Reviews

The other reviewers aren't giving this movie enough credit. It's an excellent script with good solid performances, well-directed and well-shot. My wife and I saw it on Kanopy and we both liked it a lot. It had been on our watchlist for a long time. While my wife was out of town, I was scrolling through our watchlist and there was a couple of times when came to this movie and I thought, we're never going to watch this, I might as well delete it. And I started to...but then I thought, better not, we might want to watch it at some point. I'm glad I didn't delete it. Yes, it's an anti-war movie set during three different wars, with the same actors/characters being carried over. I think the writer/director did a first-rate job of conveying what it was he wanted to say. Give it a shot.

Mesmerizing. Hypnotic. Sumptuous. Enthralling. Mysterious.

For those who say they don't like it because it's so enigmatic as to be boring: think of it as a Twilight Zone episode. (Not literally.)

Jean-Paul Sartre has a stage play called No Exit, two people caught in hell, with a demonic bellboy, and the man says, "Hell is other people."

There's an image of Alfred Hitchcock in this film, off to the right in the shadows in one shot, easy to miss. Take it as a hint.

Orson Welles said film is a ribbon of dreams. This movie is a dream that folds back in on itself over and over. It's a symphony of images.

I like the reviewer's title, posted in 2014, saying this is a filmic realization of the Uncertainty Principle . I also like the reviewer's references to Dali and the Persistence of Memory.

Do you like the work of M. C. Escher? You'll like this movie.

Magnificent filmmaking. Bears repeated viewings. Infinite gratitude tendered to the filmmakers.

The first hour of this story, right from the first shot, drew me in, slowly but surely. There's very little dialogue, and the performances of the two central characters are captivating. West Liang as the leading man is a compelling screen presence. He's got a rough, James-Dean like quality, but he's the kind of actor who could also play the bad buy, so there's a hero-or-villain tension. Into the mix steps the mysterious and appealing Amy Tsang, who knows how to say--and hint at--so much without using words. The two of them turn in excellent work. In the second hour the mystery expands and deepens. Criticizing the movie for being Lynchian is wrong-headed. The Ryan Gosling film, Lost River (2014), was criticized for being Lynchian without Lynch. So what? Is Lynch (one of my favorite directors) the only filmmaker allowed to make movies like this? A useless argument, in my opinion. Silent River tells a good story and keeps you involved. The music by Brian Ralston and cinematography by Norbert Shieh are essential components of the fabric of this story. Recommended. A double bill of Silent River and Lost River would make for a riveting evening of cinema.

Very enjoyable. Best werewolf movie since The Howling (#1). Good storyline, good pacing, good performances. Robert Forster is terrific in this. I've always loved his work, but he's exceptionally good in this. He puts together a complex and humorous character, totally believable. I didn't expect to like this movie so much. The other actors are all first rate as well, and the two leads, Cummings and Lindholme are unusual talents. The central character is the sheriff's son, and there are some bold choices here. There's a fine line between sympathetic and unsympathetic, and Cummings treads it with artistry. He kept me involved. Took a chance on this movie, and feel amply rewarded. I could tell right away, within the first 10 minutes, that I was going to like it. Any movie that can convince you right at the start--that's a sign of good storytelling.

Wish we had more movies like this. Excellent work all around. First rate writing, directing and acting, with perfect cinematography. One of the very finest movies of the year, with Damon turning in a really solid real-life characterization, and he's not the only one doing that. The supporting French characters also leave an indelible impression. I'm surprised it didn't get any Oscar or SAG nominations. It should have. This is a quiet story, moving at its own pace, and it gives the characters time to get under your skin and into your soul. Going into the last act, I felt tension seeping into my bones. Not the forgettable flashy tension you get in an action movie or horror movie. The tension you get from caring about the people you're watching. You worry that something bad's going to happen to them and you don't want it to. And yet the way it ends, it's not what you expect, but it's satisfying. Beyond satisfying really. One of the best final lines of dialogue in any movie since Hannah And Her Sisters. Stillwater compares favorably with the best work of Asghar Farhadi.

Snappy, scrappy, sassy. Fun. Very enjoyable giant insect flick, plenty of laughs and first-rate special FX, with on-target performances from Greg Grunberg, Lombardo Boyar, Ray Wise, Clare Kramer, and Patrick Bauchau. This ain't the 50s (don't get me wrong, I love 50s sci-fi, especially the giant insect epics), and the visuals are totally convincing. Awesome giant black widow, eating people fast! Well written, well directed, well produced. Kudos to all involved. I missed this when it came out in 2012. Too bad, I would've enjoyed seeing it in a theatre. As it is, I saw it on Kanopy. Good stuff!

