alex_pearse

The beginning of this story was an engaging if familiar narrative; idealised couple shattered by male promiscuity. Embittered wife seeks retribution.

However, (spoilers abound here), the retribution of our female protagonist comes in the form of the attempted murder of her spouse. She fails, but kills his lover instead by accident. She then proceeds to use her cheating husband as a cover for her misdeeds before eventually pinning the murder on a separate, (completely innocent) man who she subsequently murders after he realises she tried to have him imprisoned.

All previous misdeeds are then blamed on her cheating husband who she frames before he goes to prison for murder. In the final throes of the series she visits him in prison just to inflict more suffering by telling him she was the killer and is blaming it all on him.

Perhaps this would all be forgivable within the narrative of a female antihero, but the protagonist is not painted as an antihero during the internal narrative commentary, she is painted as a tortured victim. Should the casual viewer be in any danger of missing this conclusion, the storywriters felt the need to insert a "justification" rant in the final scenes during which our protagonist leaves us in no doubt that the responsibility for these misdeeds is to be laid at the feet of general patriarchal male behaviour.

Infidelity is, it seems, perfect justification for double homicide and false imprisonment within the world of "female empowerment" storytelling. This is warped, indefensible misandry with a genuinely troubling message.

This is yet another vehicle for the absurd and divisive cultural rhetoric spawned by modern feminism. The protagonists are completely unbelievable and unlikeable. They're not lively, interesting and relatable characters, they're dull, joyless, whiney and irritating. The story is absurd from start to finish (we are asked at the beginning of the story to believe that there is a usb compatible device you can hold in your hand & plug into a laptop that controls er... THE INTERNET... really). You don't care if any of the characters live or die, achieve their goals or simply get written out of the story with no warning or explanation. It really is that bad. There is no attempt to develop the characters beyond their grievances until the inevitable self congratulation and conceit at the back end of the film. Almost all of the men are crudely portrayed as mad/bad/sad and ofc wildly misogynistic, corrupt and/or dim.

There are long periods of the film where nothing of any great interest happens beyond plot devices that necessitate a change of location, presumably for commercial reasons. All of the main characters have proven their acting credentials in other work, but none of them can compensate for the lack of an engaging story, bad writing and some spectacularly unsubtle social commentary.

If you want to watch a film that is a vehicle for overt and clumsy cultural references to how men are all terrible and incompetent people responsible for everything bad in the world, whilst women are the most downtrodden, morally incorruptible and simultaneously wonderful people alive then this is very much the film for you. If you're hoping for a clever, entertaining spy thriller, it definitely isn't.

Quite possibly the most unlikeable collection of adults on the planet go on holiday together. Drama unfolds. You don't care about how it turns out for any of them. The end.

The characters are devoid of any likeability, the script is incoherent and full of really obvious plot holes. Some of the dialogue is speak by numbers. There is an explosion that looks like it came from 90s. I kept waiting for a twist to make it interesting. Nothing. Got an extra star because it made me laugh twice. It's not a comedy.

Started off ok-ish but the story now (Episode 7) just seems dull and contrived. Much of the acting is poor. The characters have no interesting development and are genuinely difficult to root for or care about at all. There's a weirdly infantile feminist theme running through the show if you like that sort of thing. The sets look fake in part because the lighting is so bad. Apparently the books are good, so they must have deviated a long way from their essence. I have no idea how this is rated 7.5...

This movie is ridiculous, but funny... until it's not.

The plot unwinds in the most ludicrous manner imaginable, but it keeps you entertained and chuckling throughout. As it nears a conclusion the tone becomes more sombre and less absurd. Really quite unsettled by the ending...

This film is a disjointed patchwork of the sublime and the ridiculous, so it's difficult to generate a coherent impression of the film as a whole. The production has been a saga of changing directors and writers -manifestations of a world in social and political flux- and it shows.

The concerns raised about the overly "progressive" tones of the early marketing materials are mostly unfounded (with the glaring exception of the finale itself), but there is still often the sense of Bond as somewhat withered, emasculated protagonist. This is in keeping with a consistent adjustment in tone which contrasts with the bullish, unrepentant character that has been the mainstay of the books and previous films.

There are some strong action set pieces, some beautiful cinematography and the opening of the film sets up a dramatic, plausible and coherent narrative that could have provided a compelling backdrop to a worthy final outing for Daniel Craig. The two new female agents are generally worthwhile, believable characters, neither of whom really get enough meaningful screen time. However, the story never seems coherent, or often worthwhile, and our new villain Safin never gains any traction, credibility, or concern until the thoroughly unsatisfying finale. I was occasionally riveted, but more often the story felt stodgy and uncompelling.

