Reviews

After watching this film, you will fully understand money itself has not meant it as a character for a good film. This film, which was made of almost 50million US dollars, a Darren Aronofsky 2022 independent film The Whale was made of a 3million humble budget; this film, however, is typically B film alike studio made A film, but still feels 100 per cent a B-film.

The screenplay writer has been trying to make a flat story appearing original, it feels like a filmmaking academy student to deliver a whim coursework, it has a few familiar faces of stars to help turning sort of idiosyncrasy into chanciness. First 30mins of film really brings out a childlike bulb for adult, especially some scenes of a newborn baby bring ornately light tones, you sense it is basically a film to help you feel joy and laugh heartily. It works for that.

After 30mins in, the character Rock-Hard Rod (Ricky Stanicky) is introduced, from that point to end, the film starts to inundate with pranks. The feeling of wishing it still can be an A film starts to go south.

So far it is the least watchable film I watched in first half of year of 2024.

It's been almost two decades since last time I watched this film, by the time I didn't even have watched godfather series or goodfellas and I do think it's a propitious time to watch this film I was so eagerly to watch again, when it is due, I have this conviction for years in mind, this is not only the best thrilling criminal gangster and cops themes film in history, but also the best of best of martin Scorsese films from my point of view.

While I was proceeding it just recently, I once again discovered what a good unforgettable masterpiece would be like, those detailed scripts held up in your memory to the point you reopen it, everything is still there, and 18/19-year-old doesn't do much to age the sense of fresh and original, even it is a Hong Kong gangster film remake, which I was familiar with too. I can tell you it is an amazing remake that cuts out the core keels but fleshed with fresh bones and meat, the only theme that both original Hong Kong film and this Scorsese version shares is the 'good and bad cops' storyline, I remembered by the time this film just came out, I was skeptical this film can be watchable, because the original was a huge hit in Asian entertainment market on many levels, I be honest, by the time I firstly watched this Scorsese film I didn't have appreciated in the same depth as much as I do at this point, the pacing from start to finish and the way it unfolds the story makes you feel the apprehension of the characters, even I already knew what is the fate waiting for some of them at ending, I still process the unsettling twitching sense as if they were fresh materials.

Performance and character wise, I think matt damon's character is sophisticatedly scripted, even now I come to acknowledge it is also based on some true materials of a Boston based former corrupted cop, matt added a lot more personal touch on his character.

I really don't feel marking spoiler alert here so that anyone who haven't yet seen or watched this film ever before, make sure you are above 18 years old , ideally older than 21, I was 36/7' by the time of first watching, it's not that graphic, but its one of those films you will get more out of it if you grew up knowing life has multifarious dimensions, other than that do curl up your attention and embrace the absolute epic thrilling experience.

First of all, I really appreciate the ending that made the Australian shepherd-border collie-bouvier mix Ukai the dog 's character Arthur, a stray dog, to be alive, half way through the film I almost was convinced Arthur was not going to make it, my tears just were pouring uncontrollable, at a point I was thinking to stop carrying on proceeding the film, a lovely tough being, had been abused in his past life but saved by protagonist and his teams, it is just one of those metaphorical themes that how this world can be unfair and cruel to a being, either animal or human, being shy and meek will not get you anywhere, except being hurt, animal abuse and human kind bullying all is that.

I still believe majority of the livings on this world can find a way redeem themselves through, like Arthur, in spite of those infrequent suffering brought on to him, he believes if he followed the protagonist and the team, he would be invincible, he knows he deserves this best ending we get from the film, my emotion really ran its crest in last 20 minutes of the film, the message sent off from the film is stronger than we thought.

A 2016 blockbuster fantasy film that has an amazing CGI visual effect and sound effect, both departments arouse excitement and enjoyment while I was proceeding through this Tarzan and jungle's theme bounding feature film. Last one thirds close to ending, a few sequences involving death of Ape Akut is moving, it made my feeling of commiseration for real, at the mean time I gazed the screen keeping myself on the emotional mettle ploughing with protagonist through sequences up till ending.

Actings are generally one dimensional, I say this again blockbuster films intentionally make characters easy to comprehend, so that you focus on general picture of effects, naturally filmmakers don't wish you to awaken through it without resting your eyes on something familiar with, then there you understand why A-list cast have to be there to pull you registering attentions. It's a statement for the cast status in the industry if they are chosen to partake a film like this sort.

