patriciogl10

Long has it been since Edgar Wright delivered a truly satisfying output that establishes him as one of the most interesting directors in the business, whose releases are always awaited eagerly. With this new entry, his gripping visual style fits perfectly giving the puzzling nature of the story. A quite comfortable throwback to London in the 60s for the viewer proves to be horrifiying for Eloise "Ellie", played wonderfully by Thomasin McKenzie, whose only interest is to become a fashion designer. Soon, in a bizarre fashion, she begins to have real contact with the past, by staying in a room containing some skeletons in its closet. She mirrors the image of wannabe star Sandie (played by Anya Taylor-Joy, whose performance is not all that appealing to me, besides her wardrobe fitting so stylishly) and sees her shot at stardom being nothing more than a channel for an underground net of prostitution, and then, psychological horror ensues, as Ellie is now haunted by Sandie's memories of continuous abuse by ghosts of horror past.

The giallo influences are more than evident, which prompts an eerie sensation at least in my case, as I'm reminded of such excellent films like Suspiria or Deep Red, or even Polanski efforts including The Tenant or Repulsion, and Wright knows his film history, so he knows exactly how to deliver an homage in a proper manner, and without abandoning his own rich vision of filmmaking.

If you ask me, Last Night in Soho is one of the better films of 2021, and is also your chance to witness the late Diana Rigg, in her final performance, who I might add she absolutely shines. So come along and enjoy the ride.

While it is certainly different from what you could have expected, I could argue that it is not an entirely satisfying watch. Even though Billie Piper does a remarkable job behind and in front of the camera, the film overall feels like it lacks strenght in the right places. However I won't take away the fact that it takes quite a notable direction in storytelling, which can confuse some viewers, and fascinate others. Obviously this was Miss Piper's intention, but it was not entirely well-executed, in my view. Although the ending did leave me content somehow.

Even so, there are some marvellous performances to behold, such as the one coming from Billie Piper herself, along with Leo Bill, Kerry Fox and the always solid David Thewlis.

Interesting directing debut from Piper, and while not exent from criticism, it is a rightful start that could lead to more precisely elaborated and well-polished endeavours.

This monumental feature is proof enough that amazing feats can be done in this day and age regarding 2D animation. The highly crafted visual style reminiscing of children's book flows extremely well with a heart-warming story that resonates deep within and takes the viewer back to a time in Ireland where authorities still ruled with an iron fist, fixated on getting rid of such majestic creatures of the forest as wolves are.

The legend of the Wolfwalkers comes alive in such an awe-inspiring manner, thanks to the impeccable efforts from the folks at Cartoon Saloon whose animated style has become a trademark of theirs, contrasting harshly with the nowadays standard 3D animated releases out there. Not only does its distinct illustrative style come off as a standout element, but the story that it accompanies is absolutely enchanting, much so that one cannot help but to feel immersed in the world inhabited by Robin, Mebh and her pack of wolves, wrapped up in an intriguing tale of Irish folklore and fantastic fables.

Wolfwalkers is definitely one of the best animated films in recent times, and proof of the mesmerizing growth of animation studio Cartoon Saloon, with a consistent output of high quality features for over a decade now. Here's to more from them!

Cruella begins with the character's very origin, showing a key moment in her childhood that sets up for the rest of the film; and while it has a promising start, the minute Emma Stone appears on scene, it all goes south. Her being the title character means she has to carry the film on her shoulders but it seems as though the weight has crashed her down completely, leading to a cartoonish, laughable and downright appalling performance. She lacks the charisma and acting chops to pull off such a rich character properly, or at least decently. Big eyes are not sufficient to display emotion when actions and reactions come off in such a cringeworthy fashion that is embarrassing to watch.

Another aspect I found to be unbelievably inconsistent was Stone's atrocious attempt at a British accent; on her small voiceover parts she did a somewhat decent job, whereas when she had to act, the accent came and went, absolutely all over the place. It was one of THE worst performances in recent times that I can recall.

I've been ruminating on how on Earth do the folks at Disney thought it would be wise to release a cut of over TWO hours of running time. By the hour mark I was anxious for it to be over; so unnecesary and exaggeratedly long, which in turn makes the viewing experience tedious and insufferable.

The only remarkable aspects of the film rely on costume design, which is thoroughly impressive, Emma Thompson's effortless performance and the soundtrack (which was a bit too much at times, if I'm being honest). I sincerely can't understand the praise this film has been getting, perhaps the worst of the year so far. Watch it if you will, but hey, I warned you.

It is rather difficult for me to provide an insightful review since I haven't read the source material (but I would very much love to), which puts me in a somewhat disadvantageous position, but I still feel I can provide a different perspective on the film as a whole, separated from the novel which is based on. Having said this, the only salvageable aspects of this adaptation are Michael B. Jordan's correct performance along with some action sequences and that's pretty much it.

