At the end of the 1950s, in a more innocent America, the brutal, meaningless slaying of a Midwestern family horrified the nation. This film is based on Truman Capote's hauntingly detailed, psychologically penetrating nonfiction novel. While in prison, Dick Hickock, 20, hears a cell-mate's story about $10,000 in cash kept in a home safe by a prosperous rancher. When he's paroled, Dick persuades ex-con Perry Smith, also 20, to join him in going after the stash. On a November night in 1959, Dick and Perry break into the Holcomb, Kansas, house of Herb Clutter. Enraged at finding no safe, they wake the sleeping family and brutally kill them all. The bodies are found by two friends who come by before Sunday church. The murders shock the small Great Plains town, where doors are routinely left unlocked. Detective Alvin Dewey of the Kansas Bureau of Investigation heads the case, but there are no clues, no apparent motive and no suspects...
At the end of the 1950s, in a more innocent America, the brutal, meaningless slaying of a Midwestern family horrified the nation. This film is based on Truman Capote's hauntingly detailed, ... . You can read more in Google, Youtube, Wiki
Mirkku S (ag) wrote: I was very disappointed with this film. The first movie is fun and colorful, but this one is just super boring and doesn't make any sense to me. The ending was stupid and the plot bad. At least some of the songs were good though.
Po Po L (ag) wrote: good !! fun, humourous, real.
Sarah F (mx) wrote: I'd like to see this movie!
Harry W (gb) wrote: Pitting Chevy Chase in the lead role of a John Carpenter film, Memoirs of an Invisible Man sounded like it offered laughter and thrills.Being John Carpenter's return to big-budget studio filmmaking after a brief walk down an alternate path, Memoirs of an Invisible Man is clearly not a film where John Carpenter has been offered much creative control. There are small elements of the film which feel distinctive of his style of direction such as a sense of familiarity to his prior work on Starman (1984), but if you took his name off the credits it would be a serious challenge to identify him as the director. Originally intended as a star vehicle for Chevy Chase directed by Ivan Reitman, Memoirs of an Invisible Man effectively got John Carpenter on board due to creative differences with Ivan Reitman. Clearly not a feature he had long-intended to make, the man nevertheless puts his eye for imagery into the film. Unfortunately, there is only so much of it allowed since the studio clearly has a different idea about what a film featuring a character with the power of invisibility should be about. There are elements that fit Chevy Chase's vision to be a drama, but the intention to maintain his signature brand of comedy is not surpassed.The main problem is the fact that Memoirs of an Invisible Man can't settle on a genre. Kicking off as a comedy-drama before taking a science fiction turn and evolving into a thriller, most of the film dominates as a meandering drama that wants to be about the loneliness of invisibility and the management of a romantic relationship in the face of such a complicated situation. As a result, the narrative keeps changing paths with a loose script that fails to implement any real depth into the situation. The entire film comes up short on atmosphere in essentially every area due to an overly simplistic script which lacks any real feeling of emotion. The greatest attempt Memoirs of an Invisible Man makes to have dramatic depth can be credited to the moments of first-person narration which highlight the titular memoirs of the protagonist. Alas, they are too far and in-between to be anything more than conventional with only a mediocre sign of the flair for intelligence that could have been used. The inability to pick a narrative path and genre keeps the story distracted and unable to ever focus, scattering the plot dynamics everywhere. Frankly, Memoirs of an Invisible Man makes a pretentious attempt to be a character piece without having any actual characters to boast about. This is most notable with the characterization of antagonist David Jenkins whose actual intentions are ambiguous beneath the reliance on a cliche story to tell viewers with condescension that he is the villain. Getting so caught up in the rambling dramatics of the characters and meaningless romantic conventions, Memoirs of an Invisible Man forgets to actually develop its story into a larger-scale thriller. By the point in time that 75 minutes have passed, Memoirs of an Invisible Man feels like it should be half-over. In actual fact, there are 20 minutes left to the film. This just goes to show that the slow pace and weak development of the narrative is not worth the wait, an ideal reinforced all the more by a climax which doesn't have stronger dramatic flair than any other part of the film. It's all a rather monochromatic experience. In actual fact, the greatest thing the film does with its invisibility themes are show off groundbreaking visual effects techniques and use them to sporadic comic relief. The latter is inconsistent due to the thin nature of the script and overreliance on melodrama, but the former is certainly something to be proud of. Memoirs of an Invisible Man makes use of some brilliant visual effects for its time. Playing with its titular theme of invisibility, John Carpenter ensures that the finest visuals are used to support the concept even if they are predominantly used for rather arbitrary purposes rather than to support a large spectacle of adventure. Yet the more simplistic moments of visual splendour are overshadowed by some of the more brilliant ones, most notably a scene in which Nick Holloway is made visible by the rain pelting down on him. And as well as strong visuals, the musical score in Memoirs of an Invisible Man helps to capture the mood even in the face of a screenplay which lacks the room for its atmosphere to breathe.Surprisingly enough, Chevy Chase's leading performance is one of the most enjoyable things about Memoirs of an Invisible Man. It takes a little adjusting to get used to Chevy Chase in a non-comedic role, and the script's insistence on using his comic legacy does give him the chance to put some slapstick gags in at a sporadic rate, but the majority of the time he takes on the role with a real dramatic edge. It's a rather mediocre character he has to play, but he captures the physical side of the role with a passionate grip on the invisibility of his character and delivers all his lines with a serious tone. At times I wasn't certain whether I should be taking