It's the original The Expendables film came out in 2010, after which it had spun off 3 sequels all of which I never had seen or watched ever before.

I watch action films to test my patience these days, or to see how far my mind could go off tangents when processing the sequences of the films at the meantime, in that case, most times it runs sprint, while proceeding this film, those 15 years ago already started fast forward aging stars draw my attention back on them promptly.

I actually never had seen Jet li acting again since 1982 his first film came out, by the time I was a child, after which he turned a super action star, I have no collection why I had had lost interest on seeing films he cast again. In this film his lines were dotted with stupidity, it's a sombre travesty the Hollywood could ever mete out to him.

I think this is the first time I was allured to watch a film by 'critics' that I have had read in media.

The film is heavily scripted in a way like SNL skit, like anybody can play a part if just read your cue card, I mean literally there is a scene just like that, speaking of which I am not familiar with this writer or director who made a widely known 2014 film Boyhood, many times I was planning to watch it but didn't make it due. I really wouldn't say the script is original, its more like it is running out of sensational stories to tell, I think we totally can leave moral compass discussions out of here, if we know it's a dark crime comedy, any comparison with Quentin Tarantino is unnecessary, I just don't feel like any liking of this sort of devious act in the surface. The characters are all absolutely unlikeable to watch.

Unlike many people live with western cultures, who adore Japanese samurai spirit in a certain upright way, my personal knowledge is that Japanese samurai, namely bushido, is a spiritual format that actually followed of Chinese ancient warrior culture hundreds years ago, and actually entire northeast Asian nations, namely Koreans and Japanese had been following that hundreds years ago, but only Japan remains almost original bulb of that spirit, in most of recognisable shape that the world can tell, the reason is very much complicated.

I came into the film because couple of months ago enjoyed a 2023 film Perfect Days that Koji Yakusho cast an impressive protagonist, in this 2010 film, Yakusho's character is a typical samurai. The film is very much violent, in displaying uppermost part of film. To include seppuku, a Japanese warrior suicide format of self-disembowelment, from the opening scenes, in a subtle but doggedly unfolding way, followed which, in same veins a set of sequences to show cruelty of sordid killings may turn many viewers on, for those who I mentioned paying particular admiration to this cult culture.

I know its not a film for me, but as much as I am a fan of Koji Yakusho's acting since Perfect Days(2023), it's worth my trying to ignore all those wretched mannerisms in the film to have any negative impact on my mood.

Just a trifle reminder to some people may not know, the samurai spirit is predominantly lost in Japan these days too. And I always appreciate that Japanese never tell the world loudly they learn that from Chinese, they thought it's thoughtfulness and loyal towards something they pay tribute, which I simply name it cult.

I finished proceeding original then stopping in the middle of finishing this sequel.

I think the sequel is technically more watchable than the original, I just need another time to finish up.

The point is that I somehow acknowledged this is a certain 'type' of comedy, so I never touched it when they just came out. They are not my 'type', but I was hoping now, when I process these films impersonally, I could give their vulnerability a proper huddle, thus the worst part of some aspects of the film just could have been reduced to insignificant. It didn't work well that way.

Some lines here and there feel cringing, like ethnically indifferent calling some stereotyped things out, so far I didn't feel anything personally offended for my background, but it still senses that something are apt to happen next a few mins while proceeding in the middle, makes you feel subject to changing mood frequently, from feeling boredom, to sullen, most laughs are inane and promptly drifting off.

So just in case you wonder something will get under your skin as time passes by, that's not true.

I am a fan of Rinko Kikuchi, who is one of the most beautiful women on earth I could ever imagine. I think in that sense I went into a wrong film that Rinko's character died after 37mins in, then I checked out I should have to watch the original one, a 2013 film, before this sequel.

I was in the middle, should I come back to watch the rest of the film later or never?

So, this is just a few words for the 37min length of the sequel, the CGI is so feigning alike, all buildings feel like sheaf of cardboard when architecture study students making models in mock-up session, it's a 2018 film can't be more subdued that this happens to a blockbuster film. The Kaiju is fantasy figure, it looks fine. I am not going to affront a beloved fictional character.

