Friday, November 25, 2011
Sunday, November 20, 2011
Sunday, November 13, 2011
Thursday, November 10, 2011
Wednesday, November 9, 2011
Tuesday, November 8, 2011
Thursday, November 3, 2011
Tuesday, November 1, 2011
Hanna - 8/10. Compelling! Between something as blunt as the Bourne movies and as atmospheric as 'Drive.' All of the principles handle themselves well: Ronan shows a great range, Bana is friendly and dangerous, and Blanchett creates her own Anton Chigurh-esque vision of evil. It's fun!
Labyrinth - 5/10. Seeing this and all those Muppets movies recently, Jim Henson's got a great ability to create characters but he can't seem to make a solid story around them. He's more concerned with character moments that character arcs. Sarah's got no fear in her. She's just a thing that guides us to the next set piece.
Drive - 8/10. Lars and the Real Shit, y'all. Extremely well-made. It delays gratification when you most want it and releases it on people you don't care for it to be released on. That's its biggest flaw and the most interesting thing it's got going for it within all of its interesting parts.
50/50 - 5.5/10. Boring guy gets cancer, continues to be boring. Take the Seth Rogen and last twenty minutes from this movie and smash it into 'Funny People' and you've got something maybe. Joseph Gordon-Levitt, oh, how you don't really act that well except for that one scene towards the end which is actually very good, nice job.
Moneyball - 5.5/10. No follow-through. When it plays around with numbers, it can be a very compelling movie, but it lobs so many other threads in the air that never find their way back down. Thusly, the movie never really finds a satisfying emotional conclusion to any of its unformed parts. It's not really about anything.
For The Bible Tells Us So - 4.5/10. It comes off like it's talking to people who already believe what it believes, which makes it useless. I'd love to have a movie to hand to my mom where she could cry a little tear and shit, but this movie'd just get her all defensive, as it does a good deal of talking down. It's not tactical warfare.
The Bridge - 7/10. It's haunting to watch 20-some people jump off of the Golden Gate Bridge. Each time is surprising and, as it goes on, it creates tension out of inevitability. The movie doesn't offer anything in the way of closure of elucidation into the nature of suicide, or why this bridge, but there's only so much you can expect, I guess. 'The reality of one night, let alone that of a whole lifetime, can ever be the whole truth.'
Sherlock, Jr. - 8/10. The best Buster Keaton I've seen and the first one where I really get Buster Keaton as a character – if Chaplin has a twinkle in his eyes, then Keaton has butterflies in his stomach. It's less the size of the tricks with this one and more their seamlessness in being pulled off. It approaches magic, friends.