|By date||Most helpful reviews||By my score||By metascore||By user score|
Average User Score: 8.6Nov 16, 2018I can't believe how many times I snapped my opinion! That's for the most part because the movie refused to take sides, but in a veryI can't believe how many times I snapped my opinion! That's for the most part because the movie refused to take sides, but in a very remarkable way. Simply, the movie seems as if it had shied away from interfering with the Kramers' divorce subject, and therefore let its characters to compete with each other on making viewer biased towards him/her. And that's exactly what made the main characters flesh out, of course besides the fact that they are played by Dustin Hoffman and Meryl Streep.
Both Dustin Hoffman (one of my favorite actors of all-time), and Meryl Streep (one of, if not the best actress of all-time) gave unbelievably authentic performances that could be the best performances of their respected careers. They definitely deserved their Oscars!
The only issue I have with Robert Benton's masterpiece that I could have easily ignored is that I found the interrogation part of the courtroom scene was a bit tad monotonous only because I became totally torn between both Ted and Joanna because the baffling honesty of their justifications. I know that sounds more like a good thing, but I got tired at the end of the sequence of the constant rejections of the defense lawyers. So maybe the sequence could have been a bit shorter as we became aware how it would end.
Kramer vs. Kramer is easily the most sensitive, absorbing, and heartbreaking movie I've seen of its kind. In part because the exceptional cast, but largely because Robert Benton's significant adapted screenplay that is as simple as it's profound, and indisputably because of his tangible and nuanced direction.
Average User Score: 8.6Nov 15, 2018Disturbingly fast-paced, and as heart-warming as it is hilarious. Telling us a happily-ever-after story but with dysfunctional protagonists,Disturbingly fast-paced, and as heart-warming as it is hilarious. Telling us a happily-ever-after story but with dysfunctional protagonists, David O. Russell gave us a completely refreshing addition to the Rom-com genre. With an intelligent that walks a very risky thematic line, and terrific performances and spellbinding chemistry between the two leads, Silver Linings Playbook is one of the most entertaining movies I've seen in a while.
Every once in a while the movie seriously suffers while juggling disparate tones, but that what was expected anyway. Also, David O. Russell did his best keeping the balance.
Average User Score: 7.4Nov 11, 2018I can't believe how such a hilarious and crazy movie also happens to be one of the angriest, most furious and provocative political satireI can't believe how such a hilarious and crazy movie also happens to be one of the angriest, most furious and provocative political satire movies I've ever seen!
Average User Score: 7.6Nov 11, 2018Thank god I postponed watching this movie until I am in the right..... mood! ♥♥♥♥
I always wandered how a WKW film would be, if it was lessThank god I postponed watching this movie until I am in the right..... mood! ♥♥♥♥
I always wandered how a WKW film would be, if it was less focused on atmosphere, and more concerned about its narrative. And In the Mood for Love is definitely this movie. The plot of this movie is more cohesive than of the other Wong Kar-wai films.
The rest of his films don't have a conventional plot, but rather disjointed beautiful and hypnotic sequences that allow emotions to flow through them. This is not the case here. In the Mood for Love still doesn't have a linear narrative in the traditional way, I mean it's still a WKW film, but the movie has a more contained narrative to say the least.
Unfortunately, the movie didn't hit me emotionally as much as it should. Don't get me wrong, I was moved by the movie even more than every WKW I've watched so far, with the exception of Chungking Express. The issues I had with Days of Being Wild and Fallen Angels are what kept me from being fully emotionally engaged, but as for In the Mood for Love, it's the over-control upon the movie's story that deprived me from being entirely connected emotionally. It may sounds strange, but that's what I felt, and in all probability that's what many people also feel if they have been already familiar with Wong Kar-wai style.
I don't want to seem as if I'm just creating problems, or make some flaws up out of no where, but I felt that some emotions and feelings passed quickly without hitting me hard.
On the other hand, having control on the narrative aspect of the movie, Wong Kar-wai's poetic visual style became more mature. You can easily identify his trademarks, which the movie is full of them; playing with the time, using elliptical editing, and repeating songs, but they are utilized in a more beneficial and purposeful way, hence more delicate and exquisite way.