Next time if see or watch a beloved cast in a production, at least thumb through some introduction materials, will they die in the middle of, in the beginning, or in the end, cross your mind at least, I feel a compulsion to say that after experiencing this one, I mean it doesn't quite bother me, if they perish at ending. After which everyone goes, so.

What a heck.

Not into the subject but was for the performances.

Naturally I would do some preparation before watching the film I watched Newsnight special, Emily Maitlis interviews prince Andrew in 2019, it was so humdrum to me, in terms of the interview per se. So I went back to watch film directly, it turns out ok.

The film is unassailable in terms of every aspect of the story unfolding. I mentioned I was for the performance, particularly I am a fan of Gillian Anderson's acting, in this film she also delivers an indisputable execution in terms of casting her character of Emily Maitlis, who is 'nobody ever saw her eating' kind of persona, apparently has eating disorder, but nobody even talked about when she worked for BBC, at least in this film there is a proper mention of that. I have recently recovered from a turn of ED by gaining 20 pounds myself therefore I took notice of this trifle.

It's a psychological thriller.

I think its fair to say that the screenplay is a hardworking piece, viewers start to sense some character among two families has been mentally ill since the beginning even before the first child accident took place, but since the story has such a creepy and twisted narrative, the insaneness has been strewn all over the place, you feel like running off the invincible darkness side badly, even think about watch again someday will bring pungent taste in mind. In that case its on a par with a horror film.

Majority people will instantly stand with Jessica Chastain's character from start to finish, people read many detailed narratives make them believe Anne Hathaway's character is deeply problematic, even though, viewers would rather have hoped that they were wrong to think Hathaway's role is that lead-like dark, I for one really think Hathaway is very brave to show receptivity in taking the part, since its been years and years she didn't have enjoyed likeableness from many audiences in real life, the character in this film doesn't even have a minute of lurking suspicion, her character is a 'bad actor' all widely obvious.

Both Chastain and Hathaway are doing a great job, still, we leave the film thinking the screenplay writer has a twisted mind intentionally making audience take away with feeling crick and miserable.

Recently proceeded, It's the third Adrain Lyne film I ever watched besides Unfaithful(2002) and Deep Water(2022).

All three films centred on stories about extramarital affairs running with thrilling effects, I watched Unfaithful and Deep Water all when they just came out, this film came out in late of 1980s, by the time I was too young to register the theme, so I passed it until recently looked off at it, just in the event of running out of appealing new productions, all in all, I guess its just not my thing all my life, not just when I was younger, I was good at reading trigonometry in math but not the same term applying in social behaviour domains.

Anyhow, its also the first film I watched that Glenn Close cast when she was under her 40 years old.

Most fraction of my brain tells me it's the best one out of three films Adrain Lyne made that I mentioned earlier.

The film starts from a scene of raining, since then everything senses slimy.

A mysterious case solving type of film much alike Knives out series, and Hercule Poirot series, only crumb makes it different is that this one is bluntly drab.

Really not that into English upper-class life which this one sketches around 1930s, until 1hour and 15mins in the film just makes you feel totally dejected that a crew of housekeeping people obediently serve their upper class master which really turns you off if freedom is your tea.

Even the murder finally effectuated, you still reluctantly shoot yourself up from the giddy mood of not so ebulliently but languidly arranged English country house scenes.

Ryan Phillippe was 26-year-old while shooting this film, he wore a Scottish accent, even sounds very much stiffened but its one of the two things amused me in this film, out of almost all English actors, actresses you could name that are chirruping around in the film. The other one cutie is the Brussels griffon, an one born and bred in English countryside however, which seems always flustering on scene. Even the dog appears depressed too.

It's a whodunnit film I don't care a fragment whoever that is from start to finish.

It's a film of certain genre, a group of people who were close, then not so much for some time, now go on a trip together, pan out everything in the end. Such films I have had seen or watched some before, which include The Hangover series(2009-2013). Joy Ride (2023), all of which are comedy incidentally, and since this genre of films have a common trait, excessively vulgar from time to time, that many people find repelling, others may sense uneasy, cringing, some may find sarcastically or cathartically funny, bubbling, or guilty pleasure to some, I proceed films for probing purpose these days, matter-of-factly, so, to me, it's all impersonal.

