IWasKnownAsThe1SentenceReviewer

"Set in - while disconnect from" the DC Universe, please welcome the latest bug in the genre:

An over-melodramatic over-complicated way-too-long but oh-so-classic origin story with lots of blue, lots of bugs, lots of tears, lots of screaming and very little surprises...

The only positive and interesting part in this here-we-go-again-with-a-new-cheap-superhero (who, just like so many others shares similitudes with - or heavily borrows from - MCU characters: Batman's utility belt, Hank Pym's technology, Spiderman's abilities) is the fact that the new host is a second generation American born in a Mexican family of migrants now living in an area threatened by the global sea level rise (more than Kord - almost Dork read backwards)

This reviewer was expecting to see Jean Gabin again, after having starred as "Max le Menteur" in Touchez pas au grisbi (1954) and The Counterfeiters of Paris - original title: Le cave se rebiffe (1961). Instead, Lino Ventura is now the antihero of the story.

Michel Audiart's dialogues are not as funny and sharp as in the previous films, the gun fight in the backyard is just ridiculous (the attempt at slapstick comedy with the hard-of-hearing old man fails miserably) and the famous kitchen scene only shows very bad "drunk acting".

Not to mention Ventura's obvious wrestling moves and the absence of a decent plot.

Interesting piece of French cinema, with "monstre sacré" Jean Gabin and famously acid dialogues by Michel Audiart.

The story is actually quite interesting and the era so foreign so this reviewer was actually metaphorically glued to their seat.

The White male characters are unfortunately first class condescendant towards minorities and women but this only sadly reflects the time and history of Western privilege.

In a nutshell: excellent and enjoyable stand alone part II in a trilogy with Master Liar Max the Trickster (personal free translation of Max le Menteur).

A review in 600 characters.

Way too long and melodramatic for the intended audience: this is supposed to be a movie for children and yet it goes on and on with little to no adding to the story.

Sing (2016) was sung, Madagascar (2005) was set, Trolls (2016) featured its pop singer, The Greatest Showman (2017) had its hat-wearing star; what does Lyle, Lyle, Crocodile(2022) add to the picture?

Sempiternal same story, plot, characters, set up, no funny jokes, poorly recreated zoo, this reviewer cannot start listing the innumerous number of clichés and copy/paste twists.

In a chocolatecheerryshell, apart from cute lively and believable Persian Lorretta, this movie is not standing tall...

Old, classic, slow French 1950s gangster movie.

What's not to like of giant actors Jean Gabin and Lino Ventura (though his debut film from wrestling)?

Maybe the inexplicably unexplained first scene at the restaurant and the misguiding Marco sent to do business with Pierrot and Angelo?

Or is it the atrociously misogynistic manners of heroes and foes alike towards sexualized actresses?

Probably the latter...

In a nutshell, an excellent example of what the French cinema could bring to the screen in the 1950s; best to view it as a historical artifact than a film one can swear by.

600 characters.

SPOILER ALERT: "Ex-wife asks her crippled ex-husband to extract her sister because he is the only high ranking Australian actor to be able to do the job"... This only should be a no-no and a go-back-to-square-one-to-come-up-with-a-better-plot.

Very melodramatic beginning, obvious "Will you take the job?" moment - of course he will... -, Rocky-gets-ready-to-fight rehab (The Eye of the Tiger would have been way too obvious) and then... Action!

When the car chase started in the first movie with its intricated camera works and edge-of-the-seat action, this reviewer was "waoh-ed", but with the sequel, the response was just an annoyed "again?" until it transformed into a "ouch, very lame green screen effects" sigh.

In a caseshell: First Extraction yes, melodramatic ending; Second Extraction, no, even without the melodramatic beginning.

Was it my TV settings or my Netflix connection? The cinematography resembled more a documentary than a Hollywood film, and the green screen shootings (in the mountains, in Ethiopia during the first scene) were horrible.