While it manages to be partially engaging, most of what's going on in the story feels disappointingly generic, which basically leaves Jordan in charge to use all his diminished power to lift up this second-rate effort. I used the word diminished because is not even his fifth best performance, even though he was okay enough to come through to make this film more tolerable.

Visually striking, with a clever display of philosophical themes and Pixar's usual warm delivery of pleasant emotional baggage, Soul is a crowning achievement, no more no less. Clearly, the people at Pixar have excelled their efforts to bring to light such a precious and thought-provoking output. Still customarily aimed at kids, yet much of the subject matter is more adult-oriented and presumably much more gratifyingly relatable to the latter target audience. The main characters, Joe Gardener and 22 are richly conceived, oppositely so, as the former is a fully-fledged human being with a life led comfortably but constantly waiting for a miraculous chance for dreams and aspirations to turn into reality, while the latter being a yet unborn soul, unable to obtain a pass to Earth, mainly due to not having a real "spark" which is what propels that exciting jump towars our planet. 22 never felt an authentic reason to live a life and is comfortably unapologetic about it. Obviously the two live in entirely different realms but find a unique way to cross paths and try to help one another.

The plot finds its ingenious way to reveal a thickly touching, deeply rooted spiritual foundation that disputes our notion of purposes, meanings and eternal questions many of us have probably thousands of different answers to. A enchanting visual journey takes the audience to live a story so relatable, one can't help but to feel a little bit overwhelmed, especially facing towards the climax. It is both rather sad and worth-noting that Joe Gardener is Pixar's first black leading character, but this unfortunate piece of trivia can be mildly compensated by the fact it happened in such a fantastic piece of work, definitely one of Pixar's greatest realizations, a long overdue one.

The imagery Pixar built for this film (slightly reminiscent of Inside Out, albeit more imaginative and less childish in my view) is geniously crafted, a bona fide work of art, which is gradually becoming slightly more realistic and impressive with each new picture. If only I could have had the glorious chance to watch this film on the big screen it would have enhance the viewing experience by a landslide. One of my favourite visual representations in the film was when the Terry character entered the Earth realm and manifested itself physically in the same form as in its own realm, but moving around in such a clever, not to mention funny way truly left me staggered.

The highly respected animation studio has done it again, bringing their A game one more time, in a wondrous fashion, proving they are still at the pinnacle of their highly superior craft, this time furnished with low-key virtuosity as well as the habitual emotional climax. If there's one thing this film can never lack, is the very same thing penned in its title: soul.

When you have such a fascinating premise it is rather hard not to get interested and excited, but often times the execution of said premise proves to be abysmal and therefore ruin what could have been a fantastic opportunity. While I don't feel that's the case for The Final Girls, the effort is not met without flaws. The mixture of horror and comedy is an extremely difficult blend to successfully pull it off, and to not fall into a place of "is funny because of how bad it is" which tons of films have sadly come down to. The good thing about the Final Girls is how cleverly it tackles that notion by primarily being a satire, a spoof on 80s horror clichés, most notably those coming from the slasher subgenre.

The main characters find themselves in a movie theater where there is a homage to a very popular 80s horror flick, called Camp Bloodbath, which stars Max's (Taissa Farmiga) late mother (Malin Akerman), who was an actress mainly known for her role in that film. Having passed only three years since a car accident that tragically took her mom's life, Max is conflicted about watching her deceased mother in a film where she gets killed by a masked maniac. The emotional element is present to provide a bigger depth to the story, which works quite well in my opinion. After a weird incident in the movie theater, a fire starts spreading and amidst the chaos, she grabs a machete and opens her and her friends' way through the movie screen, and that is how they get sucked into the Camp Bloodbath film. Having in their group a guy who is a huge fan of the movie proves to be really helpful as he knows what needs to be done to get out of the film's universe.

The Final Girls manages to poke fun and pay homage at the same time, and does it with an adequate level of silliness, it doesn't feel over-the-top by any means. It's a well-balanced tone that makes this film all-around enjoyable although I believe that the PG-13 rating did hurt it quite a bit, if it had been rated R, it could have been explosive, so that's the only thing that's lacking in my opinion.

I highly recommend it, you'll definitely have fun!

Some horror films are best executed when they minimize the number of characters involved and reduce the settings to a minimum. With fewer elements to handle, some filmmakers are at their best managing the narrative, along with moments of tension and intrigue. This is exactly what Norwegian filmmaker André Øvredal accomplishes in The Autopsy of Jane Doe. Not only was he perfectly able to capture the mystery surrounding the corpse of Jane Doe by simply toying with elements that create an frightening atmosphere, such as flickering lights, strange phenomena and of course, every uncovered detail about Jane Doe, as both Tommy Tilden (Brian Cox) and Austin Tilden (Emile Hersch) are left perplexed by each finding while performing the autopsy. Being men of science, every discovery will shatter everything they believe in, and only by keep performing the thorough examination will they find a way to stop the horrifying events that occur to them.

