|By date||Most helpful reviews||By my score||By metascore||By user score|
Average User Score: 8.2May 23, 2019If the world is at war then so is Eastwood, the experience shared isn't exactly observed in here.
Letters From Iwo Jima Eastwood is a goodIf the world is at war then so is Eastwood, the experience shared isn't exactly observed in here.
Letters From Iwo Jima
Eastwood is a good pretender. Usually, he makes things look easy. And this time, the director, Clint Eastwood, may not have things served up front on the table. And even though he has to reach out for it, stretching his hand with enormous effort, he has still got that cowboy-ish smug on his face. As much as fascinating or innovative the idea is, the shift in perspective had to only make it familiar. And aware of this very fine window, Eastwood narrows down the behavior of these men calculatively similar; language changes but not the nature.
Jolting that very fear of being alone in a forsaken land along with fellow companionship who too are equally scared, his version of war may not be crowded or exhilarating as Steven Spielberg's in Saving Private Ryan, but it surely is an homage to those 50s The Bridge On The River Kwai- alike projects. Addition to it, it also has the vocab of that one man army script, as in, amidst all the broken political schemes applied left and right, it is inspiring to see this brutal battlefield, turn into mano-y-mano gritty action that is tailed with the obvious, survival spirit.
Personally, I feel there was a lot to accomplish in here, especially the aftermath of this heroic event. Yes, with an emotionally driven final act, it is quite a full stop Eastwood concludes on, but the film is more about the ongoing action rather than the consequences of it. Partly sinister and partly hopeful, he makes sure that you are at the brisk off your emotions when things break down to either side of the coin; and yes it mostly lands on the losing side, I mean it is about war, for not even the Letter From Iwo Jima could take that away and neither can Eastwood.… Expand
Average User Score: 7.9May 23, 2019The process requires long sweat inducing hard work, get on it, and cherish the cherries lying at the end of the maze.
Never Look AwayThe process requires long sweat inducing hard work, get on it, and cherish the cherries lying at the end of the maze.
Never Look Away
Florian is a fan of art. And watching him peel off this passion thread by thread for over three hours is, I have to admit, pure joy. This marathon runs in slow motion like some profound poetry read again and again, trying to get the real essence out of it. Among many, many good qualities of the film, the obvious ones that stands out are cinematography and execution. But for me the introduction is and will be the best part. And I just don't mean the prologue, but the fabulously choreographed entry of each character in the narration. They all come in with a definite agenda that maps themselves out on the storyline and casts quite a trajectory.
For instance, the hindrance of the love track between the lead couple, i.e. the parents of the lead actress, who whips you with a jarring impression. The mother being lenient forgives her daughter even though she catches her lover red handed- or should I say naked- and the father blowing off the candle with an exhaustion showing his firm yet protective nature. But above all, you have to love its definition of art. It dares novelize art by suffering for it and embraces it in the narration as it helps at the worst moments of our characters.
And then cons it, by creating it into a pocket filling business that yes, requires skill, but loses the innocence of it. Juggling theses thoughts in its last acts, there is a soothing solace to fall into with a captivating picturization of thoughts wandering in your mind claiming themselves to be sensitive vital memories. Never Look Away, preaches our little boy's mentor and a dear friend, and he doesn't, he keeps looking, simultaneously as we do, the craft in the painting proves the point of the title.… Expand
Average User Score: 8.4May 22, 2019Jackson is hyper about it and De Niro is taking it slow. this choreography is more focused on stunts than authentic dance.
Jackie BrownJackson is hyper about it and De Niro is taking it slow. this choreography is more focused on stunts than authentic dance.
Tarantino is conning us. Literally. With a sublime texture scraped off from these characters, his display of the boneless flesh is too flamboyant to break or shock you. The co-writer and director, Quentin Tarantino's fourth film is adapted from the novel Rum Punch written by Elmore Leonard. And this adaptation unfortunately didn't go well for Tarantino. Busy in his own state of mind and comic timing, Tarantino is either leaping over stuff or overstretching stuff. This results in a bizarre pace for the film, something that takes us plenty of time to fit in into.