I thought this movie to be so "Americorny" and asked myself "Why would I want to watch a film that does not add anything to In the Line of Fire (1993) or American Sniper (2014)?" until I revised my judgement at the first plot twist and was suddenly thinking "Yea, I can do with another Jack Reacher/Jason Bourne-like franchise.

But very soon, the hypersexualised Kate Mara and her heavy fake accent, the non-disabled actor playing a disabled character Rade Serbedzija, the running-away-from-the-machine-guns-in-slomo and walking-away-from-the-explosion-in-slomo Mark Wahlberg made it quite hard to connect

Big shout out to the perfectly nailed politician from the South by late Ned Beatty.

Had it not been for the fact that this film - sadly - is based on a true story (it is the director's childhood/autobiography), it would have been a horrible tale to tell with no purpose what so ever.

However, if showing on the silver screen a child actor sexualized and torn between her abusive mother's and her devout (great) grand mother's loves is the only way to spark discussion around child abuse, then so be it

This French movie is rated "Tous publics avec avertissement" which would translate by "General Audiences with caution", which seems very inadequate regarding the topic, the female full frontal nudity and the lascive poses of the tweenaged girl showing her buttocks.

At last a decent Astérix & Obélix movie for the following main two reasons:

1/ The cast is great: Gérard Depardieu was a horrible Obélix, where as Gilles Lellouche is absolutely perfect (grumpy yet soft) despite a low-quality plush fat suit.

Thumbs up to the princess and her bodyguard.

Guillaume Canet really helped bring Astérix to life.

Jérôme Commandeur's face was weirdly made up as the village chief and Jonathan Cohen was not as good as one would have expected for such an important supporting role of Graindemaïs.

Cassel is an even greater and more obnoxious Caesar than Alain Chabat was.

2/ The puns and the comedic actions are just hilarious but sneeze and/or blink and you miss it (Johnny Halliday songs, Zlatan Ibrahimovic's footbalistic misadventure, Crouching Tiger parody,...) even if you know French culture as well as the next reviewer.

This movie was described as "mildly enjoyable until it becomes really dumb" but this reviewer rather finds it "mildly enjoyable until it becomes really fun".

The acting is great, the age difference (and all the fuss around it) is refreshing, the jokes are decently funny, but moreover the critic is acerb (young and old, rich and poor, powerful and not).

However, the female full frontal nudity explicit images of the (possibly going to be infamous) fight on the sand is neither believable nor helping the story.

In a nutshell: interesting, funny, thought-provoking comedy with two very good actors.

Horribly not funny: the first opus was fresh, this "new round" is just swearing, obscenities, poor storytelling and an unbelievable hotel manager baby sitter.

Despite the cool, calm, lovable crazy character of Ron (why "Ron" by the way?) interpreted by John Cena and the first few funny lines by Malaysian actor playing a Korean character Ronnie Chieng, this film flatly fails to entertain and will certainly crush the viewer as nastily as the Hawaiian wave on a drown yet alive Markus.

In a coconut shell, not worth the watch, simply because the crude jokes are NOT FUNNY!

A review in 600 characters.

Awful acting, super-slow scenes, visually disturbing opening credits showing mummified human genitals, startling "seventies" cinematography and kitsch color palette: all clash with the numerous positive reviews and generally acceptance of this film as a good one.

But the passiveness, the seemingly sexually aroused play(with her)-as-(she)-lays Isabelle Adjani, the moaning, the orgasmic jerking of the Count's Last Supper can not explain this movie's PG rating by the Motion Picture Association.

In a nutstake, avoid at all costs (whether it is time, sweat or maybe a little bit of very fake looking blood).

1993's review - A Phenomenon: Actor Robin Williams is such a funny comedian, climbing the Kilimanjaro by cross-dressing as an older woman to continue seeing his children kept away from him by a horrible and selfish woman already dating a rich man and whose grand persona will reunite the family. A Classic Never Dies. -

2023's review - Barely Watchable Cheesy Comedy: Filled with gender clichés as well as racist and misogynistic comments, this movie shows a narcissistic dad manipulating his wife and invading her privacy to get what he "needs". A classic can sure get old and irrelevant. -

What year is this?

