for something more… extravagant: “Cube” (1997), “The Experiment” (2001), “Identity” (2003), “Exam” (2009), “Triangle” (2009), “The Killing Room” (2009), “Coherence” (2013), “The Belko Experiment” (2016).
And these are just on the top of my head. There are dozens more. Two things about “Escape Room”: On one hand, when the producers imply that there will be more, they shouldn’t be giving away so much information in the end. It destroys the mystery by answering most of the burning questions. On the other hand, if I had to recommend it that would be for… Taylor Russell and Deborah Ann Woll!
With Cybertron at war, Optimus Prime sends B-127 (Bumblebee) to Earth to establish a base for the Autobots and protect the planet.
Prequel to “Transformers” (2007), Travis Knight’s first live-action film “Bumblebee” takes a more classic look of the original cartoon series. The opening sequence reminded me of my childhood years but my nostalgia faded away upon Bee’s arrival on Earth. Memories were temporarily restored half-way watching again the tunnel from “Who Framed Roger Rabbit” (1988) and “Back to the Future II” (1989).
Stereotypical American bimbos meant to be hated, stereotypical American jerks no one could care less about, stereotypically American army being thick as pigshit, and main characters that I would love if it was actually 1987 and I was 5. Did I mention that the storyline was so predictable?
To be fair, Bumblebee’s final battle against Shatter and Dropkick was quite impressive.
P.S. OK, it was funny when “Bee” ruined blondie’s car.
P.P.S. Steve Jablonsky where are you???
Convicted for a murder he didn’t commit, Henri Charriere is sent to the Devil’s Island where, along with a fellow inmate, they plan an escape of a lifetime.
Based on Charriere’s memoirs, directed by Michael Noer – “R” (2010) and “Northwest” (2013) – and written by Aaron Guzikowski, “Papillon” didn’t get the publicity it deserved. Was it because people (or critics) thought that Charlie Hunnam and Rami Malek couldn’t replace Steve McQueen and Dustin Hoffman respectively? Was it because the story wasn’t known to today’s era audience? Or is it maybe because classic films should be left alone and be remembered for what they achieved when they were made?
Directing, Acting, Script, Photography, Soundtrack, Costume Design, all work as one and fulfill their purpose. The editing is disruptive though which unfolds the story intermittently. There must be an “Editor’s Cut” or “Director’s Cut” version, surely. It seems as if scenes, even sequences, have been omitted from the final cut. Crucial to the story elements that would make the audience engage more with “Papillon’s” suffering.
Overall, it is a very decent, intense, and gritty remake and cast and crew deserve to be recognised for this effort.
Five ex-Special Forces soldiers band together one last time to rob the money of a cocaine cartel boss in South America where everything can go wrong.
While watching the opening sequence, I thought to myself “Netflix hit the nail again”! The moment I started to get to know the characters, I thought to myself “I hope the cliches stop here”. As the story started unfolding, the pit of cliches got full way before half-way.
Really shame. The photography is infallible. Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund, and Pedro Pascal are brilliant actors yet none of them gets the opportunity to fully develop their character. J.C. Chandor, an equally brilliant director who was behind the camera of great films such as “Margin Call” (2011), “All is Lost” (2013), and “A Most Violent Year” (2014), delivers a film this time that does not have one memorable shot. Same applies for editing where no sequence has anything unique or something to talk about.
All these are minor though. The main problem is the script. I don’t know how many times I’ve said it before but I know how any I’m gonna say it; countless!
“You can’t fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.” — Howard Hawks
Besides the action’s inconsistencies and the undeveloped characters, the biggest blow is the dialogue. It is extremely poorly written and the shocking part is that the aforementioned A-list actors were OK with it. It is beyond me so, I’m gonna leave it there.
Should you decide to watch it, I hope you enjoy it.
Haunted by his personal demons, a man finds himself struggling with an unbearable debt and enters a world of obscure gambling where every move might be his last one.
Epically mental! An amalgamation of “Scott Pilgrim vs The World” (2010) and “Sucker Punch” (2011), masterfully put together with pure Chinese artistry and temperament. Remake of the Japanese film “Kaiji Ultimate Gambler” (2009) – an adaptation of the “Kaiji” manga series – “Animal World” mesmerises straight from the opening sequence and earns its stripes in the evolution of Chinese cinema.