Even the beauty of the cinematography is different from those of Wong Kar-wai's other works. Here the beauty comes from the sumptuous colour palette more than anything else. In the Mood for Love is unquestionably one of the best movies in cinematic history in terms of using colours. The colours here set the mood, and keep enriching it throughout the film's fleeting runtime.
However, the characters of this movie along with the performances are the real pleasure I got from. All the subtlety of the characters are brought out by a magnificent cast. Tony Leung Chiu-Wai is quite possibly one of the most talented actors ever. His performance is simply ingenious. Maggie Cheung is equally terrific, if equally, perhaps marginally inferior in comparison Leung, but it's her character that astonished me. Unlike Days of Being Wild's Su Li-Zhen, this character her is jaw-droppingly multi-layered. And the way the brilliant script delves into her is just mind-blowing. Every time Leung's character, Chow, shares the screen with her unravels a new layer in her character, while showcases the talents of the two lead, especially Leung's unique gift.
The masterful combination of the ingenious symbolism of Wong Kar-wai, and the movie's sprawling and elaborate narrative is what makes In the Mood for Love stands out, either from Wong Kar-wai's oeuvre, or from the Romance genre. In the Mood for Love is undoubtedly worthy of being hailed as Wong Kar-wai's masterpiece, but Chungking Express is still my favorite among WKW's cinematic gems.
Average User Score: 8.4Nov 4, 2018My second Leone film, and I expected to see another Western masterpiece, with a gorgeous Morricone score, stunning cinematography, andMy second Leone film, and I expected to see another Western masterpiece, with a gorgeous Morricone score, stunning cinematography, and incredible stand off's, stares & shooting scenes, but that is more serious, and not as cool as, than The Good, the Bad and the Ugly, and that's almost what I got. But what I didn't expect to see is one of the best, and most profound, contemplative movies ever made!
Signifying the end of the Old West, Sergio Leone loaded his near-three-hour sprawling epic with symbols. The symbolism is seen in almost every aspect of the movie; the setting, the costumes, the music, and most importantly, the characters. In fact, each character stand for an iconographic Western role. But Leone did humanize them through his melodrama, and the result is that all the characters became some of the most interesting and compelling characters ever!
What amazed me is how rich the plot seems despite its simplicity. And as convoluted as the narrative sounds, the movie never lost me. That's simply because the story is actually pretty simple, but the sophisticated themes and symbolic characters gave it mythic feeling.
Aside from its remarkable opening scene, which became one of my all-time favorites, I found the first hour of unbearably tedious! I usually don't mind watching movies with a deliberate pace, but almost the entire first hour gave us nothing but glances of each of the interesting characters that I totally invested in afterwards. The extremely strong, compelling, sympathetic, interesting and memorable characters portrayed by a spectacular charismatic cast definitely made me forget how bored I was during the first act, but also definitely didn't make me forget that I was about to fall asleep a couple of times!
Average User Score: 6.7Nov 1, 2018Lock your doors. Bolt your windows. There's something in THE FOG; there's an atmosphere full of dread and eeriness that I haven't seen itLock your doors. Bolt your windows. There's something in THE FOG; there's an atmosphere full of dread and eeriness that I haven't seen it created like this before!
As he did in Halloween, Carpenter did an equally fascinating job in building up The Fog's idiosyncratic atmosphere from the get-go until the very end; the rich-colored shadow-drenched cinematography by Dean Cundey, the spine-chilling score that also has an ancient tale vibe into it to suit the story perfectly, the campfire intro scene, and almost every subtle nuance of the movie's style made The Fog one of the most atmospheric horror films ever.
Unfortunately, The Fog is also Carpenter's most poorly-written movie I've seen so far. The storytelling is all over the place, the characters are neither interesting, nor well-established (the performances, however, are all great, especially from Jamie Lee Curtis, Janet Leigh, and Adrienne Barbeau.), and the plot is far from being cohesive; tons of plot-holes aside, the movie even feels if it forgot what it has established from its beginning, and only returned to it at the third act.
