kgodmode177

I went into this movie with negative expectations based on all of the reviews about how horrible it is. Oddly enough, that might have made me enjoy it more than I should have. I always go by who the director is on a movie when determining whether it is worth watching. Jim Jarmusch has made some great movies, and the cast is full of talented actors & actresses, so I figured I had to see for myself when it became available on Max. Suffice to say, it is no masterpiece, I wouldn't even rank it amongst the best of its genre (although I did enjoy it a lot more than Double Tap, the awful sequel to the beloved original Zombieland) yet it still had a lot of redeeming qualities. It is self referential in some places, which might irk viewers not open to meta comedy, but overall the cast do a good job bringing out the strengths in a relatively mediocre script. The cinematography is good and the characters all are likeable enough, although a distinct lack of a guiding focus in the story keeps you from being totally invested in their survival. Some of it feels by the numbers which you would expect in genre filmmaking to some extent, but with a cast this star-studded and helmed by a big name director, high expectations might have dampened people's enthusiasm when met with just a slightly above-average zombie movie. Not to mention the effort to inject a bit of social commentary just felt half-baked and kinda falls flat. If you are looking for some dark-humor, mindless fun with a recognisable cast, or just a new zombie movie to watch, this will get the job done.

A piercing look inside the life and mind of the greatest heavyweight boxer that still walks the earth. Mike came from the gutter, a product of the ruthlessness that accompanies poverty in American society. His strength grew out of a necessary defense against feeling helpless in a cruel environment, but to only see Mike as the animal he was made out to be by so many would miss most of the man. Here, more so than anywhere else, we see a man with a deep reservoir of emotion. His father by virtue of upbringing, Cus D'Amato, showed Mike how he could use his power to become something bigger than just the bully beater on the block. Tears in Mike's eyes tell you all you need to know about what this man meant to him. After he passed, Mike was lost for many years spiritually. He was taken advantage of, slandered, and abused, a fate many who become lost face. I don't think he forgave himself for a long time for that. That for all his strength and dominance he couldn't protect himself from the circling snakes. One thing that Mike has always been, and it really comes through here, is honest. I don't think he can lie to anybody, even himself, and like most who rise above, his greatest strength was also his greatest weakness. But it's hard to even use the word 'weakness' when talking about somebody like Tyson. He will live forever in history as a uniquely gifted fighter and a complicated individual, but I think he will be remembered most for his ability to speak candidly and passionately about the struggles of living, how one can celebrate victories and overcome defeat time and again, because that's what a true champion champion does.

If there should ever be a doubt about the strength of the institution that is British comedy, point to this movie as proof of its divine heart and soul. Not only is this movie armed with arguably the greatest soundtrack of all time, but it's also populated with the most likeable and relatable characters to ever grace the silver screen. Rarely does a movie paint with all the human emotions of he human condition so effortlessly light, yet still full so richly with humor and drama. The actors and actresses do a wonderful job all, but some performances are quite a measure higher (Nighy, Seymour Hoffman, lfan), great comedy from everyone and some cool surprise appearances as well (January Jones!). Cherry on top of it all is a credit scroll through the greatest albums in contemporary music that would make a vinyl snob blush. Give it a go ladies and bros!

If you know David Fincher, then you have an idea what to expect. Stories as dark as the cinematography, a penchant for violence, getting inside the heads of people you wouldn't want to be in the same room as. The Killer is definitely in the vein of Fincher's other offerings, but you can sense something different here too.

We follow the meticulously crafted lifestyle of a professional hitman played by the ever excellent Michael Fassbender. Unlike films that show assassin lifestyle as a non-stop adrenaline rush (John Wick, Jason Bourne, etc.) this one begins with the gun for hire musing on the importance of being able to stand boredom as a prerequisite for success in the field. I really enjoyed the slow pacing because it translated into tension, making each second seem like an eternity. I even felt my heart race a couple times along with it.

