The film follows a standard four-act narrative structure. Each act has only one shot, which, as you can imagine, is an extremely long take. The cinematographers and production designers must have done some impossible work.
Under this immersive and atmospheric setup, you see what the protagonists saw, hear what the protagonists heard, and feel what the protagonists felt. This is one of the most realistic, intense and hard-hitting thrillers I've ever seen. That's why I don't recommend this movie. You will be traumatized by the film, even long after you finish watching it.
The film is impeccable in terms of screenplay, direction, performances, editing and music score. The quarreling scene between Driver and Johansson is possibly one of the best scenes of the last decade. The ending scene echoes the opening scene and just makes the film an instant classic.
The storytelling is in multi-layer. The main event is told in flashback, and the side events are told in flashback of flashback. The dialogues are smartly written. Particularly, the dialogue about fish is an interesting metaphor. The only bad thing about the film is that it is too long. That's a problem with Netflix film. They don't care about box office, and the director can just put everything he shoots into the film.
The racing sequences are simply thrilling and intense. The cinematography and editing are just crazy. The script is well written. There are plenty of twists and turns. The ending is beyond everyone's expectation.
Bale and Damon are marvelous. Bale's British accent makes him totally unrecognizable. Mangold proves again that he is brilliant in directing an action thriller.
This is a typical Tarantino style film, violent and funny. The jokes are throughout the film and the violence steps in when dealing with hippies. On the other hand, the film is also quite realistic and offers a sharp sarcasm towards Hollywood, stars and hippies. Pitt is handsome as ever, and DiCaprio gives one of the best performances of his career. The screenplay and editing are phenomenal.
This is perhaps the best Chinese-language film of the year. The theme is similar to some of the early films of Ang Lee. The approach is suspenseful and the message is heartwarming. The script is pretty well-written, and there are plenty of jokes. The cinematography and editing are quite impressive. In particular, there are a number of close-ups. Awkwafina gives a convincing emotional performance.
The Toy Story series might be the most successful film series of all time. It is really hard to see the fourth film maintains the same high standard of the first trilogy. The animation is beautiful, and character development is very impressive. The voice performance of Tom Hanks is as perfect as ever. The message is so heartwarming that I really want to see Toy Story 5.
This film commits the same mistake as its predecessor. The title is Godzilla, but most of the film has nothing to do with it. The storytelling is uneven and highly problematic. Human drama is faulty, unnecessarily long, and does not possess any sense of credibility. The large-scale set pieces and monster fight sequences are sensational but too short. To the end, the film cannot explain why Godzilla is the king of monsters, which just begs the question.
Narratively, the film is not without fault. In particular, the three storylines are fairly loose, and do not seem to relate to each other. Nevertheless, this does not prevent the film to be thoroughly unpredictable, wildly fun and extremely fast-paced. While introducing a new character Tiger or Hu, the film retains most of the characters from its predecessor, all of which are adorable and cute. The characters, dialogues and actions are super hilarious, and the children in the auditorium kept laughing throughout. Several scenes, including the cliff scene and the chase scenes, are pretty intense.
The storytelling is messy and the plot lacks credibility. The acting performances of some actors are questionable. The title is Godzilla, but most of the film has nothing to do with it. Thus character development fails. Fortunately, the action sequences and the visual effects are fine.
The film has too many references to previous Marvel films, and is not friendly to those who are not Marvel fans. General audiences may easily get confused: what is this and why is that? The story is not original either. We have seen too many time-travel films, such as Back to the Future and Days of Future Past. This film does not offer anything new. Besides, the last thirty minutes are kind of redundant, and the overall running time is unnecessarily long.
The idea of the film is essentially copied/plagiarized from Tom Hanks's 1988 hit Big, but is much worse in every possible way. The visual effects are cheap and lousy. Levi's performance is a disaster. The tones of the young Billy and the grownup Billy are not consistent. The buildup is too long, and the plot lacks credibility. The result is a mindless comedy that is neither funny nor with heart.
The camera is shaky and obscure. The editing is a mess and the narrative is chaotic. The story lacks any sense of credibility. The result is just a pretentious and failed mystery film. Jing Boran's performance is a joke, and he does not fit into his role at all. Ma Sichun is OK. In a word, the film is style over substance.
The storytelling is not intense. Some subplots and marginal characters are unnecessary. The main plot is mostly predictable and also shattered by various subplots. The makeup and performance of Jacob Tremblay are convincing.
The tension arises right from start and does not finish until the end. The pace is very comfortable, and the film takes a day-by-day narrative structure. The approach of the film is mild, subtle and nuanced. So is Charlotte Rampling's performance. The result is a powerful and thought-provoking drama on romantic relationships.
The quality of the film is actually not bad. In particular, the animation is pretty cool. The plot is OK too, with some twists and turns. However, I would give it a 0/10 rating due to plagiarism. Some of its action scenes are simply copied from the 2008 thriller Iron Man and the 2004 stunner Spider-Man 2.
The story is audacious, imaginative and wildly unpredictable. The screenplay is well-written, with plenty of jokes. Hanks is perhaps one of the talented comedians ever, and in this film his stunning physical and emotional performances simply lift the film to another level. The result is a hilarious, fascinating, and heartfelt comedy.
The screenplay and cinematography are pretty noteworthy. The tone of the film is sentimental and upbeat, and the pace is very comfortable. Gao Hu and Huang Bo both give immersive performances, particularly Huang Bo. The use of Jonathan Lee's song is surprisingly suitable.
The filmmaking is quite unprofessional. The production design is a disaster, and most of the scenes are just fake. The approaches of screenplay, editing and cinematography are the ones typically used in a stage show. The plot sticks strictly to the coming-of-age formula and does not possess any sense of credibility. The characters are either flat and one dimensional or completely marginalized. The actors are too old for their characters and their performances are merely amateurish. In a nutshell, this is not even a film.
The sound mixing is garbage, with a substantial amount of noise. The dialect cannot be understood. The camera is shaky. The performance is pretty amateurish. The pace is slow. All in all, this film is an unwatchable mess.
The satirical tone throughout the film sets up this solid dark comedy. Almost every character in the film is hypercritical. The script is pretty sharp and the character development is quite successful. Wang Cailing is probably one of the most representative characters in modern China, thanks to the career-best performance from Jiang Wenli. This film gives deep depiction both about humanity and society.
This is probably one of the best Chinese-language films ever. It successfully develops a memorable female character in modern China. The character, perfectly played by Yan Bingyan, is gritty, unflinching, unyielding, optimistic and stubborn, even under extremely difficult conditions like a disloyal husband or an ungrateful child. The script is realistic, the direction is suspenseful, and the performances are impeccable. We see such characters in everyday life, but no other films could be so sharp and resonant.
Wang Xiaoshuai is clearly a narcissist and just puts every shot into the film. If you cannot sleep well and really need some sleep, you are encouraged to see the film. It can cure the worst insomnia. The nonlinear structure is just a joke. If you put the key scenes in the beginning, every suspense would be eliminated. The editing is a mess. The film is simply unwatchable. I'm sure you would want to leave before it ends. Thematically, it is quite confusing too. It could have been a sharp and dark period drama just like Zhang Yimou's To Live.
There is no buildup, no climax and no suspense throughout the film. The plot is just like going nowhere and never catches the attention of the audiences. The cinematography is pretty pretentious and amateurish. There are too many close-ups and most of the shots are repetitive and meaningless. There are no deep discussions into social issues or family life. The story follows strictly to the coming-of-age formula. The music is merely noisy and disturbing.