Reviews

The best way to sum this up is by saying that the film is a collage of stylistic choices from multiple genres that make the film feel uneven and frustrating at times. Though, this is what brings out the beauty of the film, as the camera work and style reflect the troubled mind of Adam Sandler's protagonist.

In a way, the film is really similar to Sandler's later critical hit, Uncut Gems (2019) as there are plenty of hectic shots filled with lots of noises and background activity, which constantly build up the tension around the protagonist. One of the best aspects is when these moments of tension are released and lead up to either really comic or really tragic moments for the protagonist.

Despite most of the times the camera being hectic, there are plenty of beautifully crafted images that are further enhanced by the lens flares and the use of soft focus. Though, one of the most striking shots comes from the Hawaii trip of Sandler, when the two protagonists embrace. As Watson and Sandler embrace, the two are completely covered in shadows as in the background the ocean is brightly lit by the sun. This composition creates a really strong contrast filled image. The image is so striking that it was actually used for the promotional poster too.

Overall, the film might seem off putting for some, due to its hectic nature, but also due to its scarce plot at times. Nevertheless, there is plenty of fun to be had in the movie, as it is aided by strong performances from Sandler and Emily Watson and there is also quite a fun appearance from Philip Seymour Hoffman. If you ever get the chance, definitely check out the movie!

Score: 8/10.

Well, the formula of the film is the following: two thirds a bland and mediocre romantic comedy while the last third is a really rushed and way too easily resolved heist film.

This atrocity here, might be the worst consequence of the pandemic to date. Steven Knight definitely misfired with his screenplay, throwing out any storytelling device that could've made the film at least a bit more entertaining. The screenplay tries to suggest certain things at time, but never cashes in on those ideas. These just remain hanging in there leaving the viewer frustrated. Also, Doug Liman seems absent, the film not impressing from a visual and artistic standpoint either, everything seeming quite bland. Also, it's worth mentioning that the film is far-far away from the heist adventure film that was presented in the trailers.

Now, not be overly negative on the film, the two stars do a terrific job at playing two really frustrated and sexually repressed characters. Or maybe the actors were just frustrated themselves having to shoot this film, while they could've done million better things. It's either of those two options.

Overall, the film drags on and feels pointless and without a concrete aim at times. If you don't want to bore yourself to death, maybe just skip it, there is not much to take away from this film. Keep at least a 6 feet distance from this atrocity!

Score: 3/10.

The only problem that James Gunn's Super has it's the unfortunate release date. Super was released in the same year as the adaptation of Mark Miller's Kick Ass, another super-hero film that is concerned with real-life heroes. Despite both being a brilliant spin on the super-hero genre and both providing plenty of laughs, Super got overshadowed for the simple fact that Kick Ass had the backing and push of a big studio.

Leaving Kick Ass aside, Super does a terrific job on its own, as James Gunn's style and direction is showing. While not as daring as the Troma films he wrote, he definitely keeps part of the same spirit with him. The film has everything from over the top dismemberment of bad guys to Godly-tentacles (yes, you've read that right). The beloved Rainn Wilson, from The Office does a terrific job as an ultimate simp dressed as a super-hero, while Elliot Page pulls off a hilariously animated and sometime annoying side-kick character.

The only flaw the film has is the sense of humour that won't sit well with many nowadays. This is true, especially as there is the use of the n-word by a particular white character, while also there is quite a non-consensual sex scene in the movie. Apart from these two instances rather disturbing instances, the film is really solid one. Rather than trying to choose between Super and Kick Ass, let's just appreciate that we got two terribly good super-hero films. Definitely check it out! Recommend it!

Score: 9/10.

The movie reunites Bill Murray with frequent collaborator, Sofia Coppola, but this time their collaboration is less successful. While Murray together with the brilliant Rashida Jones and Marlon Wayne deliver good performances, these cannot save the lacklustre and monotonous screenplay.

The screenplay decides to play it way too safe, always suggesting and hinting at things, but never delivering on those promises. Or when it actually decides to deliver on those promises, they are wrapped up way too conveniently. Thus, these lead to really anti-climactic moments and can become frustrating for the viewer.

Overall, the film is a lacklustre addition to Coppola's quite decent repertoire. Though, her formula of depicting the rather mundane existential problems of the upper class gets quite stale as their problems seem too far removed for the common viewer. Common viewers, whose lives were turned upside down due recent events that we all go through and suffer through. Unless you wanna see some sad bougie people, you can skip this one!

Score: 4/10.

Pieces of Woman, directed by Hungarian director Kornel Mundroczo and written by his wife, Kata Weber tell a harrowing story about child loss and its consequences. Both, Kornel and Kata based the story on personal experience as they have gone through a similar experience, the couple losing a child too.

What makes the film so special, is its stellar cast, and also its opening 30 minutes after, which the film never really manages to pick up, but nevertheless delivers. Regarding the cast, they equally pull plenty of weight and they each have their moments to shine. Some considerable moments are the ones when Martha (Vanessa Kirby) and Elizabeth (Ellen Burstyn) address the camera directly and providing some intense performances, which will pull plenty of cords during the viewing. Shia LeBeouf does an amazing job too, but unfortunately, he might be quite hard to watch for some as he plays a relapsing and abusive husband.

