JonnyCraig

Finally went to see this yesterday and absolutely loved it. Ponsoldt showed that he has the ability to get genuine, naturalistic performances out of his cast with his previous film, Smashed and he does the same thing here. It kind of felt like a somewhat mumblecore variation of John Hughes at his best, to me at least. It's just too bad they tied into this into 500 Days of Summer in the marketing, as I think a film like this is one that definitely has the ability to connect with audiences on a larger level.

So much potential here, and the cast is game but Bay's manipulation of events/characters and general crasness ultimately ruined it for me. 5/10

Wright definitely has a knack for mixing genres, combining apocalyptic sci-fi and mid-life crisis dramedies this time around. Basically, it's The Big Chill meets Invasion of the Body Snatchers, a difficult genre fusion that succeeds thanks to a strong ensemble and Wright's stylistic flair. There is a lot more exposition than you'd expect this time around but it's all worth it and gives us an opportunity to see a side of both Pegg and Frost that wasn't present in the previous installments. The added depth makes this feel like the perfect conclusion to the series, ultimately bringing various themes present in the previous two installments full circle but it works just as well as a standalone film. I also liked the cameos from various other Spaced alum, although I think my group were the only ones who noticed.

It's been almost two weeks since I watched it and it's still on my mind. It is mystifying and anger-inducing, hell, it's even Lynchian, never giving you a moment to compose yourself. I am still at a loss for words pretty much. 10/10

Most of the claims of inaccuracy are coming from SeaWorld itself, expected since they are depicted negatively (and for good reason.) The film is so gut-wrenching at times that people may think there is manipulation going on, but unfortunately, there is actually very little of that here. Much of the film's claims against SeaWorld has been written about previously in great detail, and the film's point is made through testimony from multiple SeaWorld trainers, rather than the filmmakers themselves. Watch the film for yourself. If you have some background on the story, it feels like seeing stuff you already know but the film still packs an emotional punch and the footage of various incidents involving the whales is incredibly frightening at times. There is one particular scene which terrified me, showing a trainer getting pulled underwater repeatedly by a whale (and only being able to survive due to his prior experience as a diver.) In terms of recent documentaries, this isn't as great as The Act of Killing but it's still up there.

Eh. The first 20 minutes or so annoyed the hell out of me, then I dug it for about 90 minutes, and then it concluded with one of the most anti-climactic endings I have ever seen. If you're going to cop out, don't go with the 'false ending' trick. Even when you consider the film's exposition and terrible ending, this is still a return to form for Stone, with its flashes of brilliance reminding me of '90s Stone (the last time he had any consistency.) Lively annoyed the hell out of me, but I thought the rest of the cast was fine, with Travolta and Hayek's scene chewing being the highlight. It could've been so much more, but it is still the best Stone film since the rather underrated Any Given Sunday. C+

The Act of Killing (2012)Blackfish (2013)The Hunt (2012)

Eh. Cliched plotting and Foster was awful but the world-building and Damon's likability won me over. B-

I don't end up hating too many films since I avoid films I suspect I'll dislike, so the worst I have seen so far are The Purge and Oz the Great & Powerful. Still, I'd rank them both in the C to C- range, which isn't completely terrible.

If it is even trying to make much of a point, Noe pretty much beats you over the head with it but it is quite an experience in and of itself. If you can get past poor acting, medicore scripting and don't happen to have epilepsy, this is worth experiencing with the lights off and the surrounds up. Basically a strobe-filled (seriously, there are literally 5 minute segments with nothing but strobes) music video with large doses of drugs, graphic sex and violence to top it all off. People who say style over substance when referring to the likes of Tarantino haven't seen anything yet, this is truly style over substance and it ultimately works in spite of itself. 7/10

Saw this on Netflix a couple years ago and absolutely loved it. I only knew Chris Morris initially from The IT Crowd, but he is actually a very astute writer and director. In any other director's hands, this would have been a disaster but Morris knows how to satirize the roots of homegrown extremism without preaching or just going for shock value.

Since I liked Smashed a lot, I am really looking forward to this. People who haven't seen Miles Teller before need to check out Rabbit Hole, since he is absolutely terrific in that and it shows how talented he is.

95% full in downtown San Diego and I felt like a fish out of water as well. There was one guy on my left who looked college-age, but aside from that, EVERYONE was over 50.

I grew up with Allen's films, and this is a return to form for him, in my opinion at least. Sure, Midnight in Paris was pretty good but this is just absolutely brilliant. I can't think of any American director who can pull off a tragi-comedy better than Allen, and Blanchett is pretty much a revelation here. Before Midnight was my #1 of the year just a couple weeks ago, but it looks like its reign has already ended for me.

I think I should change my name to avoid the confusion, since you beat me to the punch. I think some people are running the joke into the ground a bit (considering how nobody cared about David Vitter, people knew about Newt's stuff well before the '12 race, GOP covering up the Mark Foley scandal, blah blah), but it still gets me going. I just keep on imagining someone saying "I'm Carlos Danger" in an Inigo Montoya voice.

