Another Disney classic I have never seen. Unfortunately, this one is a little outdated, promoting sexist ideology and rigid gender roles. Cinderella, despite her (very feminine) virtues, achieves absolutely nothing without the help of her friends, making her a powerless side character surrounded by doers. Visually, this piece is disappointing as well, with bland characters and unimaginative drawings. Not a favourite. 2/5
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| source: pathe.nl |
Essentially just a teenage rehash of Groundhog Day, but surprisingly captivating. The actors were all good. Zoey Deutch managed to imbue her character with enough soul to make her interesting to watch, and her chemistry with Logan Miller, who was very credible as awkward childhood friend, was great. The script was pretty up-front with what was happening – the main character did narrate – but the meandering path the film took to get there was surprisingly unpredictable at times. The only major flaw was the utterly unsatisfying ending. I didn’t feel that the “solution” explained what was happening at all. It just didn’t make a lot of sense. 3/5
PS: it was also funny to see Nicholas Lea in this - Agent Krycek from the X-files (I knew he looked familiar!)
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| Source: Imdb |
This romantic comedy was unexpectedly entertaining and had a lot of heart. It featured an adorably awkward performance by Freddie Highmore, still growing into his own as an actor and not quite unfolding his full potential here. Though his work is perfectly adequate for this film, he is unable to surprise. Haley Joel Osment, on the other hand, gives a brief but memorable turn as supportive friend. He clearly feels confident in this character and that carefree-ness is palpable. Overall, the cast was perfectly alright.
The scrip felt fresh and fairly unexpected. The characters came across as mature and life-like, not some boring cliches. They spanned the whole spectrum from genuinely likeable, honest and kind Charlie to his despicable father, the exact opposite of him. The humour was gentle, but genuinely funny. It made me laugh a few times, which is generally difficult to do. Yet, the story also dealt with more serious issues such as trauma and mental health, and how it affects your life choices. I actually felt a personal connection there, and the dialogue seemed pretty on point.
On the technical side, this was pretty conventional. They struggle with sub-standard lighting in a few scenes, though.
An easy 3/5 for originality and calm story-telling. I liked it.
PS: Freddie Highmore and Odeya Rush had great chemistry, too.
Source: Imdb
Finally got around to watching this Disney classic, and I have to confess that I severely underestimated this film. I expected a flat and boring cookie-cutter romance with a damsel who happens upon her prince charming and they live happily ever after, but there was quite a lot more action going on here. While this IS a love story, Belle is far from a damsel. Her character (for a Disney film) is surprisingly fleshed-out: an intelligent, independent woman with a straight spine; a feminist at heart. I was really impressed with their efforts to show different facets of her character and they spent a lot of time building her. Similarly, I thought that Beast came across quite a lot better than he could have, too. His anger is completely understandable, but so is his transformation. The suicidal ideation at the end is startlingly dark for a children’s film, but makes sense, too, and adds a definite gravitas. The side characters are good as well. I loved Chip, and Gaston is just such a disgusting misogynist scumbag that his presence just highlights what a great heroin Belle is.
Visually, this film also had a lot more to offer than I expected. The shots were great compositions rich in detail, with flowing animations full of interesting little ticks and gestures. The only thing that was a bit too much were the really, really long musical numbers. Those could have used a bit of editing. Also, how did they go from winter to summer in (and I quote) 12 hours? Be that as it may, as Disney films go, definitely one of the best. I’m tempted to give 4/5.
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| Source: amctheatres.com |
A visually opulent, but forgettable period drama about the lives of four sisters. Thought they had a cast full of young stars such as Timothée Chalamet, Emma Watson and Saoirse Ronan, who all did a good job, the film didn’t really hold my attention. Sure, Chalamet is fascinating to watch and the on-screen chemistry in the love triangle is remarkable, but that’s about it. I couldn’t really get invested in any of the stories, of which there were too many, and the time-skipping didn’t make it an easy watch with all the characters to keep track of. I also got frustrated with the main character’s story, as her sister seemed to get all the good stuff that was actually her due, and I can’t stand unfairness like that.
