mattmav45

Outside some damn cool displays of kung fu there is unfortunately not much to find here.There is something innately cool as fuck with kung fu done right. The choreography basically writes itself in many ways. The film absolutely excels in this respect. It knows how to do kung fu, plain and simple. Perhaps this is all testosterone-fueled but in the end it is what it is.I'm just going to be honest here and say that the story and all things associated are pretty bad. It is in fact pretty jarring when the film tries its hand at human drama. There are displays of pure melodrama that are simply brutal in nature. These scenes not only destroy the film, but they take away from the kung fu. This is the kind of film in which it isn't good enough to take seriously as a biopic war drama and isn't fun enough to be a high-octane kung fu flick. In reality it appears different filmmakers were needed to attempt this kind of endeavor. From my point of view they were in over their head from the beginning.Simply put...........there is better kung fu to be had.

Life in motion, life in transition, and most importantly life itself. No matter what your interpretation may be regarding the events on screen, there is no denying the outright beauty of this film. It is in fact a gorgeous piece of work full of stunning visuals and a damn good score. For any cinema fan, this aspect alone is worth a watch. Thankfully, there is so much more to this film than just a great music and look. For the most part the events in the film are seen through the eyes of of the alien and her initial experiences within a new environment. The special aspect of this film lies in its ability to make the viewer feel like that of the alien portrayed on screen. As she learns about her new world around her, so do we. We are merely along for the ride as she encounters both the lightness and darkness of the modern world. Scenes of people walking the streets are powerful glimpses into everyday life. It is up to the viewer to make what they will of images such as these. There are so many great scenes on display here. One of my favorites has to be the ocean scene with the family and dog. I'm not going to go into specifics here, but it just doesn't get any more bleak than that. That scene was handled brilliantly. To me, it is the scene which laid the foundation and change for things to come. Perhaps midway through the film, there is an abrupt change in the way the alien behaves. I am not of the opinion that the alien grows a conscience. Rather, I feel like at a certain point she becomes fascinated with humans and their way of life. It is curiosity about life that is propelling her changed behaviors. In a way this is a study on assimilation into cultures in all walks of life. There is much to be found here regarding one's identity and how fragile it ultimately is. One's environment is such a powerful factor here. I wouldn't go so far to say she ultimately wanted to be human, but I feel one's interpretation can go many ways here. To me, this film at its core is about life and all that comes with it. It is simply more powerful when viewed through the eyes of an alien organism such as is the case here. Open-ended films can be a tricky matter. When done right, as a viewer you can't really ask for a more rewarding experience. The viewer's interpretation guides the proceedings here. As a result, I found this to be a very intimate and personal viewing experience. I would in fact not be surprised if this is one of those films in which you get a different watch each time. Of course, setting, mood, etc. will always play a factor with films such as these. Simply put.........everything as fuck.

Ambitious as fuck. I've said it before but ambition tends to cover up a lot of flaws in films with me. Give me something different, give me something unique, give me something that I will flourish in my mind long after the viewing. Snowpiercer has enough going for it to be a damn good watch despite all the flaws (and there's a good amount of them). At times it feels like nothing more than raw unadulterated cinema. Great stuff. To me this film is all about Joon-ho Bong. Despite not being his best stuff, this is a showcase of all his talents as a filmmaker. It is in fact why I like the film in spite of its flaws. It's always good to see a talented filmmaker experiment and play with his style. Even when it doesn't turn out as one might of hoped the flaws themselves are ripe for discussion. The way Bong builds atmosphere so seamlessly is indeed a sight to behold. The beginning of the film in the tail end of the train is a good example of this. Dark, gritty, grainy, but most importantly brilliant. This sets up the foundation for everything that comes after. Each and every transgression up the train had its own unique mood and tone. Much like he did in The Host, Bong is able to shift genres and tones at whim during the film. It is in fact impressive how he is able to tinker with film aspects such as what is attempted here. There are scenes on display here that are showcases of high-quality filmmaking. Scenes of heavy violence are complemented with elegant camera angles and music. I love contrast like what was on display here. The highlights here live up to their name. I think of the encounter in the engine room with the visuals of the train interacting with the ideas. Legendary. Unfortunately, this just didn't have the fluid feel of Bong's previous work. There are some prolonged stretches where the film stays kind of neutral and stagnant. Perhaps this is as a result of the highs being very high, but the point nonetheless stands. If I could pinpoint any ultimate flaw here it would have to be the human characters. They aren't necessarily bad, but they do come off as kind of bland. I feel like Bong's past work has used his characters to great effect. They are very crucial to his ability to shift genres and tones at a whim. Despite these complaints this was still a damn good watch. One simply has to wonder what we could be looking at here with badass characters complementing the more idea-driven storyline. It may not be Joon-ho Bong at the top of his game, but he nonetheless remains a fascinating talent to watch.