And clocking at more than two and a half hours, the flips and turns that Tarantino so effortlessly whispers in the script could barely be reliable enough to fiddle us with these many hokum events. And yes, it does work when it comes to pump our heart fast and scare us through one-liners by Samuel L. Jackson who states it without blinking his eyes. But that could have easily been carried off, without individually introducing these characters in the narration.
By the way, no one hypes up the name of the character like Tarantino, before they even arrive or impress us, the flown rumors are so bedazzling that you ought to cheer up when they finally enter the screen. Jackson has got the coolness of the all the plot points, with a gold membership card, he has access to every track of the film and yet, it feels like he never fully squeezes it out from the script. In fact, any of the cast member, they never come alive on screen, with such a caliber of cast, from Robert De Niro to Michael Keaton, you'd think you would be moved by them colliding on the screen and instead you have to rely upon Jackie Brown who will and does cheat you; she is told to.… Expand
Average User Score: 6.7May 21, 2019The bell has been rung, protect your showcased possessions, this glass tower won't be able to survive the sharpness of it.
Gloria Bell LelioThe bell has been rung, protect your showcased possessions, this glass tower won't be able to survive the sharpness of it.
Lelio is not remaking but recooking the ingredients. And fortunately, it is as delicious as it was in the first place. Usually people consider the momentum of the previously ridden project- especially remaking it- and end up being vague and superstitious about their content, but not him, not Sebastian Lelio, the director. He is a gentleman, not when he is crafting the tiny aspects- the small talks Julianne Moore makes up in social visits or drive through songs she sings so religiously or how she dutifully attempts to mend the broken patches- of the struggle, women go through but when he puts the men in trial.
Fair is their lexicon and familiar is their behavior. Is he extracting this from somewhere, of course, this definitely seems like a work from a good observer; just as good a storyteller he is. Another notable and impressive armory of his, is how confident and serene he is while making multiple characters confront each other and expect us to be moved by the intensity of it. And it does. With such a stupendous dinner conversation among a family, the pivotal point of the film, lives up to the responsibility of it.
By now, Moore is just taking it easy. A career so spectacular and of such a wide range, she has pulled off a trigger like such before too, but not to this extent. She is punching hard frivolously for a more jarring impact and it works, we, as an audience, gets buzzed for it wolfishly. Lelio's world is a place where you would wish to reside in, it is hopeful and pragmatic, you get a chance to walk out of things and come back right into it, it is a free world just like ours, in fact it is ours, but not Gloria Bell, I don't know her but I would surely love to meet her.… Expand
Average User Score: 6.5May 21, 2019Apatow relies upon little wins, in this successively disappointing chapter about depressed characters, Sandler is his biggest win.
FunnyApatow relies upon little wins, in this successively disappointing chapter about depressed characters, Sandler is his biggest win.
Apatow is closing down a comedy club. Ironically, despite of the film title, the director, Judd Apatow has made a film about unfunny people. Sad and lost, drinking their own sorrow, exhaling their fear and failure, this is an incredibly difficult story to pull off. With such poignancy involved- not that it depends upon it, but the route it takes is way too dark and upsetting- the grip could easily be lost with the viewers. Especially, if there is very little to feel empathetic about the characters, something that Apatow may earn in latter stages, but to have that in your pocket from the start would be almost impossible.
Also, he treats his film like a musical. With every step further advanced in the script, there comes a tight five minute of train of jokes plastered as some stand up gig, trying to balance the comedy and drama. Unfortunately, while doing so, what Apatow forgets is that, he is stopping the clock ticking every time he follows the jokes. And as always, a written down joke varies completely different from the one performed, boiling it down to a not-so-tight five minutes.
Seth Rogen is the perfect host, as in he never takes charge on the screen, he is supportive in the perfect way, he allows others to control the energy. And in control is, Adam Sandler in his most darkest role. He is somehow himself, from his intuitions and vocab and body language on the stage, but him destroying himself with various cooky tactics is definitely difficult to swallow. And that sombre part of Sandler is where he excels in the film. Funny Man is not funny and nor is about a common man, ergo the term "normal" gets a whole new definition and the film feeds on it every time, Apatow refreshes it with a new batch.… Expand
Average User Score: 5.5May 21, 2019Cube is getting the bigger cut and he never takes it for granted, just like the world he revolves around, the chemistry is off the hook.Cube is getting the bigger cut and he never takes it for granted, just like the world he revolves around, the chemistry is off the hook.