I am dazzled with colourful set scenes, since four ladies are on a special excursion of music festival, soundtracks are blaring. Storylines well plod with what have befallen each of their profession, personal life, past and present, again some languages and acts are appearing hoodlum, but sequenced smoothly for the benefit of comedy.

This genre of films does have targeting audiences, artistic value aside, this film has enjoyed box office success that on a par with blockbuster films, African American comedy culture has a special excitement that most ethnic groups perceive as enjoyable. Previously mentioned a film Joy Ride (2023) didn't pan out with box office because it is about four northeast Asian Americans went on a trip the story was entertaining and well scripted too, but falls a minority group enjoyment.

On the contrary this film is far from so-and-so, if compared to Joy Ride(2023). Even the latter is one of my personal favourites.

The general takeaway from first time watching this film is that it is made in a sober ambition, it strikes me as completely concocted with its script of every bit of the scene, no slit in between sequences.

1981's New York City, everything looks the opposite of garish on scene, story unfolds and ends at an oil hauling trucks parking lot, some chasing and running scenes shot at city railway stations all look dilapidated, even some mobsters home interior styles look far from plush, lighting has utmost dim tone, every character acts their reserved self.

It's the age background following The godfather2, and before The good fellas (1999), somehow, in between The Irishman (2009), mobsters and lawlessness still quietly enjoyed themselves up in the high coffered grey areas of society.

Two spots of scenes pounced on my attention out of sleepy mood, one is when Abel and Anna drove and hit a vulnerable animal crossing a dark night street, the wife asked the husband to do something about it, he was hesitant to rush a solution, the woman shot the groaning animal in cold blood. Another one is the ending when Julian committed suicide, he incidentally shot through the oil silo* as a collateral damage, viewers heard the sound of liquid dripping taking amiss as blood perfusion, while camera turns over on the wall, we found out what happened, it is that modestly amusing if not profoundly, it meant to tell how violently a suicide took place.

Except these above two accounts, most part remains the soberly and slowly moving without luscious action sequences, that some people may find it's not enough to feed ravenous appetite for action stunts.

I like it feeling a unique doornail set on record of this genre of films.

*previously I was a trifle thrown off by the ending, so corrected later as such, Julian shot him self to death, the bullet went through the oil silo facility wall, the outlet leaking liquid is oil, Abel was trying to make amends for oil gushing than caring a blood gushing julian's body laying ground, oil is the protagonist's bloody blood, that's the ending meant to tell, both husband and wife are ready for a skimming life ever since. Thanks.

Its an amazing documentary. I made myself watch through, albeit I had had several times pause only to recommence later, because I was simply bowled over by the powerful message it sent off.

Its about a young woman faces her different life from others perspective because the body format she has since born to this world.

From a unique angle she interviews her parents who brought her to life so that the world could perceive such an embodiment of sureness, her mother is such a calm and affectionate figure, who never even thought about she should have felt contrite to bear and bring an unusual life to the world, she is joyful and forbearing.

Then a new life cycle brings about lustrous light, the young woman has become a mother herself to a healthy newborn baby.

When people face difficulties more than others, they would be able to discover more sensible beauties in this world simply because too many people take anything for granted. A healthy normal life end is the backdrop that this amazing young woman's life end cuts out against, if there is a panoramic picture, it makes both ends extraordinary.

A Canadian true crime material derivates mini-series, somehow reminds me of An American Crime(2007).

This miniseries is focusing on adolescent bullying which is an issue of global concern, it literally happens everywhere every race every nation, rich or poor, capitalism or communism. Very disturbing and far from inconsequential, the victim in this series is a rather complicated juvenile character, 8 episodes is a trifle stretch however the story is not that complicated, it tries to tell more about the cause of everything, which relates to religions, ethnicities and some implies race plays a part in the crime too, suppose, Caucasians still command certain privileges even among bad girls, two white ones can talk behind a black one's back,' she is just so stupid', the three are 'friends' bonding complicit in murdering the victim.