No doubt Gopher makes good points here. The action itself is simply not very involving. After all the build it is a bit disappointing there is not a greater payoff present. For me, Caesar's characters and the moral interplay was enough. These things complemented the action enough to allow it to get by with me. It is in fact why I remember the film for reasons entirely other than the action. I will say that the characters in general were pretty damn poor in both films.

Well, at the very least this was interesting. There are undeniable things on display here that work. The film has a good atmosphere for the most part. Cage is better than he's been in years, and shows that there is indeed still an actor hiding in that body. For the most part, the strongest aspect of the film lies in the characters and surrounding area. The characters tend to be well drawn out and layered. All the ingredients needed to make a slow-burn drama fueled by the characters are present. Unfortunately, the film is akin to someone trying to make apple pie with peaches. The writing here is ultimately the film's downfall. There are times in which the style of the film simply doesn't match the plot. When style and plot collide and contrast like this, the film is pulled under much like a innocent passerby. This is one of those rare films in which I think the sentiment that it is over-plotted rings true. There are too many things happening at once. A little subtlety would have gone a long way here. Too much is attempted with too many characters to allow the viewer to immerse themselves into one dominant aspect of the film. The ending is a good representation of this. I wouldn't argue if one said it simply falls off the rails here. Once again, too much of an effort is made to create peril and drama. The atmosphere and characters were already present to allow this to happen. The story should have simply complemented the proceedings instead of destroying everything in its path. There is a great film to be found somewhere in all the clutter, but ultimately another film in which "what could have been" is the prevailing take home thought.

Simply a damn good film.In many ways it is a flat-our insult to categorize this as a blockbuster. This a film in which it is best to go in blind. The story story unfolds in such an interesting manner that becomes more rewarding if you know very little before the viewing.Make no mistake, while there is ample action and effects this very much a story-driven affair. More specifically, it is the characters that drive the story here. I couldn't be more impressed with the dynamics on display here. Damn good stuff. Perhaps most interesting to me was the fact this film tended to focus on the similarities between the two species rather than the differences like in the first film. This evolution of viewpoint was simply perfect. With that mindset in hand, the proceedings became powerful. I wouldn't argue if one made the statement that the events on display were simply tragic as fuck.As for Caesar, he has never been better. Layers upon layers of character. He in fact serves as the human element that drives the film. A bit of poetic irony, if you will.Simply put....Caesar is the man (or ape).

It's decent, but really only works as a precursor to Dawn. I enjoyed it and respected the fact that it tried to take on more than your usual blockbuster. In the end the characters aren't really worth a damn outside of Caesar, but it's still worth a watch.

My wife says this on a nightly basis. IMO.

[mod edit: not really appropriate] IMO.

What we have here is a film that shows the pursuit of extraterrestrial life in a primal style. What I mean by primal is simply that instead of focusing on simple alien invasion such as what we've seen of late, it is instead centered around the mystique and mystery of finding such life. This is very much a celebration of the unknown and whatever it may hold. The mere concept of what is taking place here lends the imagination to powerful ideas. This is special film-making, plain and simple. Another aspect that really elevates the film is of course Richard Dreyfuss. His role as a family man and dad serve as the core of the film in that it is the collision of civilization and the unknown that really makes this film so great. The mundane nature of everyday life colliding with the spectacular unknown of the extraterrestrial world. There is a scene in the film in which Dreyfuss starts to uproot all these plants in his yard and throwing them through the kitchen window. Fearing that his family thinks he is going mad, he remarks that he would need to go to the doctor if he DIDN'T this. This is such a small part of the film, and yet it is in many ways also a crucial moment. It signifies that this is bigger than ourselves, this is something that we can only hope to comprehend. One does simply not give up on a feeling and opportunity such as this. The mystery of extraterrestrial life never feels more powerful than it does right here. Great stuff. A cornerstone of sci-fi cinema, and one of those films in which I don't argue when the term masterpiece is associated with it.

When are people going to realize that it's not McCarthy's films, but rather McCarthy herself that sucks ass? Besides being obese as fuck, is there really anything she brings to the table?

Transformers is dropping faster than the self-esteem of an 18-year old prostitute after each appointment.

Judging by how Baumer is reacting to the news........once a fanboy, always a fanboy.

Simply put...........Transformer will forever be the cancerous mole in cinema. Fuck Transformers, fuck Michael Bay, and fuck Paramount.

Fudged as Fuck Monday. Nothing more, nothing less. I will say it's fitting that it comes from the Transformers saga. LMAO @ how trash of all kind is associated with the series.

I'm going to put this bluntly: LMAO @ anyone dense enough to pay a dime for this trash. Enough said.