The story evolves out of a complication with this initial hit, although I must say the story just feels like a vehicle for the stylish filmmaking. That usually makes a film terrible, but here it works because of the mood and in no small part to Fincher's masterful touch.

Now the only part that really takes away is the bad writing. There are some real groan worthy moments, mostly coming from minor side characters in the first half. Tilda Swinton does an amazing job as usual, and the second half of the movie sees a major improvement in pacing/writing. Michael Fassbender really carries the movie though and does a good job playing a man who works tirelessly to suppress his humanity, but doesn't really know why. The performance is great because he lets just enough humanity peek through the steely cold surface to give you an idea of inner conflict present.

All in all, I think this movie will be returned to in the coming years and be reevaluated as a great film. Not perfect by any means, but who said you need perfection to enjoy a good movie?

Everything about this movie is a masterclass from start to finish. Cinematography, lighting, pacing/editing, performances, and story. It is flawless. There is not a single moment of drag or unnecessary exposition. De Niro and Pacino give one of the best performances of their careers with all the supporting cast doing a phenomenal job as well. Michael Mann directed Miami Vice so to translate that into a sexy, sleek and powerful heist movie takes an incredible talent, which he has proven to be here most of all. If you have not seen this movie yet then do yourself a favor and spend the next three hours in cinematic heaven.

Few movies have such an impact that I think about them months, even years later and ponder their messages. This is one of those rare experiences where the brilliant characters and the mystified meaning behind the message of the movie merge to force the viewer to question things. Personally it is one of the most poetic stories told in film (I haven't read the Flannery O'Connor novel but would like to get into her work after watching this). The image of a disillusioned preacher searching the world for "an honest man" while constantly having his faith shaken by the imperfect humans around him truly illuminates a deep moral truth, obscurely but impactful nonetheless. If you are looking for a film which will make you question things like God, faith, society and human emotion, look no further.

Early Jackie Chan, before he had his world renown and he had to be dubbed for English speaking audiences. Sometimes dub can be glaringly bad and it takes away from the movie but not in this case. I would say it even adds to it!

The story follows young Wong Fei Hung (Jackie Chan) as he goes from lowly street brat to Kung Fu master, trained by the inebriated sage Su Hua Chi (Siu Tien Yuen). Both actors do a great job with comedic timing of their movements and facial expressions. The story itself is nothing too special but the drunken master and his technique/philosophy of life are what make this movie an incredibly enjoyable experience.

For fans of Kung Fu comedy movies and Jackie Chan, a must see. For everyone else, the words of the drunken master may illuminate. "All students with style must learn how to fall. This was your first lesson."

Even though you will still get a few good laughs out of this movie, it just doesn't pack the same punch you would imagine it would have back when it first hit audiences. Leslie Nielsen is a comedy legend, and if you have appreciated any of his other work you are sure to enjoy him here in his most famous role. However, you still won't be able to shake the dated feel to most of the humor. This is to be expected, as lots of these silly comedies that Nielsen is known for have a lot of pop culture references and topical humor that was only relevant around the time it was released. In any case, it's still worth a watch just for the jokes that are still standing strong.

I went into this movie with zero expectations and was blown away. Everything about it works, from the story to the cinematography, the acting and the tone. It is a wild film, ranging from hilariously absurd moments to gripping action scenes. It is the story of a young man who becomes disillusioned with the world after losing a boxing match and is grasping for a meaningful life. After a chance encounter with a young escort, he is thrown into the dark world of the Yakuza with both exciting and terrifying results. If you are looking for a movie that breaks the genre mould and keeps you entertained, look no further because this is it. You will certainly be able to say you haven't seen anything like it before. I know I didn't.

If you've ever wondered what it would look like if FEMA was the bad guy, this movie nails it. After an outbreak in a rural town there is a violent quarantine where people are shot regardless of their status as healthy people or not. It truly displays the power dynamics between rural life and bureaucratic federalism. Also it is a great prelude to the character development of Day of the Dead, where each survivor has a unique personality with conflicts between them that drive the story. A great horror movie in the vein of Romero's past films in that it doesn't scare you but ask important questions about horror and who wields the ability to inflict it. Other reviews are quite right in pointing out how the low-budget takes away from the films strengths, but if you are willing to look past its limitations it is a solid and enjoyable film.