Barbershop: The Next Cut
Lee knows it is the White House party of the parties. Everybody would want to be in it and everyone would want to have a big chunk of that cake. And offering them enough space to come in and present their show as they feel, the director, Malcolm D. Lee is rearranging the shuffled acts into one big discussion. Yes. Discussion is what the film feels like. And to be honest, it is a fair discussion, swooping in every opinion and perspective and idea and even a politically wrong comment. This is how honest, they are, they mock so arrogantly and accepts the insults and repercussions bravely.
In fact, the very first act is it. Ticking for almost the first half, the discussions are the best part of the film, it starts off from fighting over the equality, they find themselves tangled in a long chain, ping pong-ing back and forth, spewing and biting each other trying to prove their superiority sarcastically. The referential comedy is turned to 11. To someone who doesn't come from that background, would get definitely difficult to grab the momentum of the humor.
Another major improvement is scoffing off the limitations that their previous installments had, correcting themselves politically and going toe-to-toe with the generations, the pace has improved and sensitive content juiced up. Ice Cube is still the sober worker in this shop and Cedric still the most drunk one, no new character coming in with their fresh humorous vocab could beat Cedric's comic timing, he has been in their chair for more than a decade ago and that throne is well earned. Barbershop: The Next Cut may feel like the cut that you have been getting over the years, it's just that they have used the wave of the current media into account that will make you feel like you are new, once again.… Expand
Average User Score: 5.8May 20, 2019Cube and Cedric are going hand in hand winning over each hurdle, they keep the legacy alive, while business comes in handy.
Barbershop 2:Cube and Cedric are going hand in hand winning over each hurdle, they keep the legacy alive, while business comes in handy.
Barbershop 2: Back In Business
Kevin Rodney Sullivan, the director, has equally long film to run through. Jumping in the life of these familiar characters who have managed to exceed well enough in terms of capabilities both personally and professionally and yet as the film ages on screen, they have managed to stay the same. This is how excellent their command over the character is, they flaunt at their best and even at their worst. Not accepting to back down, should have been fabricated as their example of prowess but this is a rough town, and things go down pretty bad, pretty soon.
And yet they never learn, something that never covers the arc completely on their character which by now, I guess is a scheme to keep coming back as an excuse and well, make money; I mean, it is a Ice Cube production. Queen Latifah, the mixture of rivalry and friendly equation with our folks never could own the trash talk she is offered, the overdoing of that every bit of linguistic slices down the earned respect. But fortunately, these additional appearances are for brief moments, what stays with you is who has stayed with us up till now.
It is much more engaging to see an empty room crowded by the range that these revisiting characters needs for nothing but their sassiness. Ice Cube, this time, a bit mature, seeks for guidance to his father-alike figure Cedric who with his own long lost love story, clears all the fuss expressively. This is what I have loved about the series, if it is light footed, it stays by it all the way, even a crisis a big as such could be eradicated through easy mellow methods where the build up matters and not the impact, and that is how they are getting Back In Business.… Expand
Average User Score: 5.8May 20, 2019Just to see Cedric shave and preach, you can stay for the whole day in this shop, it won't get wasted for sure.
Barbershop Story is not muchJust to see Cedric shave and preach, you can stay for the whole day in this shop, it won't get wasted for sure.
Story is not much of a narrator, but definitely can tell a funny joke without any jokes. The film feels like some episode of a sitcom. Parallel-y the tales are enfolded with a revelation of foolishness carved out smartly and calculatively, the director, Tim Story, had to only juggle that very aspect and all was and is game. It is also incredibly and instantly likable, more than even Spike Lee's Do The Right Thing, and probably because it is light on feet, in contrast to Lee's heavy sensitive issue spewed like vengeance, fair and square. Never have I seen a film so smooth and confident in its tiny tales of woe it tells by mocking it and accepting the consequences of it.
