Reviews

As anticipated, a thrilling watch! I enjoyed 'Dune', though remember thinking it was obviously a complete set-up to a sequel and that this would only improve upon its predecessor - and that's very much the case. 'Dune: Part Two' is excellent! My interest did wane slightly at roughly the middle part, as was similarly the case with the first film in truth, but that was a feeling that only lasted for a relativiely short time. All in all, it's fantastic. The acting is top notch, the visuals are breathtaking (those sandworms tho) and the score is outstandingly hefty - you can always rely on the great Hans Zimmer! Timothée Chalamet stars yet again, as do the likes of Rebecca Ferguson, Zendaya, Dave Bautista & Co. The person I actually enjoyed most on screen was Javier Bardem, who is truly brilliant throughout. Bring on 'Dune Messiah'! On that note, happy to read that director Denis...

FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/dune-part-two-review-the-new-generational-epitome-of-sci-fi-epics/ "Dune: Part Two surpasses even the highest expectations, establishing itself as an unquestionable technical masterpiece of blockbuster filmmaking. With a narrative that deepens the complex web of political relationships, power, faith, love, and destiny, it not only provides a breathtaking audiovisual spectacle, thanks to the genius of Denis Villeneuve, Greig Fraser, and Hans Zimmer, but it also offers a profound meditation on universal human themes through thematically rich world-building and thoroughly developed characters. The superb performances of the entire cast, led by a career-best Timothée Chalamet and a mesmerizing Zendaya, further elevate this incredibly immersive cinematic experience. It warrants comparisons with the greatest sequels in history, easily...

Hmmm. I reckon this is supposed to be a critique on the moral turpitude of the hierarchical family unit, but somehow it just never really hit home. Four siblings live a life of luxury, seemingly funded by their late mother's fortune, whilst they tend to the needs of their blind father (Tracy Letts). It's elder brother "Jack" (Jamie Bell) who pretty much keeps the ship afloat with sister "Anna" (Riley Keough) and brothers "Ed" (Callum Turner) and "Robert" (Lukas Gage) who brings a certain sexual fluidity to the proceedings. When girlfriend "Martha" (Elle Fanning) gives "Jack" an ultimatum about his commitment - or lack of it, and "Ed" shows some of his own prurient true colours we begin to discover a little more about this rather creepy family. Now on the menu here are some interesting items and in theory the cast - including Pamela Anderson's flashback appearances as the mother - ought...

The collapse of an ephemeral dynasty Under the scorching sun of a luxurious Catalonia villa, four American siblings live in hedonistic isolation, squandering their immense fortune. Carefree and oblivious to the outside world, they ignore the demands of their strict, visually impaired patriarch, seeking validation solely through pop music, incestuous obsessions, and haute couture fashion. The fragile equilibrium of this superficial dynasty fractures when Jack, the eldest brother and the group's linchpin, announces his plans to move out with his new girlfriend, Martha. The intrusion of this outsider cuts their ties of codependency, driving one sibling to unearth the dark secrets surrounding their mother's suspicious death. From that moment on, generational lies collapse, and the family spirals into violent self-destruction under the premise that, much like rosebusps, families sometimes...

When one thinks about spy thrillers, the James Bond movies usually come to mind first with their exotic locales, bombastic special effects and steamy romantic encounters. But, as this latest offering from writer-director Martin McDonagh illustrates, one doesn’t need such grandiose elements to make a compelling tale of espionage. In fact, it’s been brilliantly pulled off here with qualities not typically associated with this genre – complex characters, quirky humor and considerably less flash, all set during a documented period in history, refreshing changes all around. In 1973, CIA agents Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell) are stationed in Santiago, Chile to help stage the coup d’etat that ultimately overthrew President Salvador Allende, the nation’s first democratically elected Communist leader and, by extension, a perceived enemy of American interests....