Living is an update on an older Japanese film "Ikiru" by Akira Kurosawa which is, as you would expect, almost the same exact movie. However, it is where these two versions differ that the film finds both its strengths and differences.

In a few words, the story is about an ageing bureaucrat who is confronted with his own mortality and is left to question his responsibility to others. It's a moral tale and it is incredibly touching as it is concerned with that which corners each of us with enough insight to wonder what more we could do with our brief time here.

In the original, the limitations of the time have the film appearing in black & white, and with the addition of subtitles for non-speakers of Japanese, those two factors alone may encourage modern audiences to see the same beautiful story in a new light with this film instead. Something is always lost in translation though, as they say.

Someone pointed out to me that the relationship with his son is lacking resolution, and the idea of culture being the reason for this coldness falls flat. I believe in the effort to make the son more sympathetic, they took the meaning out of the original purpose of the character in the story. The son is more selfish and unfeeling towards his father in the original, not so far as to consider him evil, but given the circumstances you can't help but see him as unknowingly cruel. It makes the decision not to tell his son about his sickness puzzling in the English version, but in the original It does seem keeping with the old man's life up to that point.

Another key difference is the way this film is presented on screen. Great cinematography and soundtrack make this a very enjoyable experience, with the acting by all (especially Bill Nighy) helping to fill in the pretty pictures with solid atmosphere. Editing is excellent as well with the film, albeit slow paced, never feeling like it drags.

All in all, whether you have seen the original or are curious about it, or if you are simply looking for a good film with moral weight and relatable themes, Living is worth watching.

Watched this movie religiously as a kid, therefore I cannot critically judge it without being completely soaked in nostalgia. Still, hilarious movie and a must watch for kids.

Michael Shannon really shines as the villain of this film, next to only Anthony Anderson in what he brings as the other main role. The two main actors play a great duo. I always get a good laugh out of this movie, especially the waterfall scene, can't say why other than it's just fun.

If you are looking for a feel good movie worth a few good laughs to take your mind off things then this is the movie for you my easygoing amigo.

If you take in this film with mind to the medium it is peering into, through Blanchett's character we get a sense for the music in life itself.

The beauty of a classical piece is coloured by the emotional intensity the music brings us. It resonates the way a painting does, or film (no coincidence), or other art forms that have traveled down through the ages to us.

Lydia Tár the composer is a complex and distinctly modern character. Her trials and misgivings will strike a chord (ha) with all those who have grown somewhat weary of the age of technology.

Scorsese confessed his confidence towards the future of Cinema after watching this film, and now I share his optimism.

I never saw the original third movie (and based on what I've heard that seems like a good thing) but I can tell you that the Coda version is a thoroughly enjoyable film and I believe it does a true justice to the artistic vision and history of Puzo & Coppola.

Based off what I've read, the original had pacing issues, overly convoluted story structure, and acting gripes centred around Sofias performance.

None of those grievances come through to the point where they ruin a great movie though! I see some of the faint echoes of these problems, however when watching this film with the introduction by FF Coppola, you understand the context and meaning this film has to the overall story of the Corleone crime saga.

Outdated reviews be damned, grab Coda and give this series the final flourish it has always deserved!

Right off the bat I'll say I probably enjoyed this film more than I should have. I am a fan of Winding Refn's work and was preparing myself for a slow paced, gritty dive into a criminal underworld. I was not disappointed.

Gosling is great as the protagonist and all others do a good job, but it's in the atmosphere of the film where things really start to take off. You truly feel the sense of lawlessness on the streets, how it functions almost as a zone of moral negation/absolute freedom. The ugliness of man spilling out into the streets.