Both Cox and Hersch provide excellent performances, guiding the narrative to a safe point, even though the end isn't the resolution I would have hoped for, in my opinion it doesn't detach from the interesting narrative ground work layed down from the beginning. It's a fine film, executed well, scary enough to give itself credit for it.

If you care for horror films that invest their time building up their atmosphere to then unleash the climactic moment in the right moment, this movie is right up your alley.

Acclaimed screenwriter Charlie Kaufman is back on the director's chair to provide a polarizing and enigmatical effort to his legion of fans who won't hesitate to call themselves "cinephiles" at the slightest chance they get. Of course, not knowing Charlie Kaufman and his writing style will catch casual viewers off guard when they think they are watching a regular film. It is based on Iain Reid's novel of the same name and its plot seemingly deals with a girl who travels along with her boyfriend to his parents' farm. A great deal of the film occurs in the car while they are driving through a blizzard, in which they have long conversations and we also hear the girl's inner thoughts. As the story unfolds, several hints are subtly placed which will eventually reveal a distorted reality that makes the viewer question what is actually going on on-screen.

Before you know it, these hints become aggressively evident, specially when the two finally arrive to Jake's parents' house. After a rather strange introduction, a dinner table scene follows, where it is mentioned that Jake's girlfriend Louise studies quantum physics and that she enjoys painting landscapes as a pastime. The scene shows Jake's discomfort and embarrassment towards his ridiculously joyous mother; and out of the blue, as his mother goes off-screen and seconds later she returns, her appearance is somewhat slightly deteriorated, oddly enough. More strange elements are introduced, such as the aging of the parents showing different eras of Jake's life with them, Louise' cellphone ringing and a peculiar voice message, disclosure of camouflaged truths intentionally covered and cryptic encounters at a remote ice cream parlor. All of these details point to underlying meanings and undertones behind the basic plot of the film.

In-between scenes of Jake (Jesse Plemons) and Louise (Jessie Buckley), an old janitor is seen performing his duties at a high school, then also on his break while watching an overexaggerated depiction of love statement in a film directed by Robert Zemeckis (which I found a bit insulting). These scenes are in fact occuring in present time, and the big reveal is that all of the scenes involving Jake and his girlfriend are simply a product of this janitor's recollection of his memories and also figments of his imagination. Plain speaking, the janitor IS Jake, a lonely, frustrated person who is thinking of ending things, which at first the audience is led to believe that the phrase means that Louise wants to break up with Jake, but when the truth comes to light, it takes on a whole new meaning. As a young man, he had prospect and potential but never lived up to his own expectations, he wanted to be a physicist, a painter, a well-read and cultured individual, knowledgeable about the arts; nevertheless, he ended up being a depressed and suicidal underachiever, who wishes that his life could have been different, with his ideal woman by his side and accomplishing the highest personal and professional honor as depicted in the final scene.

Charlie Kaufman does a fairly considerable job behind the camera, slowly and steadily luring us into the surreal recollections of Jake's mind. Once you figure out what is real and what is the meaning behind non-reality events, it is obviously easier to keep track of everything that's going on. While the narrative is certainly clever, let us not fall into the fallacy of thinking that because a film uses surrealism, hidden meanings or obscure literate quotes recited by heart doesn't mean that it is a masterpiece, or even good for that matter. There's a whole lot of people that seem to be under that absurd misconception. Which is the case for this; it's a fine film, with a good script but rather pretentious and somewhat patronizing at certain passages, especially the car scenes, where for instance Louise gives a grandiloquent review of John Cassavetes' A Woman Under the Influence, which felt pedantic and unrealistic, even if it was a product of fantasy. The dancing scene felt misplaced and quite pointless, and the speech at the end was just too cringeworthy for my taste.

Toni Collette is great as always, so is David Thewlis. I didn't care much for Jessie Buckley and Jesse Plemons, but their average performances are compensated by Kaufman's writing. If you are a fan of Kaufman's work, you will certainly enjoy his adaptation, but if you are unfamiliar with it, you might want to try first other films he has written like Being John Malkovich, Adaptation or Synecdoche, New York (which he also directed), in order to get a real sense of what he is all about. Despite its flaws and its divisive nature, I'm Thinking of Ending Things inspires debate and critical thinking, and that is always a wonderful thing for a film to sparkle.

This sequel begins right where the first Karate Kid film left off, it showed the aftermath of Daniel Larusso's epic win in the tournament. But this time, he and Mr. Miyagi travel to Okinawa, where Mr. Miyagi's father has become very ill. The introduction of a different setting, a foreign one, in my opinion was a formidable change, that along with it, come new characters who want to tear student and Sensei apart. These new enemies, Sato (Mr. Miyagi's former friend) and his nephew Chozen, who decidedly goes after Daniel's destruction, even though Daniel at first never did anything to get on his bad side, but eventually he does, fueling Chozen's fury towards him.