I wasn't prepared to see these glaring storytelling inadequacies in a Carpenter film, but what disappointed me even more is The Fog's lack of flexible and effective camera work that is necessary for a horror movie. When it comes to building up to Jumpscare scenes, John Carpenter is a real master, and there is no better example than Halloween. But here all the jump scares fall entirely flat, and felt so cheap and poorly-executed. Not to mention that the assault and attack scenes are completely ruined by too many cuts. It's so weird that Halloween, which came out two years before The Fog, seems to be way more fresh and modern than this movie.
Honestly, I became more interested in the characters and the story from the middle of the second act. The third act is very good, and full of intense moments, but it's a bit rushed, especially near the very end.
Average User Score: 8.0Oct 26, 2018From his movies I've watched so far, I can say that Carpenter's movies share a cool style of direction, cool ideas, and cool characters. ButFrom his movies I've watched so far, I can say that Carpenter's movies share a cool style of direction, cool ideas, and cool characters. But They Live has something more.... a cool way of unraveling and unfolding the plot!
Carpenter here unfurls his movie's story as if he says to his audience: "I don't care whether you're enjoying the movie or not. You came here for the movie's bizarre and outlandish concept, and here it is!".
Not too much dialogue; the thing that may make the viewer feel a bit bored, especially before the action rises. But so what as long as this brilliantly reflects the movie's themes of working-class subjection and media control!
A very slow way of resolving the conflict of the plot; the thing that may infuriate the viewer, and make him worried lest the denouement would be so rushed. But so what as long as the results, as the movie proceeds and the end result, are more than fulfilling and rewarding!
In all honesty, Carpenter went a bit too far to say the least. As the transitions between an act to another are quite abrupt and scrappy that can make you feel as if something is missing; something that is necessary to make you more convinced. The transition between the first and the second act can redeemed; because there is an information that is represented later at the second act in a most subtle way. But this is not the case about the transition between the second and the third act. As there are some things that should have been quite difficult to work out, but they ended up being solved pretty quick by some coincidences and plot holes. Let alone the major plot hole concerns the whole story that you may realize at the end, if not while watching the movie.
It goes without saying that in They Live, Carpenter offers a timeless biting and daring political satire neatly encapsulated in a loony thought-provoking sci-fi flick while maintaining, at its core, its B-movie quality the genius director famous for.
Average User Score: 8.8Oct 23, 2018Halloween is a remarkable horror film but this in largely down to Carpenter's wonderful ability in building up and creating suspense. UsingHalloween is a remarkable horror film but this in largely down to Carpenter's wonderful ability in building up and creating suspense. Using the POV approach, and a chill-inducing score whenever Michael Myers appears, Carpenter certainly does an effective job of immediately drawing the viewer into the proceedings. But it's the unconventional way of anticipation is the most terrifying thing about the movie.
I loved how Carpenter keeps us hooked for most of the movie (the first hour) just by making us waiting for Myers to strike, and yet nothing happens till the third act. That really made the movie an unsettling and unnerving experience, but also so captivating; my eyes was glued to the screen, TOTALLY!
Leaving us hanging for nearly an hour before Myers begins killing was a difficult challenge, and Carpenter just knocked it out of the park in terms of keeping me enthralled and riveted. That said, the slow-burning narrative and sinister atmosphere weren't enough to make this movie scary for me. Usually, I don't blame the movie for not scaring me when I find there are many things that the movie got right, such as the use of jump scares, simply because I don't get scared from horror movies at all! But I get nervous quite a lot when I watch decent horror flicks, and that didn't happen to me until the last, say, 15-20 minutes of the movie.
Another issue I have with this movie is everything about Donald Pleasance's character. Besides Pleasance's stilted performance, his character's presence along with the Sheriff don't seem to be necessary, and I felt that there would have been no much difference if both Sheriff and Doctor were cut from the film. I found Loomis is just an expository tool that also hasn't been utilized well.
The characters, in general, aren't smarter than those in other slasher horror movies. Case in point, Thomas Doyle who I would only believe his actions if he was 3 or 4 years old! Not to mention, Brian Andrews's performance that was really bad. The character and the performance are the exact opposite of Danny in Kubrick's The Shining!
