Recent User Reviews
It's quite an odd film. Those tired of seeing Sandler doing the same old stuff over and over again should give this one a shot. With all it'sIt's quite an odd film. Those tired of seeing Sandler doing the same old stuff over and over again should give this one a shot. With all it's weird charm and interesting concept there's something new for Sandler to do here. This semi dramatic comedy might not hit all of the right notes, but what's here is plenty entertaining.
I have to give credit for the attention to detail. When Sandler's character "Max" gains the ability to take on the appearance of another person by literally walking in their shoes, the characters personality and mannerisms are still evident. You can literally tell it's still Max just with a different face. I especially enjoyed the music, which helped carry the Jewish vibe the film was going for.
The plot jumps around between ideas. It starts off giving us a character who just wants to be someone else. Instead of giving us a movie about staying true to oneself writer and director Thomas McCarthy ditches this possibility quickly by tossing our lead into situations here he can help other people. The results are often quite funny. Max gets himself involved in some potentially dangerous scenarios that he has to get out of by switching identities. It gets pretty crazy and leads to some funny moments as well as some sweet ones. The finale tries to go a little too with the fiction and the results come off as a little cheesy.
The Cobbler has some flaws. Overall though there's enough humor and uniqueness here to make it worth a watch. Sandler steps out of his comfort zone to work with some different people. The results are something that feels wildly different from any of his previous works. For those in the mood for something unique that has both humor and heart I recommend this movie.… Full Review »
Holy cow this one is terrifying. Literally sitting here in a coma after watching that. Fetal position from the night, for real. IncredibleHoly cow this one is terrifying. Literally sitting here in a coma after watching that. Fetal position from the night, for real. Incredible special effects that really send chills down your spine and hold up quite well for being 42 years old. The acting, led by Jason Miller and Linda Blair, is great. Ellen Burstyn and Max von Sydow are also brilliant. The directing and writing are also great and really work well. The story was told well and though the first half is a bit slower, that second half was truly horrifying. This one is an absolute classic in every sense of the word that holds up well and truly provides bone chilling scares that will leave you feeling petrified for long after the film fades to black.… Full Review »
American Sniper has probably been criticized too harshly than it deserves, but then again it did NOT deserve an Oscar nomination either. As aAmerican Sniper has probably been criticized too harshly than it deserves, but then again it did NOT deserve an Oscar nomination either. As a fictional character-focus set withing a war film Eastwood's American Sniper is grade A, albeit lowbrow, cinema. However, this is not a fictional tale or at least its not supposed to be. THe Iraq war really happened and the main character Chris Kyle, who's book the film was based, was a real person whom met a tragic and ironic end.
Eastwood's portrayal of Chris Kyle as a saintly soldier who feels at war with himself when home and at home when at war is an overdone and oversimplified amalgamation of every war-hero protagonist of this genre of film. Chris Kyle's actual book and subsequent interviews reveal a much more conflicted, complex and interesting character. Kyle's allegiances, honor and duty stand in contrast and conflict with his biases. Not only does Kyle use slurs to describe Arabs in his book and elsewhere, he also makes no distinctions between combatants and civilians. Instead of exploring this aspect of Kyle and how it informs his experience, Eastwood decides to translates this contradiction in the most condescending of ways--Every Arab in his film is either evil or one dimensional: a psychopath, a corrupt interpreter, a sympathizer with--or combatant for--the enemy.
In the end Eastwood's American Sniper is country-friend propaganda, unapologetic in its revision of the Iraq War as a just war, not to mention a missed opportunity to tell the true story of a conflicted and complex soldier who was both a leader and pawn; hero and villain --someone who was human.… Full Review »
Totally blown away by KURT COBAIN: MONTAGE OF HECK. The best doc I have seen in years and that rare film whose style and format is totally inTotally blown away by KURT COBAIN: MONTAGE OF HECK. The best doc I have seen in years and that rare film whose style and format is totally in keeping with the spirit of its subject. You feel immersed. You understand. You see what's important in all new ways. A staggering achievement!… Full Review »
‘War is hell’, many films have made such a statement about the nature of war, and thankfully ’71 is decidedly in the ‘War is hell’ camp. What‘War is hell’, many films have made such a statement about the nature of war, and thankfully ’71 is decidedly in the ‘War is hell’ camp. What ’71 adds is how disorienting and confusing war can be. Set in Belfast, Northern Ireland in 1971, the film portrays the brutality of guerrilla warfare through the eyes of a single soldier; Gary Cook (played by Jack O’Connell).
We are introduced to Cook as a British recruit whose training is cut short due to the immediate need for more men on the battle lines. Shortly after his regiment is sent out on a mission to ‘reassure the people’, a riot breaks out and Cook finds himself cut off from his group and behind enemy lines. Worse yet, a particularly blood-thirsty faction of the IRA are on his tail. Cook is terrified and alone and O’Connell portrays this brilliantly in an almost wordless performance.
’71 never spells anything out to the audience, and the result is baffling and effective. In the film there are essentially three groups; The British faction that Cook was once a part of, the IRA faction attempting to catch Cook, and finally Cook and the people who help him. However, the lines between the three groups are not as defined as they might appear. The British faction that is attempting the rescue mission has to rely on Irish inside men, some of whom may be part of the IRA group attempting to capture Cook. It is also unclear whose side the men who help Cook are on, are they simply being generous or is their intent more malicious? For the most part, the audience shares his confusion, as many of the character’s true allegiances are left unanswered for the majority of the film.
The debut feature from TV veteran Yann Demange, ’71 is a showcase of great things to come. A tight thriller with an almost minimalist aesthetic, the film works breathlessly, and during the action set pieces, the film soars. The action is shot often down long narrow corridors using hand held cameras while the throbbing soundtrack adds to the tension, a stylistic cross between Paul Greengrass and John Carpenter.
The only stumble of the film is undoubtedly its climax, a single fault in an otherwise flawless screenplay by Gregory Burke. It is the one moment the film feels forced, the result a reminder that what we are watching is a movie. It’s a shame because, until that moment, the characters decisions have felt so natural and organic. However, this is a small quibble, and one that will likely be forgiven by those caught up in the action.
’71 is a highly engrossing and entertaining film and Jack O’Connell gives a performance not to be missed. It is unfortunate that there hasn’t been any attempt made to advertise the film, which is surely to account for its currently disappointing run in theatres. My girlfriend and I saw it opening weekend and were the only people in the theatre, hopefully it will have more success on DVD and Blue ray.… Full Review »