An excellent, first-class story, with impeccable acting all around. Magnificently written and directed. Caine's work is very different from what we're used to from him, easily one of his finest performances. I first saw it in a theatre when it opened, and loved it, and I'm pleased to say it holds up extremely well. I've always thought Rafelson is a terrific director, and this is one of his best. Well-defined characters, good pacing, very atmospheric, no plot holes, the story moves forward out of the characters' decisions and misconceptions, and absolutely no on-the-nose pushing--in fact, all the elements fit together beautifully. Sit down and watch it at your earliest convenience.

Real good movie. Good story. It's like HEAT plus SPECIES. I've seen it several times, starting with its initial release in 1987. I now own it on DVD. I have to agree with all the good reviews here. It looks a little low-budgety, because it is (more or less), but that's part of its charm. Most of the acting is top notch, but my favorite performance is William Boyett's Jonathan Miller. He is first rate in this, he's got it down perfectly. I've seen him in a thousand things in pretty small parts (he's in lots of Perry Masons) and his presence is always welcome & workman-like, so seeing him in a juicy part like this is a real treat. Danny Trejo in a small part, one or two lines, but you recognize that voice of his right away (in a long shot, so you don't see his face till a minute or so later). There are some logical lapses in the telling, here and there all the way through, and some visual lapses too, but the tone and the pacing keep you involved so that the lapses don't matter. Highly entertaining.

DATELINE SAIGON is a superb documentary about four American journalists caught up in the early stages of the war in Vietnam. Malcolm Brown, Peter Arnett, and Horst Faas of the Associated Press, Neil Sheehan of United Press International and David Halberstam of the New York Times are competitors who become allies as the powers-that-be in Washington come to think of them as the enemy, because they won't swallow the blue-skies-forever falsehoods and inaccuracies presented by both the military and the civilians in the US government at the time. The story is historically truthful and fascinating. Especially when you compare and contrast the lies and falsehoods that have been foisted upon the citizens of America in the recent past. This is compelling and emotionally impactful filmmaking. See it.

Asghar Farhadi is the finest filmmaker alive now and working today in the world.

He digs deeper and reveals more about the human condition. His movies bear repeated viewings.

EVERYBODY KNOWS is no different. It's the equal of his other films: A SEPARATION, THE SALESMAN, THE PAST, ABOUT ELLY, and FIREWORKS WEDNESDAY. They are all rated 10, except maybe A Separation should be an 11.

Before I saw this one, Everybody Knows, somehow I got the notion that it's not as worthy as its brethren. It received fairly unenthusiastic reviews and even a few people I know said it's not as good as the others. That view is wrong. Everybody Knows is excellent work.

In terms of revealing the answer to the mystery inherent in the story--his solution is unique, unexpected and works very well within the structure he's created.

I intended to write a lengthier review, but a number of other reviews found here say it better probably than I could. I'm specifically thinking of ahicks-2, khororus, maurice yacowar, and magow-01. Read their reviews. They're fair and accurate.

Here's all Farhadi needs to make a good movie:

A script. Actors. A camera.

He doesn't need any of that other BS that we get all the time everywhere, that stuff we're drowning in. Farhadi throws us a life-saver.

I haven't yet seen his two earliest feature films. I'm on the lookout for them and can't wait to see them.

Saw AVENGEMENT (2019) last night at a theatre in Santa Monica. Still thinking about it today, standing on its own as well as in comparison with THE DEBT COLLECTOR (2018), both directed by Jesse V. Johnson and both starring Scott Adkins.

AVENGEMENT might be an odd-sounding title for American ears--it refers to the act of taking vengeance. But this is a first-rate action flick, with some terrific fight sequences, a gathering of excellent actors, and impressive production values, including striking cinematography and an array of U.K. locations--although the bulk of the story takes place in an English pub called the Horse & Jockey. The storyline is a little fuzzy--meaning it's slightly confusing in places and arguably not as involving as DEBT COLLECTOR--but aside from that it is high-quality, high-value moviemaking, exceptionally well-directed and cut together. Johnson has been shooting action pics since 1999, and he knows what he's doing. He's something of a renaissance man. Take a look at his IMDb page. He's got a ton of credits as a stunt performer and coordinator--he comes from a family of stunt people--and dozens more in art departments as production designer, art director, and set dresser. Beyond that, he's got a genuine feel for this kind of material and how best to convey its impacts.