As someone who grew up cherishing the original Transformers, TF2 (which I was dragged to) made me feel like my memories were being beaten with a crow bar for 150 minutes. I'll admit that the first Transformers was okay for what it was, but that second film practically gave me nightmares. Audiences enjoying it doesn't automatically make it good, as you should know. Bay knows how to make things go kaboom, but that is expected and to me, at least, his lack of respect for the roots of the franchises he capitalizes on and the disposable nature of his characters just takes away the awe and emotion that one sees in a great blockbuster. In addition, the rampant product placement and jingoism of Bay's films detracts from my enjoyment quite a bit (something which PR is largely free of.) Shia was good for the requirements of the character, but he still seemed rather disposable and the enormous absurdity of the characters around him didn't make me see him as a true protagonist. PR is ultimately tied together by a common theme in Del Toro's films, how one recovers from loss in extreme circumstances, and I felt he managed to bring some humanity to his characters as a result of this common thread (they aren't the best written but it's something.) A true spectacle needs to have some humanity to it, otherwise you end up with an extended video game cut scene and to me (along with the vast majority of the people who saw it), PR succeeded in that regard. It was also a relief that the female co-protagonist in a largely male-centric blockbuster was actually given a respectful, subtle characterization (rather than being utilized as eye candy like Megan Fox was.) Personal insults aren't really the best move when you're chipping in your two cents either.

A richly compelling film which does occasionally succumb to Oscar-bait like manipulation of events, largely during the first third or so. It really hits its stride during the second half, when it begins to delve more deeply into Grant's struggles, creating a lingering sense of dread as the film heads toward its bitter end and also showcasing Jordan's strengths. Grant actually becomes more sympathetic in the second half, as it becomes clear that he isn't merely a nice guy who was dealt a bad hand of cards but rather a human being actively trying not to let his weaknesses get the best of him (especially since he was on parole at the time of his death.) Films usually do not get to me on an emotional level, but even I was dreading the moment that the fatal confrontation would come to fruition. The inevitable artistic license ultimately does not detract from the film's overall message, and the film certainly is a great example of compassionate filmmaking, celebrating life rather than politicizing a tragedy. 9/10

A bit disjointed, but its heart is in the right place and it's not too hard to identify with it. It did strike a chord with me, due to Trent reminding of my own father in some ways and Duncan reminding me of myself when I was his age, making it not feel as light-hearted for me as it was for others. I think it would have been a bit more interesting if they took some more time to explore the homelife of Duncan and some perspective into the homelife of their neighbors as well, but the filmmakers pretty much put in as much darkness as they possibly could (Trent was apparently based at least partially on the stepfather of one of the writers, especially the opening conversation in particular) while retaining commercial appeal. Essentially, it's a hybrid of Adventureland and The Squid & The Whale, but some of the more light-hearted moments come off as being a bit contrived due to sudden tonal shifts. Nonetheless, it is insightful and heartfelt, with genuine performances to back it up (Rockwell, Carrell and James are the stand-outs, with Corrdry shining in his small bit as well.) I'd say it warrants an 8.

The acting and direction are both top notch, especially for a horror film, but I just couldn't get into it as much as other people did. The predictability distracted me, so I was never really frightened and I just observed the craftsmanship on display here pretty much. Just watching the craftsmanship (each camera move, soundtrack choice, cut, you know it, feels deliberate and meticulously placed) on display here isn't exactly an unpleasant experience, so this deserves at least a 7. Cynical types like myself may have trouble getting past the predictability of the whole thing but for what it is, it's well above the recent norm.

There is 3/4's of a great film here, but the last 25 minutes or so throws its rhythm out of balance. I found the random love story unconvincing, and felt that the conclusion threw the complexity of the proceedings out the window in favor of a pat, tidy resolution. I wish the film would've gone more deeply into the moral dilemmas the movement places itself in, but it is nonetheless a crisply paced and compelling thriller for the most part. The one thing which bugs me about Marling sometimes, the high-society aura she projects (to me at least), ends up actually working to her advantage here. Despite its flaws, I would still give it an 8 or so due to the quality of the first 90 minutes.

Why lol? To me, at least, PR felt like a legitimate blockbuster. Stays true to its roots, has likable characters to increase the stakes, some good comic relief and unlike Bay's crapfests, you CAN ACTUALLY SEE WHAT IS HAPPENING. No product placement or jingoism either.

It has been years since I watched this. I was frustrated by it when I first saw it, but I do understand it a lot more in hindsight. If you are looking for a 3 hour nightmare, literally, this is your film pretty much. Lynch is already a wildcard as a filmmaker, but this film makes Eraserhead look mainstream. Definitely the kind of film to be admired than enjoyed. It's hard to truly rate it, so I'll settle for a 7.

Whedon can pretty much do no wrong. While the entire cast was awesome, Fillion and Acker were easily my favorites. My only qualm was that I wish he could of completed the Angel triangle (since he got Fred and Wesley, the only thing he needed was Gunn), but that's just a "what if" and nothing more. 9/10

Linklater is one of the most unique directors around, especially for someone who makes at least one film per year, and this film is a testament to his abilities. Just like with the first two, he can manage to make 20-30 minutes conversations riveting and involving. The final argument especially packs a wallop, with the raw power of Hawke and Delpy being unlike anything I've seen in years. Easily my favorite film of the year so far. 9.5/10

I am really looking forward to this, despite the bad reviews. I think people may be unfairly comparing this to Drive, since that was a departure from his previous work, while this seems to be more in line with Valhalla Rising. I try to shift my theater priorities toward smaller releases, and I'll hopefully be able to check this out on Sunday, since I will be near the lone theater in my county showing it. Critics calling one of the worst things they've ever seen really need some perspective, regardless of how frustrating it may be for some. Beautiful cinematography and Ryan Gosling's face should be enough to distinguish it from Pluto Nash and Manos: The Hands of Fate.