Mr. Miyagi reunites with his old love, and Daniel finds a new companion in Kumiko (film debut of Tamlyn Tomita), who form a beautiful bond that sadly gets quickly dismissed in the beginning of the next installment. Mr. Miyagi's past is shown, and his relationship with Daniel-san is further explored, reaching new heights in its development from the first film. While there are great fighting sequences, this film underscores a more human and spiritual significance on how in a different culture people relate to one another through grief, companionship and the lessons life both cruelly and kindly offers everyone on a daily basis.

The scenery is wonderfully captured by a rather astonishing cinematography, along with an excellent soundtrack that features The Glory of Love by Peter Cetera, placed perfectly in a tender scene involving Daniel and Kumiko. Not only does this great sequeal have softer scenes between love interests, but features the most brutal fight of the entire franchise, given the fact that it was real life, and there were true feelings of hatred and revenge behind Chozen's intentions.

A most wonderful entry in the franchise, which many feel it should have ended here, and I honestly can't blame them. This part II has heart and feeling, something that makes it unique from the following film.

It's funny how a film conceived and conveyed in such a tongue-in-cheek fashion can become an undeniable cult pleasure, a classic midnight film, filled with wonderful songs and performances. Brian De Palma's underappreciated effort tells the story of a malevolent record label owner named Swan who wants to open up his very own rock palace, "The Paradise". In order to do so, he needs to find an act worthy enough for a grandiose inauguration. Coincidentally, he overhears a man playing a song in the piano, which amazes Swan, and he immediately decides he must get his hands on that piece of music, so he sends one of his employees to do the dirty work.

We learn that the man who owns the music is a naive but temperamental composer named Winslow Leach who is continuingly writing his cantata to soon show the world his most intimate self through his music. Then, unbeknownst to him, Swan has been auditioning female singers for one of the parts in the cantata. When he sees a huge line of women practising for the audition, his attention is drawned towards a woman whose voice is hypnotizing, and believes she would be perfect for singing his music.

Long story short, he becomes enraged with Swan for stealing his work and because of a freaky accident he gets his face disfigured. He adopts a new persona 'The Phantom' and tries everything in his power to sabotage The Paradise's grand opening.

De Palma heavily borrows from Gastón Leroux's The Phantom of the Opera and other notable works of literature such as Faust and The Picture of Dorian Grey to create his own flamboyant hybrid with musical numbers that showcase the composing talent of Paul Williams (also known for composing the music for The Muppets movie) who plays evil record producer Swan.

This wonderful film is sadly overshadowed by The Rocky Horror Picture Show which is in pretty much in the same vein as Phantom of the Paradise in tone, amongst other similarities, but never shared the same success and recognition, an unfair state of affairs, undoubtedly. So trust me when I say this, if you love or enjoy The Rocky Horror Picture Show, you will also love The Phantom of the Paradise.

Finally after so many years, they came back. But they are met with caution, seeing as we live in different times now, and it is extremely hard for characters created 30 years ago to have the same impact they did in their own time. And this is exactly what happens to Bill & Ted, they're older now, and only half the duo has sort of the same energy of the past few films, and that is Alex Winter who pretty much nails his character after so much time passed since he last played him (I read in the trivia section that he had to take acting lessons again, it certainly worked great!). Keanu though; he just couldn't live up to his younger self, when he was way more expressive and efusive. We can't be sure if this is him just working with the idea that since Ted is now older, he can't exactly keep acting like a teenager, so he tone it down a bit. I could understand that, but in some scenes it's a bit depressing to watch him perform.

The plot is wacky, as expected, only fans of the first two films can really take the goofiness for granted, since it is the essence of the comedy of Bill and Ted. Even with the familiar absurdity, sometimes it felt like the magic was missing. It's obvious because that magic comes from a different era, and it simply cannot be replicated. It is a melancholic sentiment, because pretty much we all knew this couldn't top Excellent Adventure nor Bogus Journey, but still expected it would serve as a dignifying send-off to these great characters we all love. From what I've read all over the internet, the consensus indicates division: some who are content with the film, and some who believe it to be awful. I for one hand was so excited to see Alex and Keanu together again that I went ahead of myself and expected little of this film, so I wouldn't be disappointed of what is probably the last time we'll ever see these beloved dudes.

Apparently, it worked, because I liked the film for what it is. I laughed a lot, and kept a positive attitude right to the end, which came rather quickly, since I had hoped for the movie to last a bit longer.

As for their daughters, I thought they nailed their versions of their dads, with their speech rythm, vocabulary, enunciation and mannerisms; it was actually quite impressive. I enjoyed the fact that the writers combined the basic plots of the first two films together, a most excellent adventure through time searching for historical figures (and purely musical in this case) and a bogus journey to hell and back. In order for this film to be well received by the fans, it had to surround us with familiarity, the same plot devices as I mentioned earlier (time-traveling and hell), the quest for writing a song the would unite the world and save reality as we know it, the Wyld Stallyns, the catchphrases, and these characters who are now in their 40s but can't seem to find the stability a person of their age would normally have. They haven't changed all that much personally, but it is clear that they are older. This is why we still hear the constant "dudes" or "wows", it is because these phrases, are a part of who Bill and Ted really are, and I think that is the way that we should remember them: a bit older but with the same juvenile positivity and enthusiasm, and a matured heart, thanks to the love for their wives and daughters.

