Reviews

The subpar narrative, a set of uninspiring characters, and disjointed screenwriting have hindered its actual potential, impeded its alluring premise, and dampened its truer prospects.

It neither works as a spectacle nor as a compelling tale of retribution. Apart from the impressive grandeur of the production and its huge scope, I found little to no enjoyment here.

Although I adore Anya Taylor-Joy and Chris Hemsworth as performers, both of their characters failed to make a lasting impression here, specifically the latter one, who I feel has portrayed a far more convincing antagonist before, "Bad Times at the El Royale" springs to mind.

The buildup's nice, the colour grading, the whole setup hit the tonality on point and I really liked how well the mystery surrounding the forest and its 'residents' are sustained for the first two acts, though everything gets a bit convoluted in the third, and the supposed "payoff" failed to leave an impression albeit that had more to do with the director's inability or rather 'inexperience' to handle dramatic discourse rather than what was on offer from the source material's side.

Ishana Night Shyamalan, as the debutant did a commendable job whenever the script concerns with any horror / thriller constituents. She knows how to build tension, she seems to be well aware of the intricacies involved.

It's the drama, however, where she fumbles, it is where her weaknesses become clear, it is where she misses her mark as the 'storyteller'. She's got so much to learn in that respect!

This may be a controversial perspective, but it might have worked better as a web series. The enormous world building, a dozen people with equally important backstories, coupled with some terrific action and an emphasis on visual storytelling; I believe the whole proposal would have had more of an impact if it had been shaped and formed in a conventional web show format.

I can't believe I'm saying this, but 'Three Hours' was inadequate to effectively employ its contextual complexity, ethical dilemmas, and numerous analogies. Even though the editing team did the best they could to keep everything under 180 minutes, the sheer scope of the source material necessitated additional space on screen.

P. S. If I had to pick my favourite character from "Watchmen," it would be "Rorschach"; he nailed every scene from from start to finish. He piqued my curiosity with each situation! I would really like to see a spinoff focusing entirely on his individuality.

For somebody like me who has never read the comics and has extremely limited knowledge about the origins of Superman, I have plenty of material to make an understanding.

Snyder did well by providing all the necessary information that would be necessary for first-timers. However, in doing so, the proposition became overstuffed, or rather overwhelmed.

By exposition, a constant feed of particulars, which made it less stimulating than it should have been!

Even though the visuals are extravagant and the action is mounted on an extremely large scale, the writing couldn't play the match-up game, as it seemed to have taken a back seat, confined within its own boundaries, weighed down by incoherence!

Perhaps a separate four-hour-long 'Snyder' cut was needed here!

Is it just me, or does this movie really lack the essence of a blockbuster? Maybe it's because my expectations were too high, or perhaps it's because the presentation did fall short of its objectives.

However, I must admit that I absolutely loved the visuals. The way the tales of the Spartans were portrayed here was captivating. It allowed us to delve deep into their culture, their mindset, and the unwavering pride they carried.

And the Action department did an amazing job in showcasing their skills on the battlefield. But at the same time, I can't help but feel that there could have been more done with the storytelling. There was plenty of room left for improvisations, numerous gaps that needed to be filled!

Even if we keep aside the allegrological implications, this is a pretty entertaining movie with Snyder's stylization and his trademark production value at the forefront.

I have kept a blank slate without any hopes or expectations, and I'll admit I am surprised. The action was engaging, and the storytelling was inventive, but it never takes itself too seriously and confuses its viewers and it rather straightens things up by the end.

The protagonists are likeable, and the slew of antagonists (particularly, Oscar Isaac) play their parts well. Had the editing been crisper and those 'dream sequences' (I think those can be deemed as dream sequences, correct me if I'm wrong) provided more in terms of their visual flair, I would have been more glad.

Regardless, it is recommended, especially to those who crave 'Women Empowerment' in a different form and shape.

I adore owls, and I'm also fond of narratives that allegorically incorporate real-life affairs into their fictional setups. Still, "Legend of the Guardians" felt mediocre since it failed to leave the impact I was hoping for!

The visuals are nice, the characters are likeable, albeit too many in number, and there are some moments that truly shine, but on the whole, the storytelling comes off as generic, or perhaps 'cliche' would be a better term to use here.

Even though the predictability did not bother me as much as its tonal inconsistencies have,.

The trajectory of the writing wasn't smooth, as a result, the structural integrity of the screenplay was hampered; coherence was gone, so much so that in a few moments it started to meander, at times almost cluelessly!

I wish Snyder had done better, he should have!

Although the premise conspicuously hints at a monotonous courtroom drama filled with cases and arguments, trust me, it would be a grave mistake to consider it one.

Why? Because the narrative stretches beyond the four walls of the courthouse, I would go as far as to say that the whole setup involving the judge, jurors, and attorneys was a backdrop to convey its real message, which is really about human nature.

More so relevant, when you look at the current state of our society, where everybody is blindly chasing fame and money without ever thinking about what's right and what's not!

It teaches about the consequences of greed and over-ambition. The lessons are uttered through events that transpire in Lomax's 'perfect' life, with 'Biblical' scriptures as an instrument to propagate the plot points.

Though I'll admit the third act could have been better structured, Appalling pace and a higher than usual pitch in performances did affect its efficacy to some extent.