Ultimately, I left the cinema feeling deflated and slightly annoyed. This is not an exciting, uplifting tale, rather, I got the sense that the script had been written with an intention of spoiling all the good aspects of Bond that have taken 50 or so years to cultivate.

For a story arc that started out so promisingly, this is a bitter, spiteful end and I cannot understand why this film was made other than to settle some simmering grievances with the main protagonist and his misogynistic undertones. It certainly wasn't made to make you feel any happier.

Despite a reasonably interesting premise, this is a pretty unthrilling thriller.

Within the first few scenes you realise that Lily Collins has been cast as a senior legal official and the falsity of that basic premise never leaves you. She has neither the character or frankly, the years to pull it off. Shortly thereafter we learn that Simon Pegg has been cast as the villain, whose implicit malevolence and intensity is central to whether this film has any credibility. One might say it's therefore quite predictable that when you cast a mild mannered actor whose spent the vast majority of his career doing comedic roles, that they will be woefully unsuited to this part.

From the moment the first interaction between these two unbelievable characters ends, you know that the film is going to be a damp squib at best, and you can only pray for a mercifully swift ending... which you don't get.

It's worth mentioning that the intention of the filmmaker is quite noble, and the premise offered the potential to make a truly riveting movie. Unfortunately, the film itself descends into a pastiche of subtlety and nuance that doesn't entertain in any way. The backdrop to the film is an overly contrived working environment laced with misogyny. Given the efforts of the filmmaker to dilute every other aspect of the film to the level of homeopathic affect, it's telling that the patriarchal environment is delivered like a double espresso. The central premise of the film is that a female assistant is vaguely, and subsequently more acutely, aware that her boss is sexually exploiting women in his employ. Her insipid intervention in this toxic scenario is rebuffed and the film then evaporates into a morose examination of the helplessness of the female protagonist. Ultimately the film portrays women as impotent and superfluous participants in a world overloaded with the worst vestiges of masculinity. Hence this film necessitates an amendment to the old adage; don't let the truth get in the way of a bad story.

At the outset, i should make it clear that i don't think this is a bad film, but i felt the need to add a dissenting voice to the collection of positive reviews that i've read so far.

The film is an amalgamation of elements that should work beautifully, but ultimately resembles one of the sterile offerings to be found in Susan's gallery. The acting is superb throughout, and the nuanced performances of Amy Adams & Jake Gyllenhaal are worthy of their reputations. The subtle transitions from dead and lifeless to young and vibrant, exhibited by the former at various stages of the film, is one of the most striking features of the piece. The film is beautifully shot and well directed, and there are some truly moving scenes in parts. However, as one reviewer has already alluded to, the film feels like it is desperate to say something, but ultimately says very little. Perhaps i just didn't get it at all.

The problem i had was with a lack of emotional connection to either of the main protagonists. It's interesting to find out what happens to both as the film builds, but ultimately i didn't care either way.

My partner and i spent some time examining the film on the way home, discussing the parallels between the story at the heart of the film, and the realities that continue around it, but despite our rudimentary analysis of what each one meant for the other, and an understanding that there are some clever parallels, what remained was the underlying sense of "so what?".

In the same mould as "Whiplash", Black Swan is at its core a dark tale, but one that explores both the positive and negative consequences of Artistic passion, perfectionism and the often unhealthy demands at their core. Ultimately, the film's great strength is the effortless way it deals with the relentless fracturing and reforming of the human psyche that becomes more exaggerated at the limits of our endurance.

The film is superbly executed, and achieves that rare feat of being both visually captivating and intellectually stimulating. Indeed, Aronofsky manages to deliver a film that deals with some truly emotive themes without ever really presenting them for judgement or encasing them within a traditional Hollywood narrative.

Portman delivers an excellent performance, and proves to be the perfect choice for such a physically and technically demanding role.

In summary, a compelling watch & Highly recommended

I created an IMDb account because i was so offended by losing an hour and a half of my life to "the Purge" that i felt compelled to share my pain with the IMDb world. Thankfully, my second "review" is simply to share my appreciation for one of the most captivating films i've ever had the privilege to watch. The film captures so many of the tortuous and joyful aspects of obsession & passion and the relationship between two people who challenge one another. More than that however, it's been channelled into a exceptional, and hugely accessible film which i urge you to find the time to watch if you haven't already. If you were thinking of watching "the Purge", do the ol' switcheroo.

From the first ill-conceived concept, throughout the totally implausible middle, until the brain fart of an ending, this is one of the worst films i have ever watched.

At the end of the film i signed up to IMDb just so i could review this film and express my disdain for such a pathetic waste of time and money.

Genuinely, the only thing that this film provoked in me was a sense of incredulity, and i suppose the possibility that American society must be insane to entertain the notion.

Worth watching to determine the condition of your mental health.