What makes not only *Wild Horse Nine* great but Martin McDonagh's work in general is that his films typically have a palpable two-person dynamic loaded with absurd dialogue and outrageous conversations, but they also flip-flop between being ridiculously mean and overwhelmingly somber. McDonagh knows how to make you laugh out loud one moment and sob uncontrollably the next, and it never fails to be pure cinema https://bit.ly/Wild9

Ok, so the whole premiss is fairly flawed. The idea that dinosaurs could roam the streets of an American town without the military - normally first on the scene if you drop your ice cream - taking centre stage with their missiles, tanks and helicopters is even more far-fetched than the idea that velociraptors and Tyrannosaurs might be gobbling up suburban citizens. But it's true! After some some very loud and unexplained noises and some brightly flashing lights, the "Platt" family awaken to find their dog missing. Perhaps "Starbuck" has gone for a coffee? Son "Brian" (Christian Convery) is very concerned but soon that's the least of his problems as with dad "Greg" (Ewan McGregor), mum "Denise" (Anne Hathaway) and sister "Audrey" (Maisy Stella) they find themselves holed up in a home with some seriously noisy and peckish neighbours. How can they possibly fight back with - literally - only...

Check out my full review @ https://movieswetextedabout.com/the-end-of-oak-street-movie-review-a-stylish-amblin-style-spectacle-undone-by-tonal-indecision/ Rating: B- THE END OF OAK STREET is a well-built summer blockbuster whose biggest obstacle is its own indecision about what it wants to be. The dinosaur spectacle is thrilling, Anne Hathaway anchors it with real gravity, Michael Giacchino’s score elevates nearly every set piece, and the Amblin-inspired craft on display is a genuine pleasure to watch unfold — but the moment the film tries to layer real emotional stakes onto a story built for popcorn thrills, the seams show, and they never fully close back up. Setting the right tone is a promise to the audience about how much to feel, and breaking that promise even once can undo a lot of goodwill a movie has otherwise earned.

"The End of Oak Street" is yet another fossilized production from an entertainment industry out of fresh ideas. This is essentially Jurassic Park in 1980's US suburbia. The lead in is overlong, rather boring, more than a little cliched, leaning heavily on 80's nostalgia to carry it. Beyond that, it's predictable dinosaur action hi-jinks, a basic family adventure, with a dash of time travel nonsense. Very limited upsides include okay but hardly sterling acting and reasonable special effects. In summary, in this reviewers estimation this flick is what you churn out when you have no fresh ideas. A wholly bland watch that wont challenge the synapses.

When it comes to summertime movies, many viewers expect fun thrill rides, escapist fare at its best. At the same time, though, as the summer movie season winds down, expectations tend to lower by the time August rolls around, when the dregs of its remaining releases are unceremoniously rolled out. But, every so often, audiences are in for an unexpected nifty little treat when a sleeper offering hits theaters. Such is the case with the latest effort from writer-director David Robert Mitchell, a Spielbergian sci-fi retrothriller that skillfully drops elements of the “Jurassic Park” franchise into 1980s suburbia, and it does so with a deft mix of heart-pounding action-adventure and raucous, often-campy humor. The film follows the adventures of the Platt family, mother Denise (Anne Hathaway), father Greg (Ewan McGregor), and teenage children Audrey (Maisy Stella) and Brian (Christian...

The Go-Touban series has always focused more on the sisters and their relationships with each other than it ever does with the actual romance plots. Each of the girls has gotten sufficient development over the series (although some are better developed than others), and that's still the movie's main focus and where it excels. However, this had no right being over 2 hours long - a sign of poor planning and shoddy editing. Additionally, the animation & art, while colourful, is somewhat lacking for a movie production and ends up looking incredibly mediocre. The sound design & soundtrack, however, are reasonably satisfactory, and the VAS have yet again done a great job at handling their individual performances. It's a satisfying and tender conclusion to the series, but one that is otherwise overlong and bland.

I wonder how many people watch this nowadays and sympathise immediately with Chaplin's unskilled worker trying to keep up with the relentless march of technology? It starts with him being an unwilling guinea pig for a gadget that appears as useful for cleaning teeth as it is for feeding him - a cunning invention which allegedly saves time, money and increases productivity... Needless to say, it's a crock of the proverbial - but that's just the start with these wacky, frequently absurd, ideas that sees our hapless hero expend considerable energy and quick-wittedness trying to stay one step ahead of these "advances" - oh, and of just about everyone else he encounters as he struggles, comedically, along! Meantime, a starving, homeless, orphaned woman - Paulette Goddard - is caught pinching a loaf by a rather snooty passer-by, she bumps into Chaplin on the street whist effecting her getaway,...