The costumes and sets were nice to look at, everything was a bit too colourful, as well as unrealistically clean. I understand that the colour palette is supposed to illustrate the bright memories of a loving childhood, in a way, but it was just a bit too much.
All in all, 3/5
This sifi film with aliens living in a slum in Johannisburg is quite original. The plot is inventive, though the script comes across a bit crude. I feel like there were many opportunities to draw parallels between the events on screen and past or present situations in the real world, but any hint at a reflection on actual history was quickly disfigured by the illogical extremes the people in the film went to.
The main character benefited from excellent casting – Sharlton Copley pulled off the dumb-looking paper-pusher just as well as the disillusioned and traumatised victim – but is not someone to get behind easily. Still, he is interesting. At first, it’s easy to mistake him for a half-wit who just loves to live by the rules, but he soon displays competence. However, even after suffering trauma and a reality check regarding the true nature of his employer, he does not magically turn into a good person. He still follows questionable motivations that in his head clearly seem completely natural. Only at the very end of the film does he begin to truly change – in more ways than one. It’s refreshing to see an anti-hero lead the story, someone you not quite hate but also don’t feel particularly drawn to.
The other characters in the film suffer from bad writing. All of them just seem inhuman, and it makes you wonder whether this whole situation with the alien “guests” and constantly being surrounded by crime in South Africa made them that way, or if it’s just incompetent writing. The aliens don’t make much sense at all. They seem of fairly low intelligence, which makes the one smart individual seem very incongruous. Still, low intelligence or not, they are clearly sentient, so it does not make any sense at all why there are no diplomatic efforts under way.
The visuals were remarkable, particularly considering this film is a staggering 11 years old! They chose a colour palette and a type of grainy filter that masked the CGI and creature effects very well making everything blend together perfectly. Good editing and prosthetics did the rest. Certainly a technically challenging project, but they took it on with great success. The only bit I could really have done without was the copious and gory violence.
A difficult piece to judge. Surprising in its originality, impressive in its visual execution, but with a story that did not really seem to fulfil its potential and puzzling characters that prevent the audience from truly empathising. 4/5 for effort.
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| Source: otakukart.com |
The story had a bit more potential, but they deserve points for effort. The ending set up a sequel, which I am actually quite keen on, so obviously they recognised that there was a lot of room for more. I thought they could have delved deeper into the philosophical implications of their near-immortality, though, and a little more background on the characters would have been good. In general, the character design was one of the things where this project fell a bit short. Despite hinting at a deeper history, everyone just felt a bit flat, writing-wise. Particularly the romance between Nicky and Joe deserved more care. I like that it was integrated into the film as a completely natural thing, as nothing to make a fuss about, but it still felt a bit superficial. Maybe it was the lack in chemistry between the actors.
The technical execution of the project was competent. Netflix has certainly gotten a lot better at movie production, striking a good balance here between gritty and excessive, HBO-level kind of violence. In fact, where in previous projects, violence and gore seemed to have been just shoved in to be edgy, here they finally found a point where it seems an organic part of the movie. The visual quality of everything was quite good, except for some of the fight choreography, which was saved by the editing in some places. I loved that they spent quite a bit of time in London. Always good to see familiar places on screen. They also had an awesome soundtrack (this seems something Netflix has always been genuinely good at) even if I am missing a clear stylistic line in the music.
All in all, a good film, never boring and well-made. The only reason why I can’t give it five stars is the lack of true heart. I didn’t feel a particular emotional resonance. 4/5
Source: Fanart.tv
This Disney classic King Arthur origin story was very entertaining, but didn’t really have a plot (or anything much to do with a sword in a stone, for that matter). The whole film was little more than a series of lessons where Merlin turned Arthur into an animal and didn’t really teach him anything that I could see. It lacked a tension arc and any kind of build-up. Yet, the minimal characters seemed oddly fleshed-out, and I loved the meta aspect of Merlin’s knowledge of the future. I also liked the toned-down, child friendly violence. Nobody ever gets truly hurt or killed.