Through brilliant editing and directing, and visual effects that bring the hero’s cognitive manifestations to life, director Yan Han unfolds a world within a world. A cosmos where love, brotherhood, perseverance, loyalty, and betrayal lead to one’s self-discovery and ultimately… their destiny. A journey revealing that math’s complexity pales in comparison with human nature’s intricacy. A life’s lesson that man came from an animal… and still remains one.
For Shiying. Thank you!!!
In times of war and reason, Baron Munchausen shows up to inspire with a story of a lifetime that bypasses reality and goes down the rabbit hole of evocative fantasy and mythical adventure.
From Constantinople to the moon, to the centre of the Earth, to the belly of the beast, and back, Baron Munchausen travels towards fabled worlds encountering heroes and deities. Nostalgia, love, dreams, childhood innocence and hope rise up through Munchausen’s escapades. A social commentary inspired by the Odyssey… delineated in a British aristocratic manner.
As one of my first cinematic experiences, Terry Gilliam makes me reminisce about my childhood years and the way I used to see the world. Where, like in the film, reality and imagination blend into one and shape a harmless world where even the abhorrent tragedy of war can be a lot easier to swallow and man’s cruelty be tolerable.
John Neville, Eric Idle, Sarah Polley, Jonathan Pryce, Uma Thurman, Robin Williams (unpaid and uncredited) and the rest of the cast shared Gilliam’s vision of a better world than ours and supported him to see it through as the unfathomably humongous production complications wouldn’t stop appearing.
But reality’s misfortunes were defeated by prevalent, mythical will that projected it eventually to the silver screen.
An American airborne unit lands on Nazi-occupied France only to discover a horror beyond the Nazis.
Brutal, savage, and sadistic, “Overlord”, keeps you on the edge of your seat. If there is anything worse than the Nazis, that is the realization of their twisted psychosis. Focusing on “Operation Overlord”, an operation that took place in parallel with “Operation Neptune” (both of them put together became known as D-Day), J.J. Abrams produces Julius Avery’s historical horror where “Band of Brothers” (2001) meets the “Night of the Living Dead” (1968).
Strong first act with an even stronger opening sequence, practical visual effects that beat CGI every single time, and acting that makes its implausibility easy to swallow. Is it flawless? Nope. Is it to be taken seriously? Not really. Does one forget their problems for almost two hours and get sucked in? Hell. Yeah.
A lot of unnecessary negativity surrounds the film but people tend to oversee sometimes why a film could have possibly been made, the purpose it might serve, and the unpredictable outcome an experimental genre mixture may have.
I’ve said this before, I’m saying it again, and I will keep on saying it: I don’t aim at the film but the intentions behind it.
Hundreds of years from now, the world as we know it has been destroyed, the remaining cities have been mobilised, the major cities are hunting down the smaller ones, and two youngsters do everything in their power to change the status quo.
I’ve spoken before about budget and creativity as I have spoken before about the transferrable problems of a script to the big screen. I guess it was meant to be a saga but chances now are slim to none. Remember the “Golden Compass” (2007)? I’m not surprised. “Mortal Engines'” visuals are stunning. Hands down. The cast does a pretty decent job too; that is not a problem either. What was it then and it bombed?
Every time I watch a film, I’m always looking for that shot. The shot that will make me say “damn”! And then I’ll have to rewind and so can watch it again. What I’m also going for is a good line. Something that will make me say “I wish I have thought of that”! So, when independent films with 1/50 of “Mortal Engines'” budget have both, and “Mortal Engines” has none, it is only natural not to be impressed. To add insult to the injury, the same applies for the editing. Not only is there not even one good montage sequence, but the whole film feels rushed. It feels as if it got “chopped” fast to flush you non-stop down the FADE OUT.
Just “From the Producer of…” won’t cut it. Because as a household name, if you bring it up, you have to live up to your expectations and the reputation that precedes you. Shame really. Not for the money thrown away really, but mostly for the actors who want to catch a big fish, they let the small ones go, and they end up catching a boot.