I binged watching 6/8 of the series, I haven't finished yet. Initially, mostly was because wanting to exam lily gladstone's performance, and I am also a fan of riley Keough, speaking of which, I only started into Keough since a few months ago I watched Manodrome(2023), in that, she had a cameo in the opening scene, so unforgettable, just in a few minutes shot I remembered her ever since, turns out Keough is not just a random actress, not to say she has a long enumerated portfolio of acting, she was in American Honey? I don't remember anything of her character in that, anyway, she is Elvis Presley's granddaughter, I really didn't know anything about that until just a few weeks ago, by the time I planned to watch this series, since I was impressed by her cameo in Manodrome, it turns out, every time she grins in this series, as i see, she looks exactly like her late maternal grandfather's signature smile when parted lips, she wins me by a cameo, not this pedigree. With all due respect.

Lily gladstone is just outstanding, she fits this role to play a cop, the story depicts her character and Riley Keough's character are lesbian on a few scenes, which is a bit unnecessary but feels sweet for me, I am attracted to both of them, they are two beautiful women as I perceived. And I love them both, so, I don't mind I am tickled pink to see they kiss each other on screen, even better. Actually.

That's it, I went into for these two, I shall say it in the beginning instead of lackadaisically typing two paragraphs not being straightforward. Hopefully it ends here a rather facetious note. Thanks.

As much as I loved Octavia Spencer, I enjoyed the first 20mins of the film, Chris Rock's narrator role also is cheerful, after which it turns to another kind of sentiment in terms of entire production. I am a bit wistful, then I hoped as it goes on that despondency could have blown over. Nope. It turns out.

Surely the witch caricature has certain voice, I find it a bit too much blaring for my ears, so I turned volume down and eventually almost muted entirely for the last 20mins.

It's a family film, I am not saying I am a sentimentalist, but don't you feel it's rather sadder or droopier themes from start to finish, just being honest. I am not so sure if I were under 13-year-old I would enjoy it, all those themes of losing parents, body deformation, and such, sense of contents from nightmare, as an adult I say it is thrilling, but much of disharmony.

Its probably so far, the only one among all MCU films I saw or watched, that moved me to tears by last a few shot on scene. I can't believe that I finally become one of the people to eat out of MCU filmmaker's hand. Wait, its just one.

Fun to watch since the moment triptych of spider men all come up to scene in this film.

What moved me most is the ending.

When you wear a suit or anything not you were born with, you get a chance either you like or hate, they grow on you, they go autopilot after iteration. When we wear an accent, or a behaviour, a social status, an occupation, an emotion, whatever it is, we accord with the role that we all could even in a detached way to observe them. In some cases, it's easier to undress, others, not that fortunately, erase all the memories? Even for the part you hate or being dismayed, to totally send them off from your head. Um, I for one, will be in a terrible tingling panic. That's why sometimes I tell myself, its uncomfortable or inconvenient, its also what whetted your mind, waying out of haywire.

I brace that involuntary sadness, then I don't feel inept to cope.

Went into this film mostly because of interest in production set scenes.

It was filmed in a dilapidated black American neighbourhood in New York city.

It was around 1988-89, a time South Korean and Chinese immigrants had been moving in the States and Northern American continent region in general, at a certain peaked rate to my knowledge, in this film particularly a Korean family opened a family shop finds on scene and was not that impressed by black communities in some way. It is coming off from a scene of the film studiously as an anecdote, i take notice naturally.

A spike lee film, original songs for soundtrack, that 'fight the power', sounds vibrant.

The peeling walls, dripping filthy wet around kerb on street, all look vivid to me. I always appreciate these sort of set scenes impersonally, in the meantime, can't help running my private reveries, what I was doing, where I was at that time, a little hick at another end of a pathetic world, by the time, It was.

A production set design makes me, as an onlooker, almost sense the musty sweetish smell of that place in NYC at that time.

Well made.

This is perhaps one of the most gripping, thrilling and not so graphic in real terms crime/action films I had ever seen in recent decades. I watched just very recently, and I think Denis Villeneuve really is something now from my point of view, since I watched this one, as I am not a fan of his productions previously, not particularly.

Nonchalance is the signature of Benicio Del Toro's performance; I must say the character he plays in this film as a hitman is a none other choice the director should have to make.