The drawings were beautiful to look at, with lovely mat watercolours and great animations. I miss this basic but expressive drawing style, and the hand-drawn aspect of it adds subtle detail that a computer misses.
An entertaining film sure to fascinate kids just as much now as it must have back then. 3/5
Source: heyuguys.com
This drama dealing with unfaithfulness in a happy marriage was just as bland as I expected. Keira Knightley was her boring self and Sam Worthington was under-utilised. Though all actors did a good job, the script material was just not great for a film production. It could, however, potentially be made into an interesting play.
The only great thing about this film was the soundtrack. With people like Moby and Clint Mansell contributing, there was hardly any piece that wasn’t fantastic.
All in all, a rather boring piece, even if it was technically well-made. I suppose I was also not in the mood to appreciate it. 2/5
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| Source: overland.org.au |
This drama about a fugitive’s game of cat-and-mouse was just stuffed full of stars. Robert Redford, Sursan Sarandon, Shia LaBeouf, Nick Nolte, Terrence Howard, Stanley Tucci, Julie Christie, Brendan Gleeson, Anna Kendrick and Brit Marling, to name a few. I suppose as Redford was directing this project, everybody just said yes, even for small parts.
Redford himself gave a more energetic performance here than in most of his recent pieces that I have seen – though it still lacks credibility that he would be father (not grandfather) to an 11-year-old. Shia LaBeouf was very competent as cheeky, resourceful reporter. Not his most interesting role, but he delivered, effortlessly holding his own against bigger names (at that time).
The script itself was carefully constructed, but became a bit predictable and slow in the last third. What could have been delivered as a spiralling thriller ended up feeling more like a run-off-the-mill cat-and-mouse game.
Redford did a good job with the directing, though. The cinematography was atmospheric and the minimalist score was gorgeous.
3/5
Source: Wordpress
This drama by Michael Haneke about an elderly husband looking after his ailing wife was both
touching and utterly terrifying. The two main actors were truly outstanding,
perfectly cast, natural and fearless. It must be scary for them as well to play
these parts, knowing that they might be looking at their not-so-distant future.
And this is what makes this film so frightening: it’s a very detailed look at the
fate that awaits most of us at the end of our lives, poignantly captured by ruthlessly efficient and
unadorned cinematography.
The entire film takes place in one Parisian flat, with a few side characters popping in and out, but mostly it’s just Anne and her loving husband. There is no score to embellish the stark truth the pictures are displaying, but there are some incredibly long takes, highlighting the extraordinary talent and bravery of the actors.
It is very hard to rate this film. It is technical perfection, but it did feel very long – I was ready for it to be over after one hour, but it picked up after that – and has no conventional entertainment value. Based on this dichotomy: 3/5
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| Source: Blogspot |
This movie combining a crime thriller with a romantic drama was very dark in places. It told the story of two failed marriages parallel to the plot of a crime novel one of the characters was reading. Unfortunately, the plot struggled to create much tension in either story. Despite the oppressive, dense atmosphere, and mesmerising visuals, the film couldn’t hold my attention for the whole duration. This was not due to any lack of technical prowess, though, as the entire production was clearly of superior quality.
Jake Gyllenhaal was simply outstanding, playing the double role of a sensitive author and a bereaved crime victim out for revenge. His performance was stellar with its raw, gritty emotion and silent suffering. The criminals were perfectly disgusting and the Sheriff a satisfying kind of old-school edgy. However, Amy Adams was mainly nice to look at and sadly, there wasn’t nearly enough of Armie Hammer or Michael Sheen in this.
On the visual side, it was apparent that a designer had his hand in this. The colour palette. The sophisticated, polished concept of the sets,… The shots were obviously composed with intent and determination, based in a clear vision, as well as competently lit. Everything was blanketed by a gorgeous score from Abel Korzeniowski, who has already cooperated with Tom Ford on the unforgettable film “A single Man”.
All in all, a well-made piece. Just not my cup of tea and therefore 3/5