Picturing the lifestyle of barbers in a barbershop, in one day, there is a lot to enjoy, learn and laugh from. And as Cedric The Entertainer once says, "If we can't talk straight in a barbershop, then where can we talk straight" and so it does feel that honest. The warmth between the characters comes in easy just as the bitterness does. They are ready to go at each other in a snap and also ready to make up in a snap with Marvin Gaye playing in the background.
Ice Cube as a mislead young man and easily seduced and troubled family guy trying to reach for more, spirals out a chaotic event so big that even a gang that cannot stand each other, stands once and for all, together. To me, Cedric would be the game changer in here, his elderly persona where he treats others like students, his students by heckling and inspiring them in each steps, is a proper reliable statement. Barbershop is a shop for sure, you come in and get what you want, you'd be surprised with the quality of the product and why not, it definitely is a new bold fashion look.… Expand
Average User Score: 7.3May 20, 2019Robert pitches the idea to Anya and Anya, well.. brings the dead alive.
The VVithch: A New-England Folktale Eggers respects the rituals andRobert pitches the idea to Anya and Anya, well.. brings the dead alive.
The VVithch: A New-England Folktale
Eggers respects the rituals and in return the rituals him. By the time you are done with the film, you ought to have some faith in these folks. The writer and director Robert Eggers having confessed that it is adapted after going through tons of tales and rumors and history of such themes, he has narrowed it down to a gripping family drama. Yes, a family drama. It may resemble with Nicholas Hytner's The Crucible, but before that it is about a family trying to get over from the past and heal themselves from the wounds rather than reminisce about it.
But when something so powerful and unknown casts his or her eye on the weak, there is very little time to fight back. And the family struggling with the outer threat, Eggers takes us through all the perspective, decisions and attempts they pull off to survive in this mayhem. That very middle act, is the best part of the film. You feel claustrophobic as the loved ones turns against each other and enraged when your host is put on trial.
Pointing fingers at each other, blaming at each other, we, as an audience, are also kept under the curtains, which not only teases our brains but our emotions too as we wish it to not go the way, that we have always feared, up till then. And Anya Taylor Joy at the centre of this family crisis, is giving her best as the character and actor, embracing the evil side of her and succumbing to the softer absorbing aspect, she spices up this formula, a long before it grasps a proper pace. The VVitch: A New England Folktale is English, is new, is Witch-y, is horrifying, promising and spectacularly painted with gore visuals that are definitely not for weak hearts.… Expand
Average User Score: 8.8May 19, 2019If Maguire is a teenager, then Caine is his father, watch this relationship go up and down, and swing by gleefully being a carefree kid, onceIf Maguire is a teenager, then Caine is his father, watch this relationship go up and down, and swing by gleefully being a carefree kid, once again.
The Cider House Rules
Hallstrom is a funny man when it comes to shine the humor on a mellow drama as such. With introducing characters smoothly as installing jokes in sensitive situations, the director, Lasse Hallstrom has perfectly timed the tracks of each character syncing in one melodious and also ironically chaotic room. And boy how sketchy it looks and how sitcom-y it feels. You'll be giddy up for this whimsical world rooting each perspective wishing them to be successful just to see how far do they push the boundary to tone the temperature to their preferences. I am drawn to this light-footed world because I grew up watching them (it defines the 90s at best) with my brother in a lazy Sunday morning, I may not be an unbiased judge, but it surely is thoroughly engaging and entertaining.
What makes this script complete above all, is equal contribution of the characters in the final product. They come in with a new lexicon, fresh beat and originality in their opinions, they ought to stand alone, even the sinister ones, if thought about it, there is something sparkly about them; wrong definitely. Tobey Maguire proves it was a perfect casting, from being childish to a smart cookie- at least in his own field- he is the dream protagonist to such a rom-com.
Charlize Theron is the most misleading person in the film, admittedly she is successively on the wrong track, bridging the equation with a balanced natural view. But to me, this will always be Michael Caine's film. He mourns, he guides, he mocks and he comforts. His eyes gazes into an object and it somehow comes alive, so beautiful is his language and so picturesque his notes to these so called adolescent beings- the letter are some of the best part of the film- that you feel you learned something new, outside The Cider House Rules.… Expand