Needless to say, Jamie Lee Curtis's performance as Laurie is simply stellar. The same goes for the rest of the cast regardless of those who I've mentioned above.
I also didn't like that Myers was depicted as superhuman. I don't know whether the sequels justified that or not, but this definitely didn't work for me. However, I liked so much how Myers looks, and how we didn't see his face as much as we hear him breathing under his mask from a first person POV.
For all its flaws, Halloween will remain a landmark of slasher horror cinema, simply because it has set the standards for horror films in general. Standards that slasher movies have never surpassed to date.
Average User Score: 8.0Oct 23, 2018As much as it also has a twisty, and hazy plot as the other Wong Kar-wai's movies that I've seen so far, Days of Being Wild's narrative feelsAs much as it also has a twisty, and hazy plot as the other Wong Kar-wai's movies that I've seen so far, Days of Being Wild's narrative feels more controlled. Even the seemingly unfocused nature of its storyline can be justified this time, as its despicable protagonist, Yuddy, is a nihilistic character.
The same goes with the tech aspect. The expressive beauty of this movie doesn't often stem from the hypnotic colors, and numbing lights like Chungking Express, or Fallen Angels, instead it comes from the demonstrative use of tight framing that also provided us with some astonishingly good-looking shots.
Yuddy is an extremely obnoxious character that you can't emphasize with. That said, I didn't hate him, simply because I found the fact the woman who raised him refuses to reveal his real mother's name so agonizing. To top it all, Rebecca Pan, who played his adoptive mother, gave such a provocative performance that I couldn't help hate her character so much that I kinda rooted for Yuddy.
The realistic method most scenes are shot with made me connect with every character on the screen, even if their actions may sometimes feel implausible. Unfortunately, this wasn't enough to make me convinced one hundred percent. I found two central characters' feelings and doings far from being reasonable. As these two characters are seen very much from the outside, and lacking real depth, at least to justify their actions.
The editing is pretty exquisite, and also indicative. However, it was quite messy and distracting near the end. It deprived me from being fully satisfied. Some scenes could have been so heartbreaking, but they ended up being jumbled and muddled up. On the other hand, the ending itself is quite devastating, and has all the movie's emotional impact.
I think this movie features the best use of music among the other two Wong Kar-wai's movies that I've watched. Besides that it's so moving, it expresses Yuddy's emotions and feelings, nay his psyche.
Average User Score: 8.9Oct 22, 2018At first glance, Election may appear to be just another high school flick, but it's actually far from being so. Alexander Payne's superbAt first glance, Election may appear to be just another high school flick, but it's actually far from being so. Alexander Payne's superb screenplay asks a plethora of surprisingly difficult moral questions. It also features some very very compelling and sophisticated characters played by equally brilliant actors who delivered remarkable performances, especially Matthew Broderick's. You won't appreciate the incredibly nuanced characters until you think about them, and their actions more than once after finishing the movie. Add to that the fact that Payne's intelligent script never tried to rely on tired exposition techniques to flesh out his characters, but instead he used a lot of subtle references and nuances to make us identify with these characters even without the slightest reliance on sentimentality. That said, I think Tracy Flick, played by Reese Witherspoon, should have been way more sympathetic, because I felt almost zero pity for her!
The dark humor enriches the satirical aspect of the movie, but halfway through the movie the tone changed a great deal and became so dark. The thing that made the tone inconsistent with the first and the third act. Payne heavy usage of V.O.s and freeze frames gave the movie its own style, and also made it feel more lighthearted.
I loved how the movie made all its characters flawed, but in a way that really adds more depth to these characters, and made them fully-developed and lifelike. Whether it is a main, or side character, each one of them will resonate with the viewer in many different ways.
The movie, however, delves into some characters more than needed. As I think there are a couple of characters' sub-plots that could have been completely cut from the script without affecting anything essential to the main plot.
The denouement was very rushed and unfocused that made me think that the movie actually run out of steam. Fortunately, the ending was quite good, if not as clever as the rest of the movie.