Determined to avenge the death of his partner, a huge cop with limited vision recruits an Uber driver to take him to the city’s most dangerous parts.
Watch the trailer! What you see is exactly what you sign up for. If you like it, you’ll like the movie. If not… Bob’s your uncle. In a nutshell, Stuber and the genres accompanying it, describe accurately what kind of a film it is: action/comedy/crime. There is a crime and then there is a lot of comedic action that follows it. Dave Bautista and Kumail Nanjiani make a funny duet in a project that looks like… erm… a… version of Taxi (1998)? It isn’t, but you get the idea. Mira Sorvino, Natalie Morales, Betty Gilpin, Iko Uwais, and Karen Gillan complete the cast and charm the film even more with their presence.
There is no reason to be negative and bitter about films such as Stuber. It is an R-rated funny-buddy-action flick with the only noble intention to entertain you and nothing more. After watching the evening news, Stuber is definitely the right choice before bed.
A man is offered to coach the high school basketball team that he used to play twenty-five years ago, but personal suffering and alcoholism will only exacerbate his problems.
I watched The Way Back based on assumptions. I thought it would be a Disney-like film about a man who struggles and through the kids’ basketball team finds redemption where, in the end, everyone lives happily ever after, the family watching it turns off the TV, and everyone goes to bed with a smile. Without revealing too much, I will tell you that this is not the case. Not really. Watching it, I found the lines were blurring between the plot and the subplot. Is it him and the basketball team the plot and his suffering the subplot? Or the other way around? I’ll leave this one with you, food for thought.
The Way Back has many strengths. Ben Affleck, who has faced himself several personal issues, alcoholism included, is always mastering roles such as this. Roles such as this made him famous and films like these are the reason his presence in front and behind the camera is still holding strong. Director Gavin O’Connor does a brilliant job making it an existential drama and I guess his experience from his previous drama/sport Warrior (2011) helped a lot. Then, all kids from the team deserve a round of applause as their performance is astonishing. A very well-executed film with an ultimately dramatic soundtrack.
The Way Back took a huge hit at the box office as every film did that premiered in March 2020. And it may not be Warrior, but it definitely deserves your attention. Yes, there are Disney elements in it when it comes to the basketball team and their effort to climb to the top. But when it comes to daily waking up to an “intolerable reality”, an HBO-esque feeling knocks the walls down, revealing you that in real life there is no easy way out. And, some times, unfortunately, not even a way back…
A college student who suffers from a recurring nightmare and her sorority sisters decide to break into a mall one night while a serial killer is out for blood.
One of the best mediocre 80s, slasher, nonsensical, American horrors made back then. Brilliant for American millennials to get educated on how their parents acted – and what they were wearing – during their college/Uni years. Well, up until blood starts splattering everywhere.
The acting is almost as funny as the haircuts; almost. The storyline is the perfect motive to stick popcorn in the microwave and put your feet up, the music and sound effects will make you laugh out loud, choking on that popcorn, and the editing will finish you off.
Have a friend around or a couple of good ones. Share your problems, concerns, and thoughts, and when you’re done, hit play, forget our horrible reality, and enjoy just over an hour and a half of unintentional fun. I know I did.
A hard as nails cop joins forces with a crime boss to take down a serial killer.
Based on a true story, The Gangster, the Cop, the Devil will get your undivided attention right off the bat from the opening scene. The South Korean film school proves time and time again that no matter what the genre, the outcome will be fulfilling and worth every minute you spend on it. Mu-Yeol Kim and Ma Dong-seok as cop and gangster respectively, develop excellent chemistry in their unlike partnership, offering a high-octane action / thriller trying to capture an unknown serial killer.
Captivating photography, engaging editing, and brilliant character and story development. Ma Dong-seok, after his amazing performance in Train to Busan (2016) comes back, punching above his league and comes out a winner stealing the show. Also, check Mu-Yeol Kim in Forgotten (2017) https://kgpfilmreviews.com/2020/05/25/forgotten-2017-mystery-thriller/. Both films HIGHLY recommended.
A young woman picks up her husband from prison but a car accident will put them up against hostile locals and a monstrous legend of the woods.