This movie can be accused of many things, but lack of feeling isn't one of them. If you wish for something uniquely paced and confronting towards your humanity then give this a watch.

After just finishing the entire series (5 films in all) I must say that this series is DEFINITELY worth a watch, especially for fans of dramas centered around crime families with a healthy dose of violence to help spice things up.

It follows mainly Shozo Hirono, and his journey from an ambitious and stoic slum-dweller in the bombed out crater of the Hiroshima bomb site. As him and his war buddies climb the ranks of the Yakuza, greed, honor and betrayal force the families into various conflicts in a never ending cycle of power struggles.

Stylistically this film, and all the others, are excellent, with a consistent jazzy theme accentuating the more important points and giving each entry a familiar feel to the last one, yet not one which ends up feeling boring or overused. The camera work is fantastic and the scene composition is where I am most reminded of the Italian-American titan of cinema that this review invokes. Many of the scenes are around crowded tables at family meetings or in shadowy bars with table lamps and cigarette smoke twirling in the air.

All in all I love this series and if you have a chance, absolutely watch all five. If anything give this first entry a chance and you will not be disappointed.

A great film noir with religious solutions to modern dilemmas uttered by well acted characters. Worth a watch if you wish to witness humble men struggling with the infinite questions we are all left to ponder. Also shot gorgeously with a wonderful script, there isn't a reason you should NOT see this movie immediately if you want a True Detective styled investigation into nihilism and the simple answers of religion conflicting with the complex reality of human nature.

If you're a fan of film noir then this game is the ideal, no nonsense, closest damn thing you will have to a perfect game you can ever lay your hands on. Now I'm not saying there aren't ANY flaws but just the fact that this game even exists in the state it's in is hope enough that there will still be more great games to be made. The immensely detailed 1940s LA in which this game is set is the perfect backdrop for the (mostly) consistently interesting stories. You have four main desks in the game; traffic, homicide, vice and arson. My personal favourite and the one with the best stories and atmosphere is the vice desk, and I'd say the weakest one, mostly due to the extreme length and pacing, is the traffic desk. Another aspect of this game that doesn't get talked about enough is the acting performances of the characters, Cole Phelps and all the people he interacts with (especially Roy) really draw you in and make the whole game feel authentic and compelling. If you are looking for a truly unique gaming experience where you are challenged to think and assume the old school detective role you've always dreamed of, then give this game a go. You won't be disappointed.

There are many ways that we experience a film. There is the immediate experience, the visuals and the sounds which make an impression on your senses. After that there is the emotional reaction, where we feel the strength of the performance coalesce with a well written story. Then there is the mental level, where you are engaged intellectually in the characters and their motivations within the context of a wider world. The final layer is an ambiguous one which only the most honest and moving stories can touch that communicates something intangible yet also deeply human. It is the closest thing to what I could describe as recognising something in your soul.

This movie reaches down into that part of you and paints a picture on the walls of your heart. Since it is a movie that is based on a short story by one of the most prolific writers of our times, it also is hard to put into words what this film is really about. A cursory description such as one you would find on a streaming site or on a movie website fails to do it justice.

If you have an appreciation for nuanced and layered storytelling with elegant yet simple cinematography, then please do yourself a favour and watch this film. I was in that rare stupor leaving the theatre after watching this that only certain films grace you with, like looking at the world with a fresh set of eyes.

As a fan of the Kingsman franchise I was especially disappointed with this newest entry. The dialogue was clunky as hell and the jokes fell flat. The Golden Circle was already a downward pointing trajectory for the franchise and this had totally removed all the strong points that it had and replaced them with on-the-nose quips. The historical callbacks (which I though I would enjoy) come off as cheap and desperate. I love the idea of a Kingsman film set in the era of The Great War, but the execution was mediocre here. The actors were decent but the script was lacking. Unless you are a big fan of the franchise, and even then, I would only watch this movie if it was free on a streaming service.