There is a fine line between "techy" and "sci-fi", between "spy" and "superhero" movies and it seems that this big budget Netflix (no big screens?) completely missed the cues:

For example, those are very unrealistic and too futuristic scanning images from the Heart: it supposedly relies on data and yet the footage/angles are completely made up (somewhere between Paul Bettany's The Vision interacting with Marvel's Agents of S. H. I. E. L. D. (2013)'s tech and Tom Cruise's Minority Report (2002) hand gestures; clashing with the very down-to-earth but very enjoyable "GoPro-like" images (when diving and jumping)

Not an enjoyable James Bond movie, not a Fantastic Four film, not a nail biting war 12 Strong picture; in a nutshell: not worth watching...

Is this reviewer getting pickier and wiser or it the M:I franchise more and more cliché, non-sensical and over-the-top?

Just a few examples as an amuse-bouche: the amount of sweat on the submarine's captain's face, the dialogue between Ethan and the new recruit "Not yet, you need to ask me the security question first", the eye-pad, the black-and-white flash-backs, the twenty year age gap between the old improbable hero and the beautiful 100% Caucasian female love-interests, the very exotic but imprecise "Arabian Desert", the intense look on Ethan's face when he discovers Isla shot dead - but not without first having dramatically removed his scarf and goggles, the ridiculous and endless pitch to the facing-the-window boss in the war room, defining a word ("sentient") by having a character ask a rhetorical question ("You're telling me that this thing has a mind of its own?"), the world dominion scheme, the not-so-subtle eye-rolling and head-nods one protagonist sends to another to signal the next moves, the kitchen staff minding their own business in the runaway train, etc.

Feel free to watch this 1990's tough-guy-bringing-his-girlfriend-to-the-movies-"Ryan said it's actually a romantic" film, or choose to spend your valuable learning of Oppenheimer's story or enjoying Barbie's satire of machismo.

Assuredly the least interesting "Vol." of the "Guardians of the Galaxy" saga with clichés character introductions (very slow and uninteresting first scene that ends with a ridiculously drunk Quinn) and the over-used "on-screen advertisement setting the obvious" when Bug and Doofus are walking through the white spacious hall for no reason filled with people minding their business.

Just one more: the slow and uninteresting flashback "It's good to have friends"

In a nutshell: a cute Bug and Doofus comedic duo will not make up for a too long, too over-the-top, very predictable melodramatic empty story.

Sorry but I cannot give a better rating to a movie that starts with The Flash's MAPE (Most Awkward Position Ever) before super-speeding and the horrible green screen technique used to render the Red Lightning's speed while running (those feet aren't made for sliding...) as well as the very poorly animated CGI stand-in for the babies falling from the building: so much so that I thought Barry's task was actually be to find the real baby amongst the army of falling life-like dolls...

Otherwise, fun story, a few funny jokes, Michael Keaton's impressive deep "You wanna get nuts?" voice and a great Cousin Barry.

Nope... Not funny enough (a few interesting puns but mostly blend and uninteresting dialogues), not fluent enough (why the horribly approximate dubbing of English-speaking actors "They are clean" --> "Eel son clean" and the added dialogues "Casse-moi la gueule").

On the other hand, a few too many Femmes Fatales ("Raisin, crachoir, lance-roquette") and very misogynistic and homophobic jokes ("Raisin, crachoir, lance-roquette"), possibly second degree but not clearly enough...

Le Male is bad enough and a long way from Asterix.

In a nutshell: Either watch Don't Die Too Hard! (La tour Montparnasse infernale) 2001 or Johnny English (2003).