I’ll start with the good news, it’s less. Intriguing story. Not very original, but makes an interesting bigfoot logline for a film. The ones who have worked hard on this film are the makeup department’s boys and girls, making everyone’s death gory and fun.
All the rest belong to the opposite of good news. Directing, acting, and script are at best mediocre. Shame to see a decent story be somewhat crashed by the very departments that were meant to elevate it. But the story survived the crash… only to get irreparably crippled at first and then face a slow, painful, and vicious death – worse than any creature can cause – by editing. It is by far one of the worst edited films made in modern history. Absolute shame.
At the peak of the Cold War, a man comes back from a mission to reunite with his family only to find out that their marriage has fallen apart and an eerie entity might be behind it.
Possession is the art of writing, directing, editing, and acting with no rules. No. Rules. It’s been at least a couple of decades since I last time watched it and the first time, not knowing how to properly “read” a film, I just found it bizarre and moved on with my life. Now that I know a bit more, I can tell you with certainty that no review or analysis can be adequate to make one understand with certainty how, what, or why everything is happening. In addition, there is no way to predict who will like it and who won’t. Personally, I couldn’t recommend this film more to horror / mystery / thriller fans but also cinephiles with whatever particular interest they have in films. If you decide to watch it, here’s what you sign up for:
Sam Neill’s and Isabelle Adjani’s best-ever performances. Theatrical, verbal, and non-verbal performances like anything they had delivered before and anything like they ever attempted again to this very day, almost 40 years later.
Andrzej Zulawski’s most intricate script. Where did Mark come back from? What is he so good at? What is happening to Anna? Why does Helen look like…(no spoilers)? Why does everyone speak and act in such a way? Are their responses somehow related to “the thing”? Where did that thing come from? The fear. The possession. The siren… Zulawski defied rules and conventions, making an unprecedented, satisfying, yet questionable horror, heavily censored in the US and banned in the UK.
Zulawski’s directing which haunted both Neill and Adjani, taking them years to shake off the extremely unpleasant experience they were put through. Reportedly, Adjani stated: “He [Zulawski] is a director that makes you sink into his world of darkness and his demons”. His lens is captivating and the photography mesmerising throughout all three acts.
Editing-wise, Possession becomes the Bible of when not to cut! The pace and rhythm are remarkable and as this is a performance-driven film, the editing is patient enough to move on to the next shot only after Neill and Adjani have given their 100% or more!
Think of Possession as The Last Tango in Paris (1972) meets Kramer vs Kramer (1979) meets The Thing (1982). And that’s what I’m going to leave you with. For readers who have watched it, if you want to, please read further.
I cannot even begin to imagine the reactions to the introduction of hentai pornography in a live-action film, in the early 80s, in the Western civilisation. If you know any European, (North or South) American, African or Australian films including hentai tentacles prior to Possession please let me know in the comments. I believe that awe and shock don’t even come close to describing the majority’s feelings. Personally, I think that the concoction of feelings and emotions throughout the film does not fall under one category. To the point where, possibly, you won’t even be able to explain how you feel or why you react the way you do to certain stimuli. A daring cinematic experience!
Once she thought that she had fulfilled her purpose and closed the loop, Tree finds herself waking up once more on her birthday… but nothing is the same.
Here’s an analogy for you. The first one was kinda scary and kinda funny. Now, this one is not scary and very funny. So, what do you think? Does that make it a better sequel? There is also an upgrade: The mixture of Groundhog Day (1993) and Back to the Future (1985). The good news is that there is no bad news. What you think you sign up for, it is exactly that. There is some suspense, the science is laughable but no one is trying to convince you otherwise, the editing adds to the film’s quality and creates the desired emotions, and everyone is playing their part as they should be. Speaking of, there is one surprise; a happy one…
Jessica Rothe! The film’s source of hilarity is also the cause of the heart-warming drama that will cut your breath short even for those tiny given moments. Director Christopher Landon does an excellent job directing the mother/daughter sequences so, congratulations are also in order for the actress Missy Yager.
Very enjoyable! It will definitely make you forget our miserable reality even for that hour and a half.
After an experiment kills millions of people, the living must get used to coexisting with the ghosts the dead left behind.