him seriously or laughing due to the tonal inconsistency of the film and his comic legacy, but in actual fact Chevy Chase proves that he does have dramatic flair in Memoirs of an Invisible Man. Chevy Chase manages to hone the leading role in Memoirs of an Invisible Man against expectations, and it maintains enough of his signature style to appeal to fans yet branches out enough not to be an overly familiar effort.But Daryl Hannah delivers a rather meandering performance. Her character is left to be little more than a generic romantic type confused by the invisibility of her love interest, and she captures exactly what you would expect as a result: no emotion. I'll admit that she makes a strong effort to act alongside a character who is not physically present and there is a sense that she is working hard to create chemistry with the mere voice of Chevy Chase, but she is doomed from the beginning due to her inability to conform to a conservative role and a script which isn't a good fit for her. Daryl Hannah does not provide strong credible support for Memoirs of an Invisible Man.Even Sam Neill lacks much of a sufficient spirit. Stuck with the most generic character in the story, Sam Neill sticks to a monochromatic spirit for the entirety of Memoirs of an Invisible Man. Acting more like he is in a conference meeting than a film, Sam Neill walks around with an intense look in his eyes which evokes little more than a boast of egotism over the quality of his suit. Sam Neill doesn't have any spirit in his role and adheres to the limitations of the script all too often. It's a good thing he made a lasting impression the following year with Jurassic Park (1993) and that John Carpenter saw fit to work with him once again on In the Mouth of Madness (1995).Memoirs of an Invisible Man displays strong work from Chevy Chase in a dramatic role and John Carpenter's flair for imagery is captured with brilliant visual effects, but its underdeveloped story can never pick a plot point to focus on which turns it into a slow, scattershot and mundane experience without the brilliance it aspires to.
Andrew S (jp) wrote: A new drug has surfaced in the crime-laden city of Detroit, causing crime to reach preposterous proportions so the laboratory inventors of Robocop (1) go back to their drawing boards and come up with a super version, Robocop 2--more powerful than its predecessor and therefore more capable of handling the problems afoot. Unfortunately something goes wrong with the new Robocop and it goes nuts. The original Robocop (Peter Weller) has to battle not only the evils of the street, it must defeat its new demented "brother."
Ryan M (us) wrote: Ron Howard's directorial debut was actually quite amusing. There are a crapload of car crashes and wild stunts. The acting is fairly well for a low budget indie film of this type. However, nothing much else stood out in the way of memorable. Car crashes good, yay! Yeah, that's about it.
Jon C (jp) wrote: not really much of a plot going on but this is a sweet, somber story of a little fawn making his way into the worldthere's an overabundance of cuteness throughout and Bambi really isn't that interesting of a character, it's ok though since he is still a child slowly becoming an adult to be the next Prince of the Forestand of course we cant forget that the film is the most infamous Disney film with the most impactful tragedy that has stuck with viewers since its releasebut more than that the animators have crafted an ingenious look at the nature side of things with the backgrounds looking like paintings, all the animals richly detailed in look and movement, and a majority of the story is told through it's unique visuals matching all the emotions the characters go throughbirth, starting off, connecting, loss, revival, love, and respect all rolled into a beautiful piece of cinema
John M (au) wrote: Stupid action glory. So this is about a hitman who is at the end of his rope (Jason Statham). He has been injected with a synthetic Chinese drug that is affecting his heart rate. Bottom line: if he stops, he dies, which means he has to keep adrenaline pumping through his veins as constantly as possible. Can he survive long enough to get his revenge on his own killer? Now Crank is by no means a perfect film. You could make the argument that it is a dumb movie, and it would be difficult to make a case against you. That said, it is so off the wall that it is in my rotation of films that I will watch every 1 - 2 years. If you are an action junkie or even just a casual fan of the genre, I am not exaggerating when I call this a must-see film. This is a movie that is just so stylized and frantic that it is awe-inspiring. It reaches such levels of ludicrousness that it will just leave your mouth ajar as it keeps escalating and escalating. Much of the credit has to go to directors Mark Neveldine and Brian Taylor. Now I can't say that they've been successful in all their endeavors; I'm that one guy who has fond memories of Gamer, but the Ghost Rider sequel was pretty awful, and I'm not actually a fan of their sequel to this, either (although to be fair, I don't believe I originally watched it in the right setting). For their directorial debut, they have some really innovative camera tricks, and the most noteworthy thing about this movie is that it is constantly moving. There is always something going on every second of this movie, and it is always batshit crazy. In what other movie are you going to find your main character purposely defibrillate himself for the rush? There is an unmistakable kinetic energy about this, and this is the movie that pulls out all the stops. It's not like it is deep, either; apart from the basic plot description that I led this review off with, the only active thing occurring in this film is getting from point A to point B. The joy is in the mayhem caused on the journey, and it is all about rock music, chases, and mouth-foaming insanity. This is what Jason Statham was born to do, and he has so many tough guy one-liners, you're laughing and having a great time all the way through. Neveldine and Taylor also know how to make him look cool, and they know how to edit it in such a way that would make Edgar Wright proud. It's bizarre and absurdist, and I would go so far to say that it's like Run Lola Run, only lower brow, macho and self-aware. It's really a fearless piece of work, and it is a movie that you experience. It's brilliant, vibrant, pulsating, totally made for me, and if there is anything described above that makes you think that this is also for you, you can be assured that it is.