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Nell A (de) wrote: This is a legitimately good horror movie - please give it a watch. Please be aware that the bottom of my review will contain spoilers. There are two ways I know for sure that a horror movie is good - (1) if it manages to make me look away without startling me or grossing me out (like the overhead shots), and (2) if it makes you think, in this case more than once, "why has nobody come up with this before, this is brilliant". A logical, realistic setting with well fleshed out characters - little to no jumpscares (the couple that ARE there are not false, nor obnoxious, nor designed to make you deaf), confronting human anatomy without making it into "gore" (an exaggeration or over-focus) and a story that you honestly cannot predict. Go watch it, it is honestly worth it - the less you know going in, the better. Please stop reading now if you are not up for spoilers - SPOILERS UPCOMING - SPOILERS UPCOMING - SPOILERS UPCOMING - the only things that annoyed me were spoilers relating to horror tropes/cliches. The first one being the mandatory pet death, which makes me unnecessarily affected and makes me want to detach from the movie. It didn't add to the story very much either, although it was done with more class than most horror pet deaths. Second trope being the "you thought you killed a monster but you killed someone you love" - too easy, just too easy. I think they could have made the same point (the corpse makes everyone near it for too long kill each other or themselves) without that kind of shortcut trickery. Lastly the ending - the "you're getting out... jk you're dead" ending - also a cliche, which isn't always a crime but in this instance felt rushed, unfinished and it made the open ending less impactful because basically everything was "explained" in those last 5 minutes. It's rough to get invested for 1.5 hours just to be told at the end "never mind", basically.
Armchair O (es) wrote: The idea of David Cronenberg taking a jaded look at Hollywood seems irresistible, especially considering the themes of his work. He's a gonzo artist whose films are always about the bizarre and the grotesque - he made The Fly, Eastern Promises, A History of Violence, Videodrome and The Dead Zone. The very idea that he would take on Hollywood seems to promise great things; alas his latest film Maps to the Stars is a big disappointment, a listless and sometimes vapid movie that doesn't really tell you anything about Hollywood that you don't already know.The movie opens with some promise. A plain-looking girl named Agatha (Mia Washikowska) gets off a bus and approaches a waiting limousine where she wakes up the driver (Robert Pattenson) who reasonably asks where she came from. "Jupiter," she says, before smiling and admitting, "Jupiter, Florida." If she hadn't added the 27th state to her answer, it might have seemed reasonable that she stepped in from another planet. This is Hollywood, after all, another planet unto itself, and we already know that this is indeed a disturbing universe. With that, we're braced for some nastiness.We enter into the secret chamber of Hollywood for all its phony inhumanity and inhuman monsters. All the karmic urban legends about how actors get roles, about the weird tantric sex, the huckster therapists, the screwed-up child actors, the stage mothers. We are privy to a dozen or so characters like this that seem to exist within the show business vortex not committed to the business of making art, but in the business of staying relevant. In the context of 21st century ethics, however, there are no consequences for their actions; there are just more and more actions.The characters are types. There's Havana (Julianne Moore), an aging actress with mother issues. There's Benji (Evan Bird), a screwed-up former child actor - and thinly veiled parody of Justin Bieber - whose public image has taken a beating since he did a stint in rehab. There's Dr. Weiss (John Cusack) the TV psychologist who is a charlatan with a list of celebrity clients. There's Agatha, a pyromaniac who's looking for an identity amid all this shallowness. There's the limo driver named Jerome (Robert Pattinson) who wants to be a screenwriter. There's Benji's mother Cristina (Olivia Williams) who tries and fails to manage the tattered remains of her son's career.There's promise here since all of these characters are played by good actors. The problem is that these people, for the most part, are uninteresting. Yes, they're monsters who do monstrous things and have nasty things happen to them, but some measure of interest must keep our attention. Sadly, nothing they really do is all that surprising. Their destinies pretty much go where we expect them to.The only interesting character is Havana, played in a great performance by Julianne Moore, a once great movie star whose luster is fading fast as she enters her 50s. Past her prime, she has affected the look, the voice and mannerisms of a girl in her late teens in an effort to seem younger. She is the daughter of a celebrated movie star who died years ago, and has since lived in her shadow. After a last ditch effort to save her fading career, she just lost the part in an upcoming movie in which she gets to opportunity to play a role that brought her mother an Oscar nomination. Moore has great notes to play with this character, yes she's horrible but unlike the other characters, there's a least a character there. Her best moment comes when she must stay composed as she gets the news that the woman who got the part just lost her son. It's tragic, and it's funny.Moore manages to keep a flat script afloat, but the basic problem with Maps to the Stars is that it feels dated. Had the movie been made 25 years ago it might have had some punch, but nowadays with Facebook, Twitter, Instagram, E!, TMZ, trashy reality shows, and all manner of shallow media news entities that scream celebrity gossip from the rooftops, nothing here seems all that shocking. There have been better and funnier movies about the sludge pits of Hollywood from The Player to Barton Fink to Mulholland Drive to L.A. Confidential. Even Sunset Blvd. 65 years ago was more biting about Hollywood. This films seems late to the party, and sadly a little under-dressed.