Right… I’m gonna cut to the chase. If I’ve said it once, I’ve said it a thousand times. I don’t judge the film but its intentions. So, if you decide to watch it, this is what you sign up for:
Weird guy no one likes except for the emo girl.
An American(!) school full of students where no one is obese.
In fact, an American(!) school full of (white) people where EVERYONE could as well be an underwear model.
Back to the emo/weird, they are investigators, come up with a theory that no one ever thought before or believes now, and fall in love.
In the end, you’ll never guess, they were right all along. Every other buffoon scientist wasted their degrees.
Music, which is not bad at all actually, accompanies every single sequence as the narrative and dialogue are beyond understanding.
Speaking of something decent, photography and set decoration are dark and compelling respectively.
To conclude, do you remember the 80s and 90s teenage horrors? Then forget about this! I don’t like doing reviews like this one and I have no idea what possessed me to watch it – Maybe the past, glorious days of Dermot Mulroney. Strictly under 15. Please provide ID before hitting “play”. You’ve been warned!
To everyone responsible for this film: Do not underestimate your audience’s mentality! It is immoral and, for that, you pay the price ==> Opening Weekend USA: $815 (Source: IMDb). Producers, accept the facts:
The US is a country of multiculturalism.
There are people who may not fit the profile to advertise fragrances but they are beautiful in their own way nonetheless.
Cast actors and actresses according to their skills, not your fantasy of the ideal appearance.
Having spent 10 years in prison, Capone gets to spend the last year of his life at his mansion, suffering from dementia and visions of a violent past.
A few people asked me to watch it and tell them what I think. Well, here it is…
There are four (4) different points that need to be looked at rather than overlooked: The most obvious is Tom Hardy who, no matter who he portrays, he portrays them with effortless artistry. So, don’t pick up the stones yet. My next point is the A-list cast who supports him equally well and poses no threat to the film whatsoever. Then, it’s the makeup. Now, here I can see that you are looking at the stones again. If I had started watching the film ten minutes into it, I would think it’s a zombie or vampire Capone. The problem escalates and climaxes with the fourth point which is the writing that is all over the place. It seems like it parodies Capone’s end, and I can understand how this can be somehow offensive even if it’s regarding a criminal like him.
Writer/editor/director Josh Trank thought it would be a good idea to combine approaches taken by David Lynch and Stanley Kubrick and portray the well-known Italian-American as if he’s walking between two worlds. In such light, a major issue becomes the main genre that officially characterises the film and, consequently, the viewers’ expectations. As someone who doesn’t know much about Capone’s last year, I didn’t see it as biographical as I didn’t see any crime either (that one shooting doesn’t count).
Trank was somehow lucky – even though that might be an inaccurate term. Should the film had a theatrical release, chances are that it would have suffered a similar or worse fate than his last film five years ago. My humble opinion is that he is a great independent director who faces a lot of issues when it comes to collaborating with major studios. Chronicle (2012) is a solid proof of that.
Four African American veterans return to Vietnam for the first time after the war ended to find their fallen brother and leader and claim something they consider rightfully theirs.
The opening sequence hits the nail! Right off the bat, you know exactly Spike Lee’s angle on this one. From Ali’s heroic statement to the historic footage that follows, Da 5 Bloods promises to be yet another Lee’s film way ahead of its time. But it isn’t. It most certainly is not. So what happened?
The story is quite an adventure. A sweet and sour and powerful one. The heroes are relatable and so is their background. Delroy Lindo, Clarke Peters, Norm Lewis, Isiah Whitlock Jr., and Jonathan Majors deliver powerful performances. Furthermore, Newton Thomas Sigel’s cinematography is gripping. So, again, what happened? I’ll start with the music. For a film that mocks Rambo, it surely shares a similar score that accompanies it throughout most of its moments, killing the emotion. Then, there are two major problems. The lesser problem is the editing which can make or break every film. And in this case, it is at least mediocre. So, what can be worse than mediocre editing? The script! The one too many weak subplots overshadow the main plot that has one too many gimmicks. The gold’s and body’s discovery, and the team arriving at the right place at the right time are just the tip of the iceberg. Before and after that, it just remains unreasonably and purposelessly convoluted. Shame really. Real shame. Should you decide to watch it, enjoy Lindo not holding back one bit! The best parts of the film.