Always remember to be excellent to each other, and party on dudes!

I applaud Muse's desire to bring a different experience to an otherwise ordinary concert viewing. Following the band's Simulation Theory album, this live performance follows plot-wise a group of scientists who are investigating the source of different anomalies occuring around the globe. One of these investigators, wearing a hazmat suit, suddenly appears at an empty O2 Arena in London, with an arcade machine near him. When he stands in front of it, he enters the simulation, and out of nowhere the arena is filled with thousands of people, and mighty Muse begin their incendiary set.

Along the way, into the songs and in-between, the plot keeps developing, giving an entirely different experience than just enjoying the songs being performed by the band. Because the plot is also directly related to the setlist, it was carefully thought-out as to make the story all the more cohesive. That meant that the band had to leave out some of its iconic live regulars such as Time is Running Out, Plug In Baby, Hysteria and usual night-closer Knights of Cydonia, which honestly weren't going to fit into the visual aesthetic and the overall sound of the latest record, of which this live show is based on.

There were other Muse classics that felt rightly incorporated, like Mercy, Madness, Starlight and the fantastic rendition of Take a Bow, from 2006's Black Holes and Revelations. The visual style of the concert was very reminiscent of the 80s, inspired by the decade's biggest movies and cultural moments, along with a strong neon aesthetic that resonated well with the music. Not only were there camera or visual effects happening on screen but also many dancers and performers on stage, doing coordinated routines and wearing outfits that match the thematic of the song being performed at that particular moment.

An absolutely mesmerizing display of musicianship that Muse is greatly accustomed to, with the addition of spectacular visuals and flamboyant stage performance, and with a finale that will knock you over your seat! And in the context of this pandemic in 2020, you will be even more nostalgic of live shows and definitely will make you appreciate and enjoy more this show than in any other context. Just writing about it made me want to watch it all over again!

This film just proves that Guy Ritchie still has plenty of brilliance left in him, and that his top form has always been met with these types of stories. Crime and gangsters is where his direction shines and his stories excel what is needed for the genre. He always seems to provide more, and yet leaves us wanting more. With a very clever script and masterful storytelling, Ritchie paints a charming and witty tale of colorful characters and funny situations that turn this into an incredibly entertaining film. Evidently this well-oiled machine works as well as it does not only because of Mr. Ritchie's outstanding ability to craft such a phenomenal piece of work but also the stellar cast that is featured in the film. From Matthew McCounaghey's serene and determined mob boss, to the awkward and calculating Fletcher played astonishingly by Hugh Grant, and the hilarious Colin Farrell, who steals every scene he is in, delivering his lines with such confidence and humour, which I don't believe is the character's intention, he speaks seriously but a lot of the things he says are actually really funny, which is something incredibly hard to pull without coming off as overdone or just plain fake. So kudos to Farrell, and the rest of the cast as well who give out splendid performances, which is hard to accomplish in an ensemble piece, but in this case, everyone is remarkable.

The narrative aspect is another standout, which contains multiple layers and twists that keeps the story flowing freshly and creatively. I would go as far as to say that this is definitely one of Ritchie's best not only in the gangster genre but of his entire career. That's how great this film is: cohesively put together, a plot that doesn't tire at any minute but keeps you engaged and entertained thanks to its pace, clever writing, hilarious dialogue and spectacular performances. The Gentlemen is a no-brainer. Go watch it now and see what Guy Ritchie does best.

First off, when you think about the thematic concept of this film, you wonder about the very specific tone it requires for the comedy to work, without affecting and unbalancing the drama, since even nowadays can still be quite a touchy subject matter. Yet, Taika Watiti's magnificent and well-deserved Oscar winning screenplay adapted from a novel, goes to show what a great thing it is to still have creativity put into heartfelt cinema in a cultural world where remakes, reboots and reunions seem to be the general agenda to commercialize. Creativity even in a thematic field where many have come and gone on numerous ocassions, where is hard to tell stories that can genuinely make one laugh within the somber context of the situation, without taking any seriousness of it, and that's where the story is successful, where one can cherish the proper execution, where every single actor played their parts extremely well that helped the story flow so smoothly.

Jojo Rabbit has incredibly well-written characters which is where it resides its clue to function as a dark comedy, given its disconcerting times. Jojo's interactions with his mother are quite clever, and can leave an impression on you; and scenes with Elsa have such a comedic weight that gives you such joy that you're instantly reminded that usually these kinds of stories don't end up too well.

I believe this film will be remembered for years to come and it will come to be even more appreciated than it is today. This is one that I can watch over and over again.