Really good movie from visionary and fun Charlie Chaplin in which industry literally swallows the human being.

HOW TO MAKE A FEMALE ASSASSIN. TRAUMA, TRAINING THEN GET HER EXTRA ANGRY. NATILIE PORTMANS FIRST ASSASSIN ROLE AND HOPEFULLY NOT HER LAST. WE NEED A PART 2 TO THIS MOVIE.

The (very absurd) point of view of the rich people about freedom. The Movie is so pathetically formulaic that it makes you want to throw tomatoes at the screen. The Horatian ideal, of Stoic-Epicurean origin, of a life enjoyed in the good it gives us, even if it is little, is here often repeated, inaccurately, as an invitation to live joyfully. And it makes us laugh and reflect even more that it is observed from an "even higher" point of view than the already very high social class of the characters.

Robin Williams ("Keating") arrives at an all boys school where he is to teach them English. As you'd expect, they weren't particularly interested, but when he begins by telling them to rip up the poetry manual, and continues with an inspirational and vocational approach the pupils start to engage not only with him, but they set up the eponymous club which helps each of them to develop as a person. This is quite a task for the shy young "Todd" (easily the most effective performance of Ethan Hawke's career) and for aspiring actor "Neil" (a terrifically measured and sincere Robert Sean Leonard) who is struggling to reconcile his own desires with those of his loving, but over-bearing, father who wants him to go to Harvard and become a lawyer. This is a terrific character based drama with Williams on great form, but he features quite sparingly - the thrust of this potent, funny and...

Seize the day; be Exceptional! John Keating (Robin Williams), a new teacher at a stuffy prep school in 1959, inspires his students to capitalize on their natural talents and develop a passion for life because they only have one shot and in 60 years or so they'll all be worm-food. Each boy starts to act on Keating's dynamic ideas with explosive consequences , both good and bad. Released in 1989 and directed by Peter Weir, "Dead Poets Society" is a coming-of-age drama that's one of the most inspiring films ever made and ranks with my all-time favorite movies. The film captivates from the very beginning and doesn't release until it's over. That's when you KNOW a movie's really good, regardless of the subject matter. The cinematography and locations are top rate, shot in the Middletown region of Delaware (although the story itself takes place in Vermont). The quiet Fall & Winter scenes are...

Carpe Diem & The Punk Rock Movie. Dead Poets Society is directed by Peter Weir (Picnic At Hanging Rock/Gallipoli) and stars Robin Williams, Robert Sean Leonard, Ethan Hawke, Kurtwood Smith, Gale Hansen & Norman Lloyd. The script is written by Tom Schulman, based on his life at Montgomery Bell Academy, an all-boys preparatory school in Nashville, Tennessee. The film is set in 1959 at the fictional Welton Academy in Vermont (location shoot from St. Andrew's School in Middletown, Delaware). The story follows that of English teacher John Keating who uses his different method of teaching to inspire his students to be all that they can be whilst warning of the perils of conformity. Dead Poets Society was a monster smash hit that made almost $220 million profit in Worldwide box office takings. Not bad considering this was the year that film lovers flocked to see the likes of Batman, Lethal...

The young "Mima" has a successful, if limited, career singing with a girl band, but she is restless. Her manager insists he can get her an acting job on a popular soap - and that's the way to fame and fortune. Like so many other impressionable young folks, she tries to follow her dream - but is really only following his, and is soon being photographed (intimately), denigrated and her grasp on reality is soon compromised. When things start to take an altogether more sinister turn, though, we start to wonder just who is responsible for a series of murders amongst those known to hold disparaging views on the young woman. Might she be developing some form of lethal schizophrenia or is she (and are they) really the victims of an over-zealous fan. At times this is actually quite harrowing. The plundering of her innocence by those both venal and neglectful of this young woman is writ large and...

I caught this in High School and it instantly took me as an eerie Alfred Hitchcock show that did an outstanding job of feeding on pure paranoia. It was unsettling, it was scary, and at the time it seemed as realistic as it could be for an anime movie. As I rode through it, I started doubting what was real and what wasn't and that is a hallmark of a great movie, that ability to keep the viewer on their toes.