Perfectly Paul Atreides: filled with promise, irritatingly overconfident. Creating a 2020s Star Wars replete with creepy throatsinging and implausibly eggy spaceships is an admirable goal, but the effort to create ambience displaces much of the plot. The middle third of the movie particularly lags, with gorgeous visuals of gunships and warfare that don’t really amount to much, especially since we’ve just met all the characters. Still, the atmosphere and the back third of the movie make it a Hollywood spectacle. …
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He Got Game 1998
Sometimes movies should be miniseries to best tell the story; this should have been an episode of Atlanta. The core father-son plot has extraordinary tension composed of beautiful scenes (Denzel hugging Ray on the pier will live in my head forever). The surrounding drama about college recruiting and the sexually-deprived convict are so hollow and played that you could axe them and lose none of the essence.
And props to Denzel for making all those bank shots with that busted form.
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The Killer 2023
Slickly styled assassin thriller set in a hyper-atomized gig economy where anonymous workers can be remotely directed to deliver key gob copiers and targeted killings. The relentless monologues from Fassbender draw from the endless wells of self-help speak and side hustle ethos. By making the main character almost insufferably banal, Fincher is seemingly asking the audience what the killer asks of himself — are we willing to pay for a well-designed digital editing with boredom, or is it simply more fun when plans go awry?
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