It gives me such a warm feeling personally, when I witness the beginning of a musical project, a journey so fulfilling, specially when it can bring out the best, musically, in each member. Most of the creative output comes from pain rather than happiness, and main character Eve is no stranger to that, as she is going through some tough times. This film was written and and directed by Stuart Murdoch, perhaps better known as the lead singer and songwriter of celebrated indie band, Belle & Sebastian. Considering he had no prior working experience in filmmaking, I believe God Help the Girl is a decent effort, pretty much sustained on the soundtrack tunes, which is very admirable, even though the story is moved to the background in terms of narrative importance. The songs need the story and the story needs the songs, but ultimately the songs end up making up for the viewing experience. I particulary enjoyed the story overall, with its cloudy Scottish weather, its young and relatable characters, the wonderful songs and the joy I get when I see musicians do what they do best, which is to create and to perform, a feeling I most happily relate to.

The acting is fine, there isn't anything groundbreaking by any means, nor is deplorable at all, I find it in a stable middle range. It's pretty simple, if you like Belle & Sebastian's music or indie music or maybe just good music in general, you will most certainly approve this film.

I don't get some of the complaints this film has received, like "too much scenes of the girls dancing", but I mean, that's a huge part of this story, there should be dancing scenes, that's how they deceived many of these Wall Street men. These women were sexual workers and that is how they made their living, so is logical that it is heavily shown on screen. Having said that, it is an interesting retelling of a true story but ultimately doesn't truly deliver a satisfying offering, since it falls flat at some key points, with no real payoff, which makes it a mildly fun ride on the surface but eventually falls apart with only a bit of dignity left. Some of the performances were okay at best, but nothing that truly stood out. I felt relieved that Cardi B didn't play a big part because she is so unbelievably obnoxious that no one could have sat through ten minutes of this piece without wanting to tear their ears off.

The directing is fine, but a bit messy in some parts, resorting to cliché camera shots seen in every scene of a club before. So, many of you probably won't like this film, because it's a hard watch, as there are hardly any likeable characters, but you can certainly try and take a shot at it, there are no guarantees though. The film expresses feminist power over powerful men which is rather a breath of fresh air nowadays, but the question is are most people able to handle it?

Even if you aren't into war films, 1917 is a film one must experience, because there is a simple story, sufficient and efficient, backed by an extraordinary technical accomplishment, which pretty much shapes and enlarges the cinematic experience to the highest degree. The pace just flows flawlessly frame after frame; to me it was intoxicating to have such a personal point of view, it certainly enriched the momentum, it made everything feel more tense, up close yet distant. I was very eager to see what would happen next and how the story would ultimately unfold. We don't get to see the known horrors of war in a crude fashion as it wasn't intended, but we get to witness glimpses of hope and tenderness which add to the emotional impact of the film. And I have to say those moments are necessary because something else is needed besides the constant suspense and continuous turbulent path towards the success of the corporates' mission, otherwise it's hard to feel something for these characters, given that it takes place in a constricted time frame and with a clear objective, that it doesn't leave much room for a film's usual way of progressing.

The plot involves a race against time, the context is set, the story is rather simplistic, so the technical aspect is where the strength of the narrative lies. Sam Mendes and his crew were fully aware that they needed a particular way to tell their story so that it would enhance what these young soldiers had to go through by carrying out such a difficult undertaking.

1917 is a phenomenal film, with much of its grandness being granted by its technical resources rather than its story itself; so, without its practical prowess would it still be an excellent film? I dare to say that it would not, perhaps it would be a good film, but not an excellent one. The premise isn't lacking in merit, but a film that spans across such a limited time frame can be somewhat difficult to handle regarding certain elements like character development (not that it matters at all in this film), emotional investment and an in-depth plot progress. And on top of all to make it as if it was one long continuous shot is an incredibly hard feat to achieve, but done excellently and cohesively in 1917.

Whether you enjoy these type of films or not, whether you heard great things about it or that is overrated, it doesn't matter. Just watch the film and see what everyone else is talking about.

Most of the events and characters that coincide within this film inevitably make me believe that they could only occur in a Woody Allen film, along with its rich, witty, familiar and reminiscent of a past era dialogue, which can never be absent in a film of his. New York has never been shown with so much melancholy in an Allen offering before, and let me tell you it just feels ethereal, completing that sentiment with its wonderful and pleasant jazz soundtrack, which never fails to suit New York rightly so.

Allen's dialogues are usually quite excellent, is where his talent lies, but do his performers' delivery do them justice? You can bet they do. Timothée Chalamet and Elle Fanning play their parts stupendously, they fit incredibly well in Allen's designed universe and filmic context. As do Liev Schreiber and Jude Law, who have great supporting roles, and I must not forget Selena Gomez, who is Fanning's counterpart in terms of how contrasting her roles are.

Allen excels at telling stories that develop in the course of a day, a weekend, etc. He knows how to unravel events, incidents and whatnot in a way that it doesn't feel unrealistic, but somehow belong to his peculiar cinematic framework, and that's a marvelous achievement for a filmmaker, but it comes as no surprise, given that Allen has been an established trademark since the late 70s, and has been an unstopabble filmmaking machine ever since, with many hits and misses, but being his cinematic self all the way through, with small adaptations to current times, such as technological developments and new stars that have caught his infallible eye for acting talent.