The British cast is top notch through and through, down to the smallest parts. Standouts are Craig Fairbrass, Nick Moran, Ross O'Hennessey and Kierston Wareing, but everyone involved, from first to last, turns in fine work. Louis Mandylor isn't British--he was born in Australia--but he's playing a British detective, and he's perfect. He's a fighter in DEBT COLLECTOR and can deliver strong stuff in stunts, but in AVENGEMENT, he's not a part of the combat and doesn't make his entrance until about halfway through. Nevertheless, his character is indelible. Mandylor is a real pleasure on screen. He's become one of the best character actors around. And he's incredibly good in DEBT COLLECTOR, where his acting chops as well as his fighting skills are on full display.

Adkins is remarkable in AVENGEMENT. In general, he's a better actor than most action leads, but in this one his character arc--from more-or-less innocent bystander who doesn't want to get involved with street gangs to a ferocious, unstoppable revenge machine--is mesmerizing. The perpetual snarl, wild-eyed glare and vivid scars that dominate his presence at the end of a punishing downfall stabs right through the viewer's eyeballs and stays lodged in the memory banks.

THE DEBT COLLECTOR, set in Los Angeles, is the stronger of the two movies in the story department. The plot is more engaging and the development of the two lead characters (Mandylor and Adkins) is a little more satisfying, especially by the end. The action scenes are equally good in both movies, which isn't surprising given Johnson's talents. The production values in COLLECTOR are equivalent to AVENGEMENT. The only thing that brings COLLECTOR down a slight notch is the day-player cast. All of the actors named in the opening titles turn in good work, but some of the smaller roles--names that appear in the cast list at the end credits--don't come off as well. They're not as three-dimensional as those powerhouse British actors.

Both movies offer hard-driving, bone-crunching action with memorable characters in a colorful setting. AVENGEMENT gets a 9.5 out of 10. THE DEBT COLLECTOR gets the same, 9.5 out of 10.

Surprisingly good.

Gail Russell is always wonderful and she's fine in this. She's one of the best. When you think how she died at such a young age from alcoholism, it's tragic. (For more details on her life, see the 12-minute documentary about her on the DVD release of Seven Men from Now.)

She's the main reason I went looking for this movie, and I wasn't disappointed.

Any movie with some of my favorite actors all working in the same scene is worth watching. Seeing John Hoyt, Henry Hull, and Gail Russell in several scenes together...a delight.

The movie's also got Ruth Warrick (the wife in Citizen Kane), Charlotte Greenwood, Dennis O'Keefe, Arthur Honeycutt, Clarence Muse, Harry Lauter, Davis Roberts, and Earle Hodgins in a tiny role (one line)--all of them among my favorites and all of them highly enjoyable.

The story's not bad and those performances are first rate.

One of the only drawbacks is a typical one of the times when this was made: the black characters are all subservient, but they were at least treated by the other characters and by the story itself with respect and they've got some depth of character to play.

The script gets a little preachy toward the end, laying in a message about a mismatched marriage, and it's a message we've already gotten in this story well before the ending.

One thing really stands out in the performances, something true to the era the story's set in, the late 1890s and early 1900s. People in those days held a lot back, they didn't just gush their emotions out. And the actors are subtle. They hold back a lot. The first scene between father and son (Hull and O'Keefe) is impressive. The joy at their reunion is there, but they keep it inside and don't make a show of it. Same with the relationship between the trainer and his daughter (Hoyt and Russell): restrained, but full of unspoken words and emotions. All the characters perform with the same restraint, the same modulation. The director, Joseph Newman, must've had a hand in that.

Satisfying family fare.

This is strong movie-making.

Brad Pitt has become one of the best actors around. He is capable of handling the subtext of a story subtly but tangibly. In other words, the characters don't talk about what the scene is really about. The scene is about what they're NOT saying, and Pitt is superb at getting that truth across.

This is a guy who wants to do good work. And judging from some of his other excellent pictures, he's succeeding. The Assassination of Jesse James, with the same director, is a great example of this. That story is about trust, but nobody ever says, "Can I trust you?" Instead it's in their eyes. They're asking themselves, inside their heads, "Can I trust him?" That kind of subtext is what makes a story great.

Take another look at these other excellent examples: War Machine, 12 Years a Slave, Moneyball, Burn After Reading, Babel, 7 Years in Tibet, 12 Monkeys, Snatch. Those are some terrific movies. KTS unquestionably belongs among them.

And look at the range of roles he's played in those movies. He's not afraid of taking a chance.