Now, the opening 30 minutes need to be mentioned as they are breath-taking. These opening 30 minutes keep the viewer constantly on the edge of their seats as the labour process is being captured on camera. The scene is really elevated by its camera work and its direction as they never seem too intrusive, the whole process of the labour feeling really observational.

While the film never picks up again after the harrowing first 30 minutes, the film still packs plenty of tear-jerking moments especially aided by its stellar cast, though certain moments will feel too forced or melodramatic, losing some of its observational qualities. Nevertheless, the film looks like a serious contender for the Oscars and award season, especially within the acting category. Definitely, give it a watch!

Score: 8/10.

After the immense success of the original, it was just a question of time till Warner Brothers graced us with a sequel and after thousands of delays (mainly due to COVID) the sequel finally arrived, but it doesn't quite live up to the expectations.

I'll start off with the positives by saying that the return of Steve Trever (Chris Pine) delivers, despite his return not being the most consensual, but you'll see what I mean when watching the movie. The chemistry between Diane (Gal Gadot) and Steve briefly bring back the magic of the first instalment in an otherwise quite lacklustre sequel. Other positives to be taken away are the stellar performances offered by the actors, the new additions to the cast such as Pedro Pascal and Kristen Wiig impress. Pedro Pascal's character Maxwell Lord, both physically and behaviour wise channel the megalomaniac tendencies of soon to be ex-US president, Donald Trump. Meanwhile, it's a pleasure to observe Kristen Wiig journey as we slowly see her descent and transform into a villain.

Now, onto the negatives. Let's start off by saying that the movie is definitely overlong, many times feeling uneven and overstaying its welcome. Secondly, the movie just lacks the tightness and the solid plot the first one had. WW84 suffers of the Spider-Man 3 (Sami Raimi, 2007) syndrome, being overstuffed as one villain would've more than sufficed. Regarding the villains, despite enjoying the performances of the actors, I feel like they didn't get the ark's they fully deserved, due to not having enough screen time to fully develop. This is true especially in the case of Kristen Wiig, whose transformation into Cheetah is quite lacklustre, reminding me a bit of Topher Grace's Venom in places. Speaking of villains, the confrontation between Maxell and Diane is almost completely laughable, as Diane seems rehash Gal Gadot's cringe worthy "Imagine" video in places.

Overall, the film ended up disappointing me as it just felt over bloated and it just lacked the tightness of the original one, also, not to mention this time Patty Jenkins had some questionable stylistic choices. Either way, the romantic plot between Diane and Steve kept me from switching off, as it reminded me of its way more solid first instalment. I neither recommend, but neither say skip this film, I'm just indifferent to its existence.

Score: 6/10.

First time director, Emerald Fennell, who you might've seen in The Crown, offers a really solid directorial debut. Her film is a gripping revenge thriller, that tries to take into consideration the recent #MeToo movement and look into its ramifications and implications of both parties involved.

Carrey Mulligan offers a stellar performance as Cassie Thomas, who is on a revenge spree to avenge the injustices that occurred to her best friend, Nina. Mulligan goes to great lengths to portray the multiple facets of her character, creating a three-dimensional character in a genre that accustomed us to one-dimensional scream-queens.

While there are plenty of positives, such as Mulligan's stellar performance or the great tonality established through the films disturbing soundscape, the film also has some slight shortcomings. Despite it's unsettling tone, the film never manages to really thrill the audience, being quite devoid of tension. Also, it's worth mentioning that the film at certain times feels a bit disjointed, especially towards the end, when it feels like multiple ideas were spliced together.

Nevertheless, despite its flaws it's a solid debut from Fennell, who offers a revenge thriller that is perfectly fitted for the current #MeToo climate, while Mulligan offers one of the best performances of her career. Give it a watch, you won't regret it!

Score: 7/10.

The Terminal reunites Tom Hanks with Steven Spielberg after their highly successful Catch Me if You Can and delivers a completely different experience, but with similar success. While Catch Me if You Can, had a more serious tone and subject matter, The Terminal offers a much more light-hearted and feel good experience.

Tom Hanks does a terrific job as Viktor, a stranded Krakhozian on the JFK airport, who due to his countries civil war is stuck on the airport for 9 months. Tom Hanks has plenty of chemistry with his cast, all the other actors pulling plenty of weight, especially Stanley Tucci, who plays the main antagonist. The rest of the cast shines too, with Diego Luna, Zoe Saldana and Catharina Zita-Jones also doing a terrific job. Though despite having plenty of chemistry with Hanks, their plotlines feel neglected. This is true especially of Luna's and Saldana's romantic sub-plot, which is way too underwritten and gets wrapped up way too easily and conveniently.

Another element where the film suffers slightly is the pacing and the over-indulgent running time. Especially the first half of the film can be quite a though journey for some, as a quick montage of Viktor's adventures would've better served the film and maybe would've left some more space for some subplots to develop.

Overall, the film was an enjoyable experience plenty of fun offered through the chemistry between the actors, though the film's pacing might be a bit of a turn off for some. Nevertheless, give it a go if you have a chance!

Score: 7/10.