All in all, this is Woody Allen as always, but at the same time he comes in fresh dose of renewal, which is what keeps his many supporters interested in his vast filmography.

I couldn't escape the hype I felt for this film, being a Kevin Smith fan and Jay and Silent Bob Strike Back being one of my favourite comedies of all time. But this sequel/reboot/whatever certainly tried, but it just wasn't up to par. Some jokes were timed greatly, and appropriately for genuine laughs, the obvious nods to the Hollywood cultural industry sometimes striked as awkward and uninspiring. The sentimental father/daughter central theme of the film worked only to a certain extent; there are passages on the film where it looks like everyone is just trying too hard, that it feels unnatural and interrupts the flow of the film, unlike Jay and Silent Bob Strike Back which was impeccable in that aspect, even though it was also imbuid with tongue-in-cheek dramatic absurdity.

Despite many of its flaws, I still enjoyed this film, seeing familiar faces and iconic lines from the previous film, was a rather pleasant experience. Which is why is kind of upsetting that Reboot isn't what Strike Back was and meant for me when I first saw it back in the day. Sadly one creates too much expectation in products that while I'm sure was done with so much love and passion from Mr. Smith, it lacked the creative effort he put on Strike Back in 2001.

It was great to see Jason Mewes back on track, both with Reboot and also his appreciable directorial debut, Madness in the Method, which integrally, I believe it is a much more solid effort than this. Without all the nostalgia factor, the numerous cool references to Strike Back and the entertainment industry in general and all the cameos from different celebrities, this film would be a rather poor enterprise, an unimaginative and utter disappointment. So, pretty much those elements I mentioned earlier are what saves this film from being a complete fiasco.

I hope that one day I can watch this again and think to myself: "well, actually, is not that bad".

First of all, I would like to say that this film was unjustly deemed as bad, atrocious or whatever negative adjective that it was ever called. Neither is a guilty pleasure, a term which shouldn't even exist, if you like something, just like it without any need of being embarrased by it, which is utterly ridiculous. Having said that, Xanadu can be quite an enjoyable and rather bizarre experience, but it has many elements to its favour. Olivia Newton-John paired up with Gene Kelly, which is musical bliss; an incredible soundtrack provided by Electric Light Orchestra and ONJ; an out-of-place yet endearing animated sequence, the final dance rollerskate routine with the title track, and the ending are truly wonderful. Sure it's cheesy, but when did that ever hurt anybody?

The story while not always coherent, it merely aids to fit the soundtrack and the clever use of Gene Kelly and ONJ. It was delighting to see the grand Gene Kelly to have one last dance number on his resumé, and while many would not consider Xanadu to be at all flattering to Mr. Kelly, he managed to show he still had it at the time, nonetheless.

Some scenes are arguably cringe-worthy at best, due to appaling special effects and awful delivery of dialogue. But thanks to those elements I previously mentioned, they keep this film from being objectively as bad as many people, IMDb ratings, and being regarded as the reason for the creation of the Razzies would suggest. In fact, I would dare say this musical deserves much more viewings, more love, more appreciation, while acknowledging the fact it has its solid number of flaws, still the balance inclines the other way.

Despite its awkwardness, much due to the fact it was written as it was being filmed, which it completely shows in its lack of coherence and depth, yet still provides for great pleasing fun. Once you get past the off-putting elements, it can be truly rewarding, you have to find that place in your head to truly appreciate this piece and not just regard it as a shameful guilty pleasure. There's nothing to be guilty about liking Xanadu.

Xanadu is not awful, Xanadu is not that bad. Xanadu is actually good.

This film radically captures the rawness of youngsters slipping into drugs, some so young one cannot help but to feel shocked. What is really remarkable about the narrative is that is flows so cohesively, taking its time to coherently develop its plot, which in turn is all about Christiane's spiralling down into substance abuse and how that affects and disrupts her life. The story is painful and disturbing, it is almost weakening to observe wide-eyed how youth culture can be reduced to nothing by means of dangerous substances, sometimes lethal ones like heroine.

I find David Bowie's music fascinating in this film, as it really enhances the experience, taking into account that the real story of how Christiane first became hooked was on one of his concerts in Berlin. The helplessness of some characters is rather tragic, to witness the fact that for some people there's just no going back, brings about devastating sensations.

The acting is phenomenal, which finds its way into concord along with the film's story. Everything seems so real that at times it feels as if it is not a film, but a documentary. It is probably the strongest and most realistic depiction of a drug scene and drug addicts ever put on film. Many elements were purposefully used in order to achieve that level of realism, such as many of the film's locations are the actual locations in real life. Many extras were drug addicts so they knew exactly what they were getting into, and played their parts perfectly.