Bond was reborn when Daniel Craig took over the legendary role in _Casino Royale_ in 2006. The darker, sleeker, modern Bond was perfect for the 21st Century world of international espionage, and we were drawn in by superb acting done by villains and top notch directing.

Unfortunately, for as many direct hits Craig has had in his generation of Bond films, there have been as many misses, most just comparatively. This film is of the latter.

First off, a major component of ever Bond film is the villain. I love Rami Malik in roles like The Pacific and Mr. Robot so I was really looking forward to him as Safin. Sadly his role is underwhelming and his character is bland and uninteresting. His motives are somewhat contrived, yet the actual plan behind the plot is pretty engaging (hat tip to Metal Gear Solid).

Bonds love interest as well, Lea Seydoux, never seems convincing as Bonds lover. The spark that we are led to believe is between them never quite seems to emerge. Shame to because she is very good in other projects.

There are redeeming qualities to the film though, with some great action set pieces. The other female leads, Ana de Armas and Lashana Lynch, particularly shine through on this one. Craig is always a formidable and enjoyable watch as Bond. Even when the scripts haven't been as good he still manages to carry the movie on his back.

That is what I think is so disappointing to me; he wasn't given the sendoff I thought he deserved. With Cary Joji Fukunaga behind the camera too (True Detective S1, Beasts of No Nation) it is more surprising still that this is not the perfect Bond movie since it works out so well on paper. Oh well.

If I had to position this in the franchise I would say it is under Spectre but above Quantum of Solace. I know, but I just expected this movie to be more than the sum of its parts and give the better entries into Craig's Bond a run for their money.

Oh well, onto the next Bond. My money is on Elba or Hardy, either would slide into the role perfectly but who knows. Maybe we'll be surprised...

I lived in London as a student for 6 years and I have never seen a show that captures the feel, the decadence, the refined grime and authenticity, the rambunctious multiplicity of cultures and personalities that is London, as well as this one.

Finn Wallace is the patriarch of a major crime family in London and the contested crown of his empire becomes the subject of a turbulent plot. Wince as family become foe in a family drama that captures the city as no other show on TV has.

Fantastic all around and I cannot wait for another season (coming soon 2022)

Ok right off the back, this film is edgy. Not the MOST edgy film ever made, but lots of blood and gore and twisted fiction but if that's your bag, then it is a hilarious masterpiece. When I first saw this I was a young man ordering it for a couple bucks on demand around the time it first came out and let me tell you; I have never looked at a hobo the same way again. All joking aside, it really is a fun movie and I think that if you go into this with the right expectations it won't let you down. If you cheerfully expect blood, blondes, absurd motives, cartoonishly performed executions, a healthy dose of color, and a decent bit of social commentary, then buckle up because you are going for a ride.

Also it's not made on a terribly high budget so please do forgive some of the quality.

Dune is a film that overwhelmed my expectations and left me with that uniquely beautiful feeling that only watching a great movie can. Not since Mad Max: Fury Road have I watched a film multiple times immediately after the first viewing. This is a powerful film.

The reasons are many, as every aspect of this film is wrought in meticulous detail and feels deep and part of a larger universe. With Star Wars being slowly destroyed by the round eared 'slavers', Dune manages to fill that old role, one where awesome Sci-Fi epics capture your imagination.

Denis Villenueve is a masterful director, and there is no more apt display of such talent than this union of passion and vision. He has crafted one of the best films of last decade and when I viewed it for the fourth time in IMAX this final point became totally and undeniably obvious.

The production design, the acting, the writing, sound design, pacing, all top notch and in my opinion, perfect.

This film is at once an homage to the ever loved and imitated genre, and a landmark entry into it. It strikes the perfect balance between style and substance, oozing with cool and with writing as tight as most shows or movies dream of. Nicholson is fantastic, as per usual, and Polanski's direction delivers both visually and emotionally. This is a movie about detail, and the passion of the original vision comes through in every sound and frame.

If you want to see one of the best films of all time then this absolutely makes the list, whether you are a film noir buff or you just enjoy a good flick.