Quite honestly it's hard to even know how to start reviewing a film like this.This is very much a showcase of classy filmmaking, but it's so much more than that. This is one of those films in which everything is simply masterful. Not one single aspect really stands out because everything is simply damn good. No words can truly do justice to transcendent material such as this, but I will do my best to convey the stand-out aspects for me.Perhaps what struck me first and foremost was the way in which the film was shot. The way the shadows mingle with the light here is simply fantastic. The camera work allows the darkness of the Mafia to mix simultaneously the elegance. It makes for a hypnotizing mix. Nothing less than brilliant filmmaking on display here.There is a rare mix of larger than life characters combined with larger than life acting here. In fact, I'm not quite sure this combo has ever been displayed such as it is here. The acting is so damn good that for me, these aren't merely characters in a film. These are in fact real people in real world situations. There cannot be a greater compliment in film than what I just described.When you break down the film fully, this is basically the ultimate origin film for Michael. And dear god, what a journey it is. One of my favorite scenes in the film is when Michael and the cook try to look like Mafia guards at the hospital to intimidate others from attacking Don. You see afterward that the cook is visibly shaken from the events. Michael thereafter in a very cool and calm fashion lights the cook's cigarette for him. This is the very definition of epic as it has so much impact afterward. I love how small events such as these change lives for others.Simply put........no words can truly do justice. One of those films in which the title is more than enough to convey the power and greatness associated.

For the most part, a damn good war flick.There's very little doubt that the film excels when building suspense and tension. In fact, I'd say the first 45 minutes are pretty damn fantastic. A palpable sense of dread is formed and tension is pretty high. At times there's nothing quite like controlled tension in a film.The tension and build allows the fight to be more powerful once it hits. The combat scenes are simply well done. Not only realistic but pretty intense as well. It is a pretty draining experience at times.Unfortunately, I felt the writing outside the war aspect left a little to be desired. There is almost a descent into melodrama at times. I was surprised for one that the payoff was somewhat underwhelming in nature for me. I for one did not really dig the ending as well. No need for manipulative devices, I thought the story did enough in that respect. Others may disagree, but my opinion simply is what it is.The writing may leave little to be desired, but there is damn good war/chase material on display here.

22 Jump Street is falling faster than a male penis after Melissa McCarthy does a lap dance on it.

22 Jump Street is holding better than a gay man's grip on a penis.

Simply a damn good film.Make no mistake, this is dark, tense, and ominous stuff centered around the fall-out in Nazi Germany at the end of WWII. This is a coming of age drama for those who think neutered nonsense like The Way, Way Back doesn't constitute true coming of age material. At its core this film is a slow-burn, beautifully shot survival drama. It's also a testament to what subtle yet smothering atmosphere can do for a film. A showcase of realistic and gritty film-making......nothing more, nothing less.

22 Jump Street is dropping faster than a meth addict overdosing on oxycontin.

There are films which can be described as showcases in writing, and then there's Annie Hall.I'm not typically much of a Woody fan outside of Manhattan, but this is something else. One could make the statement that the writing on display here is simply sharp as fuck. However you describe it, it is consistently engaging and draws out the characters in a way few films have. This is one of those films that is simply about life itself. As such, it is funny, sad, frustrating, etc. It feels very much like the glimpse into the lives of everyday people. There is a subtle style to it that draws out the realistic nature of the film. Special mention has to go to that killer ending as well. Ties up the whole film in pretty much the best way possible.Simply put.......a timeless portrait of the modern relationship.

22 Jump Street is rising faster than Obama's budget.

Wow. In many ways this film is nothing more than a quest for humanity. This may in fact be the most flat-out surreal film I've watched. There were times when I'd have to remind myself that these men actually acted out these events and behaviors. It almost seems impossible when they're talking that they actually did this. As a defense mechanism of the brain, you are wanting to believe that this is all fiction. When reality hits, as a viewer I was simply shocked. How scary is it that by multiple accounts, these men don't feel remorse or guilt? It is hard to imagine these actions coupled with no remorse, and yet that is what is shown here. No doubt culture and group mentality played a role, but at the end of the day you would hope some semblance of a human mind with sympathy would rear its head. Thankfully, it does, and that is where the film becomes truly special. You can see the progression of the killers mentality as the film progresses. In the beginning, they were almost happy and excited to tear their story. As the film progressed, you could see their walls being broken away. You could see emotions that had lay hidden for decades come to the forefront. Simply powerful. It is the moments in which the killers talk and attempt to justify their actions that I took the most from. Some of my favorite moments were when all you would see is a killer's face for 15-20 seconds. There is so much hidden emotion and anguish shown in these shots. One could say there is decade of anguish just now bursting through. This is dark and heavy stuff, and the human brain can only take so much justifying and really flat out lying to one's self. The contrast between senseless and sadistic killing coupled with humanity is what makes this so great. Thankfully, in my mind what is shown at the end is that humanity does win out in the end (albeit in a small way). There is a scene here in which one of the killers is playing with some kids amidst some baby ducks. The killer is downright playful and tender in his interactions with both the kids and ducks. It is indeed hard for the brain to try to analyze this scene. As such, I think this is one of the more important scenes in the film. In many ways I feel like I have yet to fully embrace the impact of this watch last night, but this is likely as important of a documentary as I've seen.