An honest crime movie with a beautiful Ben Mendelsohn, very believable in his role of a happily married FBI agent/whatever-his-title-is and a fairly decent (and excellent swimmer) Shailene Woodley as a street cop making her way (a little bit too quickly) up the steep ladder of the agency So, yes, the handy use some artifices at times to help the plot ("You will be the liaison...") and lower the costs of special effects (the initial killings are not that believable, possibly because shown a little bit too "neatly", the obviously repurposed movie spotlight lighting the macadam to make the audience believe that a helicopter is in the sky...) but an otherwise solid yet simple story with a non-White supporting actor...

A funny (starts and end with a handful of "You' mama" jokes), fast-paced (too bad that the slow-motion actions were not filmed adequately as the last basket-ball actions look like they were documented by the Lumière brothers' Cinématographe) sports movie; but much more than a sports movie: the "Ebony and Ivory" duo (as Wesley Snipes' character refers to the cheater's couplet), topped by an incredible Rosie Perez, is a very interesting racial critic (and achieves this much better than its pale namesake/counterfeit/remake from 2023).

In a groin-protector: well worth the watch as this movie has not aged a bit.

Hustlers? What hustlers? I decided to sit through the whole film but it was much disappointing compared to the fun and funky original movie (or at least what I still remember of the plot and Woody Harrelson's character). Thank goodness, the last 3 versus 3 event is filled with good jokes ("Why is this pilgrim here?" "Space Jam, featuring Justin Bieber" "They act like White men can't jump...") because the actions are rather badly played and not very believable (opponent gently making his way to try and stop a shoot for example). Not mentioning the sick father sickened by multiple sclerosis, which does not help a smooth narrative.

Obviously a plot inspired by and written for/by second-generation Italian immigrant comedian Sebastian Maniscalco.

So one could have assumed more sincerity and rooted jokes and culture-clash in this somehow very plain comedy (My Big Fat Greek Wedding (2002) being a good example of what could have been achieved).

But most importantly, Robert De Niro is not the right actor for the part: the father is supposed to be a first generation immigrant from Italy having lived most of his Chicago and yet De Niro "Junior", a FOURTH!() generation New Yorker, does not even try (probably for the best) the Italian/Sicilian accent (and please, more has to be done to help the audience agree with the time-lapse than a change in the septuagenarian's haircut/long hair wig.

Horrible slow cheap animation: is this cartoon aimed at children, very probably not given the gory Jack the Ripper...

And come on, Batman, great detective, you just heard the lady yell, she's now freshly dead: are you going to hurry looking for a potential murderer in the area or just wonder at the moonlight?

Ain't that right. Dickie?

Names! 'Member, we don't say our names, Jason!

Sorry, but I am not Jason...

So yes, a few funny jokes but not enough to be properly entertained.

So, this reviewer advice is to stay away from this uninteresting, gim(Gordon)crack and twopenny-half(Alfred)penny(worth) caricature.

Apart from the horrible exaggerated Foleys (added sounds) in the opening sequence with the tools, screws and other bits of the watch making horrible noises, the acting was perfect, the direction was flawless, the story telling (the chapter/characters, the names uttered just before the cut, the singing which goes from "I see his face"... to a different song that continues "against the wall"...) was fresh and engaging.

I mean, to paraphrase Max: "I (...) watch movies, they are (not always) a waste of time", and definitely not this one.

In a watchcase, the best Conman, thriller, heist film I have seen in a while.

This reviewer will forgive the absence of rhythm, the setting in a cliché futuristic metropolis, the slow animation, thhe weird time ellipses, the plagiarism of the canine hero (a heavy mix of Superman's pet and Travolta's Bolt), the monotony of the voices (all in the name of "why not an animated movie for younger audiences where beloved pet animals open their eyes to the challenges of Artificial Intelligence?")... But not the offensive fake foreign accents!

In a nutshell, this was quite a long film, with a long awaited ending celebrating the mysteries of life and a (hopefully never to be finalized) sequel

On the bright side, imdb.com has no similar items to show in its "More like this" category...