A *lot* of style without the substance to back it up. An interesting setup becomes immediately less interesting when the movie decides to sacrifice the audience surrogate for shock instead of maintaining a more cohesive and thematically interesting narrative. It doesn't help that the movie is then extremely self-impressed with its own shocks. All comes together to mean that instead of leaving asking anything of deeper substance, it's hard not to ask, "well, what's the point?"
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Magic Mike 2012
Me: I love how yellow and hazy all the daytime stuff is shot with Channing Tatum dreaming during the day but brought to reality at night.
Julianne: I love his butt.
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Miss Congeniality 2000
Realistically an extra billion stars for having the only right take on April 25th.
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Nickel Boys 2024
If movies and art are "empathy machines" by allowing you to see the world from another person's perspective (and they are), I'm not sure I've seen a film use everything - camerawork and shifting focus, editing, sound, and anything else at its disposal - to, for all intents and purposes, literally put you inside the head of another. That alone would be enough, much less the emotional depth and impact of the rest of the piece.
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The Green Knight 2021
This is so easily the best-looking movie of the year, and probably of the past few. With the lightning and cinematography of a mix between Blade Runner 2049 and The Revenant, it also has the same slow-burn, hypnotic feel of the former. It starts a little dry (and took some time for me to buy into the King Arthur/Fantasy style), but it didn't stop getting better and weirder as it went along, and finished with an immensely satisfying and chilling finale for the best movie of the year.
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