The film uses many different techniques in filming the Mexico street scenes, cartel's tunnel scenes, topographic scenery shot from helicopters etc, looked just gargantuan, the well-used negative film effects in fighting and others are not new but fits into the narrative, tells the nature of this fighting cartel is far from a small thing that it makes right sides appearing vulnerable.

Emily Blunt's character is scripted in full texture, she delivers well. Somehow appears foolhardy but that is not so obvious. And the final a few scenes in between Benicio Del Toro and blunt just feels delicious to audiences, their performances are well beyond first class.

Enjoyable to watch in terms of the greyish coloured sky and framing, score and sound both are not impeding or obstructing the theme, well embellished in narrative, you realise they are working but not typically noticing it, that's what tools are supposed to serve the purpose.

So good.

It's the third production I had watched relates to kitchen running besides The Bear and Burnt.

It is just very much lugubrious that all three productions silhouette the kitchen life in the back, against the stylish restaurants in front of it. I believe they are true stories to tell, however.

This one is a short film, 30mins long in the surface but literally running just 19mins content, brief but definitely not that faint a look at what is happening in a work environment in kitchen. An abusive boss, a chef, yelling and bullying staffs, protagonist in this film is abusing drugs ends up collapsed, in Burnt, the abusive chef Bradley Cooper cast is alcoholic, in The Bear, Jeremy Allen White's character is a PTSD persona.

Do you even enjoy a restaurant meal if you acknowledge all of these.

Typically, I am not that kind of person would feel relaxed if eat in elegant solitude or with anyone at a candlelit table while thinking there are something boiling and soiling in the kitchen backyard.

All three productions are good, I truly think this one is the best in terms of crying the restaurant industry's ugliest out.

Before I went into the film, I almost knew nothing about it except for that it's an Oscar winner motion picture. Monochrome, obviously look from the posters. Incidentally the black and white effect in this film just appeared a bit too drab, lacking of texture of contrast of gradient, if compared to Ripley (2024)series and maestro(2023). Technically, the latter two pieces work it righter, visually even more stunning. Speaking of Ripley 2024.

Now, when I started processing the film, I was like, wait, what? It's a silent film. Oh Jay!

Anyhow, I loved the parson Russell terrier, the dog Uggie, who passed away 4years later after the dude won an award for dog performances in 2011, besides Oscar won for the film.

The voice must be heard, the sound is so important for a film, silent film age must have been unbearable but people loved it, the fast forward motion is more ok, than the mute of sound, which makes me wonder the fact that when new things advanced itself into a life how quickly people find pleasure to move along and move on, because the old stuff is just being impaired.

It's the first time I wrote a 'review 'before even finished watching film, I will finish it later, just rushed to tell 'been there' now. Still excited for the mere fact of that.

A British filmmaker made a film to make Americans look ugly.

I went to the film entirely for Kirsten Dunst, her performance stands tall, I am pleased for that. Dunst really comes up to a greater character actress while she is aging gracefully, I didn't see that was coming when she was just an unusually pretty young woman actor decades ago, she is just superb.

Jesse Plemons also is unassumingly perfect, he plays a right-wing villain in this film, that 'Reuter doesn't sound American' line he cited well, funny enough he contributes to the script with his unique slowly equivocal style of reading lines.

Turning to the script of the film, or the soul of the product, I think as non-American myself, from an outsider's standing point, it is intriguing to say the least, great pacing, not a single shot is waste. A story that is in great cold equanimity so is Dunst's performance, again, without whom, 99 percent people won't bother see it.

The thing is if this film is done with unknown names instead of having been star-studded, will viewers still feel the same?

All these stars make me wonder do they understand the script they are reciting on or acting upon themselves, probably not, they are the props like in this film, incidentally I am not a Wes Anderson groupie, I am just having sorta fomo, apropos of that, I had watched this film a few months ago, then totally forgot about it, except for some part of scenes involved with Scarlett Johansson and Jeffery Wright.

Recent days I watched again, it turns out almost entire Hollywood first rate actors and actresses these days are in it. Shame that they are so forgettable in this film except those two I mentioned earlier.

Its well made In terms of production design, lighting, cinematography, cartoonish set, reminding you every second that it is imaginaries, you don't have to understand, all you have to do is to swallow it or breathe it, don't regurgitate, just flow with the flow.