Paul K (nl) wrote: Life and love in the land of snow. There are some very convincing relationships in this movie, and although it's a comedy it's also quite moving. In a painful kind of a way. The events are a bit OTT, and farcical, and the addition of a capella singers at odd intervals is a nice touch. Good stuff.
Yeghia T (it) wrote: Is Sean Bean not getting acting gigs? He's great - he should fire his agent for this role! Career suicide.
Alexander C (it) wrote: For now not to bothered for this...uninterested...
Marc B (kr) wrote: This is by no means a perfect documentary, but it does the commendable service of recounting a particularly shameful part of American history.
Isaac C (de) wrote: Another film I believe would be better if i didn't already know about the issues. It is well done, but one might already know the main theme if one is familiar with the media bias of the Israeli-Palestinian conflict. A recommended alternative would be Buying the War by Bill Moyer. That being said, it does make a good distinction between free speech of the people and of corporations and hints at the democratic paradox.
InvaderGir Z (mx) wrote: amazing, mindblowing movie
Hesham A (ru) wrote: This film belongs to experimental school. where ; - the camera is fixed....moving elements come in & out from the cadre.- No traces of musical scores. - dialog is mainly by the camera & rarely you hear some words said.Some people may like it.....others dislike it , personally I do like it.
Karl M (ag) wrote: Babe's sequel is an entirely different animal for a different audience, and underrated because of it. It examines putting a simple, morally-straight character in the face of empathy, loneliness and mortality. And the surreal style and characters capture every morsel of warmth, like a darker Wes Anderson movie.
Jonida S (au) wrote: 20 years later, still the same stories. People in their 20s trying to figure things without role models, after the generation before us sold us for a pair of sneakers (Apple products maybe today?) My favorite 90s IT girl Winona movie, and one of my favorite Ethan Hawk films. This films is so vulnerable and ageless. And one of the best phrases you'll ever here is quoted in this film "All you have to do by the time you're 23, is yourself"
Alexander C (gb) wrote: Could watch this sometime if i can find.
Philip M (nl) wrote: they don't make em like this anymore... early Film4 production and what the cast listing on Flixter [to my right as i type this] does not say is that actually the stars are Sting and a very young Sean Bean. Set in Sting's Newcastle jazz club TLJ plays a nasty american developer who wants to knock down half the city to build liesure and retail...Sting stops him, Girffiths shags Bean and the scene with the cigar guilotine is fab. go find! [p.s. Figgis delivers the goods in his first big screen outing that launched him and Bean to the USA; capitalism, greed vs. hard work and 'values'. there's even a REAL Lithuanian jazz band!]
The Critic (it) wrote: One of Goldie Hawn's best roles, this fish-out-of-water, coming of age, army caper presents itself in three distinctive acts - and almost feels like two separate movies - as rich, spoilt daddy's girl Judy Benjamin (Hawn) enlists in the defence force after the sudden death of her husband (Albert Brooks). This is, indeed, Hawn's picture who remains accessible despite grieving and whinging for most of the time. There's a wonderful collection of characters throughout, primarily involving her hilariously torturing six-week training period; P.J. Soles is excellent as sycophant Winter and Toni Kalem is fun as the tough Gianelli. But there's no denying that the scene-stealing Eileen Brennan, as Captain Doreen Lewis, is the one to watch here, presenting what would have to be one of the most perfect portrayals of this sort of role. The second half of the film, which sees Benjamin based in Europe, lacks the pacing and frequent humour of the Army and Thornbird scenes, but the earlier investment in our protagonist keeps the audience engaged right until the final frame. A massive box office hit, 'Private Benjamin' received more acclaim than is often attributed to a comedy, earning three Oscar nominations for acting and writing, and was followed by a television series, in which Brennan and Hal Williams reprised their roles.
Christopher S (jp) wrote: B-movie Viking adventure from director Mario Bava is not among his best, but is an entertaining action melodrama. It lacks the trademark visual flair of Bava's masterpieces, but it has a strong story (borrowed heavily from 'Shane' - in fact, it often feels more like a western than any kind of sword-and-sandal epic) and some rousing fight scenes. Good fun for fans of Italian exploitation.
Dustin D (au) wrote: Mother India is the garishly flamboyant Technicolor Communist counterpoint to the Apu Trilogy. Although it is basically a Communist propaganda poster come to life, it is thoroughly engrossing and entertaining.
Jayden C (kr) wrote: kool as i want 2 see dis. i want 2 see every movie in da wole wide world of course im a movie lover
Ken S (mx) wrote: Mediocre film about a homophobic cop learning to play piano from a flamboyant gay man. Could have better without trying to squeeze in an action/thriller element. Felt out of place.
Andrew L (ru) wrote: The best Tarantino film Tarantino didn't direct. Slater and Arquette have never been in a better film or given a better performance. The supporting cast is what makes this film shine. Val Kilmer is oddly brilliant as Elvis, Gary Oldman is just plain odd as usual. Even though the main theme score is stolen from 'Badlands', it complements the moments of romance and innocence that resonate amongst the chaos and confusion of the crime and violence.
Quique S (us) wrote: An no entiendo porque Robert De Niro se rebaj a esto... No tiene nada de gracia, es muy estpida... Mala, muy mala.