I recently saw Allied for the first time, and was really impressed again by what isn't said. Pitt turns in a high quality performance in that story.

Killing Them Softly is first rate work. It builds slowly but surely, and when it comes to that final scene in the bar--no spoiler here, but it is a powerful payoff. Unlike anything else out there.

Well-written, well-directed, well-produced, well-acted. Pay no attention to all those negative comments. They're all wrong.

Highly recommended.

This is a fun and enjoyable little mystery film, with a terrific performance by character actor Oscar Homolka, giving him a rare opportunity to play the leading role, Inspector Hanaud.

Homolka appeared in dozens of movies and TV shows throughout his career, including a recurring character in both Funeral in Berlin and Billion Dollar Brain, Mr. Sardonicus, War and Peace, and a number of projects with Hitchcock on both big and small screen. I've always enjoyed his work, but he's a standout in this, simply first rate.

He's joined by the actress Yvonne Furneaux, so memorable in Polanski's Repulsion as well as in Fellini's La Dolce Vita and Hammer's version of The Mummy.

The story is good with some nice twists and turns and the production is excellent. Recommended.

I stumbled across this movie on Prime and thoroughly enjoyed it. I agree with the Refreshing! review by Petrino. Only thing is I give it a higher rating, 10 stars. It grabbed my attention right at the outset and held it firmly for the full 90 minutes. It starts out as a road comedy with some pretty funny goings-on and escalates gradually into twisted sci-fi desert insanity. I've seen a lot of movies like this that don't work, so it's a real achievement when you see one as good as this one is. The story is a little meandering, but I found that to be part of its charm. The actors are all quite good in situations both hilarious and horrifying. As Petrino says, you feel like you're with real people with authentic relationships, nothing's forced. The Las Vegas scenes are really quite humorous, with real threatening characters breaking up the central characters' plans. The guy that plays the youngest member of the quartet, Erik Artell as Jodie, bears a slight resemblance to Topher Grace of That 70s Show, and his clueless but imaginative innocence adds a lot of fun to the proceedings. His ideas about creating a YouTube show are pretty wild. Eddie Mui is terrific as Nick the gambler on a losing streak being heckled by his wife (for good reason). And Parry Shen and Colton Dunn as Jeremy and Dave are right in there with the action and the laughs. There's one scene in Vegas where the dung hits the fan and everybody's freaking out, but Dunn tiptoes fast through the shot with an impish expression on his face that's priceless but totally in character. Real good special visual effects too. I really liked this movie a lot and I wish the filmmakers well. I hope they make more movies. And I don't agree at all with the negative reviews here that give it low ratings. Thumbs up here! Take a chance on it.

This is a terrific movie. Don't listen to people with an agenda who want to steer you away from this story. Excellent in every category. They don't make 'em like this very often any more. Yet of Redford's last 6 features, at least 3 are hard-hitting, honest dramas--this one, plus All Is Lost and Lions for Lambs. I have tremendous respect for his work. Blanchett is one of the best actors working now. Entire supporting cast is first rate, and I want to mention Rachael Blake and Andrew McFarlane as turning in superb work. The only thing that surprised me about the script was that Killian's secretary was left out of the story, and she confirmed that the content of the Killian memos was exactly as she remembered them--she agreed the typeface didn't look authentic to her, but the content was precisely what she typed for Killian. I remember because I saw the original 60 Minutes II broadcasts. Rather is a giant in journalism, and I still watch the CBS Evening News. It's still good, but at one time, CBS News was the finest news-gathering organization in the world.

Good movie. Strong material. Excellent performances. Well-written, well-directed, well-photographed, with first rate production design. Very atmospheric. Very unusual. If you're looking for something different, check it out.

Enjoyable movie. A family adventure. Well written and directed, and beautifully acted by a stellar cast. A good sense of humor and fine details about the mix-ups of contemporary family life. If you're tired of the usual big Hollywood noisemakers, then watch this one.

Much better than the first one, but still...not so good. I keep waiting to get interested in what was happening. The action scenes are very well done, and at least you can understand what's going on, which you couldn't in the first. Altogether, it's just another big noisy summer movie. So what? I'm getting really tired of this kind of movie. You'd do much better with your entertainment dollar to go see SHANGHAI NOON, which has a lot more heart.

Terrific movie, very funny, one of the best Jackie Chan movies, extremely entertaining. We couldn't wait to see it, and we laughed really hard. First-rate production values. Excellent photography. Jackie's the best! Go see it quickly!