It's not all about how Christiane and her friends become addicted, it's also about the consequences of their addiction, which proves to be pretty destructive, in fact is one of the most woeful aspects of the film, which is notoriously attached to its impressive authenticity.

A splendid film, one that will stay with you for a long time, a film that makes you think, reflect and question. There's not enough people to whom I would enthusiastically recommend this film, sadly there just isn't. If you like films like Trainspotting and Requiem for a Dream, one viewing of Christiane F. will make them look like the Teletubbies in comparison. No offense to those films, which are great though.

To be honest, I had my reservations before watching this film, as I read some comments online and heard mostly negative things about it. The slow pace mistakingly perceived as "boring", the plot being weird and bizzarre, amongst other negative remarks. The film indeed starts slow, but it has to build a story, its characters and everything that drives and motivates them. Dani, the main character (played by a magnificent Florence Pugh) is concerned with her sister's state of mind, as she is not responding messages which keeps Dani upset, having only her boyfriend to rely on, who thinks Dani's sister is being dramatic as she always is. Shocking news come Dani's way as she learns about the decease of her sister and her parents in a strange episode never truly revealed on dialogue. Her boyfriend Christian (Jack Reynor) and his friends are planning a trip to Sweden, to one of the friends' (Pelle, Vilhem Blomgren) village, where everybody is set to celebrate a midsummer festival which takes place once in a lifetime.

The Swedish villagers take part in rather strange and morbid rituals which in their eyes are seen as traditional costumes which have been carried out for many many years. Situations take an even more bizarre turn with some members of Dani and Christian's friends begin to disappear, and from then the narrative takes the viewer through a spiralling down of grotesque scenarios evidently crafted in order to shock and disturb the audience.

Ari Aster knew he didn't want to make just an average conventional horror film, so he used many resources at hand to excel in a genre that often gets depreciated because the lack of quality efforts being put out every year. These filmmaking resources include unusual long takes, sometimes without close-up shots, only long shots or american shots, which gives the film its own distinctive style, combined with the daytime photography which is absolutely breathtaking. Not many films can pull off perturbing and distressing an audience without the always helpful aid of nightime.

These technical tools elevate the quality of the narrative and storytelling, which flows naturally without hurry, taking its time to truly develop cohesively and coherently. Events unfold into aberrant situations such as procreational sex with harmonized moans as part of a fertility ritual to name one. The experience is truly unsettling, an uncomfortable watch that challenges viewers' perception on the abnormal ways of these Swedish villagers, as opposed to what a normal civilization accepts as normal behaviour.

I enjoyed the film, and certainly had a much fitting closure than Ari Aster's previous film Hereditary, which in my personal view was completely off in regards to what came before. Midsommar is an unusual film, with a distinctive directorial style and filmmaking techniques that embellish the final product, which is essentially great, yet misunderstood.

Marriage Story is a beautiful composition, plagued with heartfelt drama, severe emotional cuts and bruises, and a heartwarming honesty that relies heavily on the magnificent performances of its two leads, Adam Driver and Scarlett Johannson. Their performances elevate a very emotionally intelligent script, that knows in which moments to strike deep and clean, with resonating strong moments such as that powerful climax which will keep getting praise for years and years to come. Another standout is that musical number, with words almost as tragic as its performance, a solemn attemp by Adam Driver, whom has found his niche in demanding dramatic roles that require passion and strong intensity.

Scarlett Johannson gives a firm portrayal of a woman, wife and actress who lives by the shadow of his theatre director husband, drawing an accurate sense of an overlooked woman, whom despite being successful professionally, is still heavily damaged by a loveless marriage.

Marriage Story is not all about the performances, it feels like a real, authentic story, with a true and honest ending, which most of the times it is much more valuable than an happy one.

A strangely appealing film, mainly thanks to David Bowie's surreal mysticism along with the weirdness of its visual composition, and the flexibility of its plot, not to mention its unorthodox storytelling. All of these elements create a unique film, with a unique mood and ambience, even with controversial sex scenes that almost feel taken out of '70s soft core. The film deals with Bowie's character falling from the sky, as he is an alien that wants to save his dying planet and return to his family. He becomes immersed in the business spectrum and quickly becomes the head of his own company to raise enough money in hope of creating a scientific solution that will help his dying planet.

A film very much misunderstood in my opinion, a bit ahead of its time, with groundbreaking ideas transferred ideally on film. Bowie's acting is of the highest calibre, in a performance which he personally described as just "being himself", in a time where he also felt a bit alienated in what was his first involvement in the production of a film. Rip Torn is also strong in his role as a college professor that goes to work for Mr. Newton as his primary scientist. Mary Lou acts as Newton's love interest, which spans for a long period of time, in which we can see her develop her intense romantic feelings at first and later getting fed up with Newton's silent ways.

It's a different film, a daring effort, ambitious in filmmaking nature, which can appear convoluted with its somewhat jumbled narrative, but when understood, it can be appreciated as a very special work of art. Pay close attention and enjoy, cause you will hardly see anything like it.