Nevertheless, I liked it, probably more because I mistakenly presumed it as one run-of-the-mill courthouse feature. Suffice to say, I was quite surprised at my misjudgement!

Dear Mr. Hitchcock, you did not need to create a film to convince me that ravens and seagulls are incorrigible creatures, as I am well aware of their 'erratic' personalities.

Anyway, this happens to be my third Hitchcock film (following Rear Window and Vertigo) and unfortunately, it is yet another disappointment.

To be honest, I didn't even plan on watching it initially, but the abundance of positive reviews piqued my curiosity the other day, so I decided to give it a chance.

Little did I know that all I would get is a mediocre amalgamation of genres, where both romance and thrill fail to leave a lasting impact.

Maybe it's because I've been exposed to these specific genres too much, or perhaps it's due to the outdated approach that lies beneath, but I just couldn't connect with the tale or find myself caring for the characters, I adored the location, had fun with the technical sides but that's about it!

"One final thing I have to do... and then I'll be free of the past"

Following my disappointing time spent with 'Rare Window', I was skeptical about tuning in for the second 'Hitchcockian' session. Got to admit that I was pretty apprehensive, as doubts began to cloud my expectancies.

Fortunately, it fared considerably better than I anticipated!

I liked the story, loved the storytelling, felt for the characters, and was also privy to the romance portrayed on screen. This was a far better experience overall.

The major complaint that I had with my previous viewing (Rear Window) was that I could not feel the stakes, nor did I get a feel of the supposed suspense; however, here I did.

I liked the way the tale meets its end, a bit tragic, yes, but a befitting conclusion nonetheless!

My first introduction to the 'Hitchcockian' world, and I stumbled on the very first tour.

Perhaps it is the seven decades dated approach or my sheer incompetence to understand what this film truly stands for, but I was, for the most part, underwhelmed! Apart from the interesting cinematography and set designs, nothing else caught my interest.

Some scenes get repetitive, performances aren't as strong as I expected them to be, and above all, I could not feel the stakes (save for the last fifteen minutes) nor was I able to comprehend the supposed suspense!

It was a surprise to witness a film that has been deemed one of the finest of the genre, not work for my conscience.

"At some point, you gotta decide for yourself who you gonna be. Can't let nobody make that decision for you"

It was undoubtedly one of the finest examples of LGBTQ representation. The writing is excellent, the storytelling is even better! And then the visuals exude an indescribable tranquillity that I wholeheartedly cherish.

This film feels like it was crafted with immense care and passion. It feels as though it is being brought to life from someone's personal memories, feels incredibly personal, and I absolutely adored that. Despite revolving around sexuality and self-exploration, it never takes the provocative route. It remains sincere and sympathetic in its approach, which deserves some admiration.

My only complaint lies with the third chapter, titled 'Black'. It is where the intensity seems to die down. I loved the first two chapters, relating to the young child and teenage boy. I was able to empathize with their pain and rooted for their triumphs. However, in the last chapter, that connection suddenly fades away, as I couldn't get behind adult Chiron. I truly wish I could have!

This was quite challenging to sit through, and I say this with utmost respect to all the talented minds involved in here. Whilst I understand the intentions behind the project, the execution did not resonate with me as I had hoped or rather preferred.

Almost 95% of the screenplay is dedicated to lengthy discussions and character interactions that eventually become stagnant, redundant too as there was nothing exciting taking place from a visual standpoint.

Now, I do not necessarily have an aversion to dialogue-driven scripts, but there needs to be some context behind the words to make them meaningful, make them worthy. Otherwise, they would come across as nonsensical, nothing but gibberish, which unfortunately is the case down here.

Despite my best efforts to connect with the lead characters through dialogues, I struggled to find coherence in the overall story. Perhaps my lack of empathy towards our two protagonists further exacerbated the issue.

Make no mistake, I do have great admiration for both Buckley and Plemons, having enjoyed their performances in previous movies, but not here!

I like the versatility of the writing here, as it allows for multiple interpretations. It can be seen as a reflection of depression, childhood isolation, or even as a call for self-exploration, introspection. It can also be viewed as allegorical take on our tendency to hold onto nostalgia and the things that shaped our childhood and teenage years.

Having said that, inspite of having such compelling ideas, none of them realized their full potential, mostly due to the absurdly short duration of the film, it lasted around 90 minutes. The visuals were striking, and all the technical aspects were well-executed, thanks in part to the notable performances of the two leads as well. I have no complaint to make in those regards.

I feel, It is the narrative that would have benefited from more time to establish these concepts in a tangible manner. Perhaps, delving deeper into the psyches of the protagonists could have precipitated a more fitting outcome!

All the emotions, the witty exchanges, the petty arguments; it all felt incredibly authentic.

The storyline was simple, but it was a refreshing departure from the typical romantic tales we are so accustomed to.

The director excelled in capturing the dynamics of long-term relations, showcasing the nuances of married couples who have been together for over a decade.

Kudos to the actors as well, especially Vidya and Pratik, for delivering outstanding performances on their end which embodied the essence of a lifelike 'couplets'.

Having said that, the ending left a void, The final 25 minutes to be specific, were chaotic, lacking in consistency and tonal balance, which thereby disrupted the flow of the narrative, it leaves a lot to be desired.

If only it had taken a different turn...

The story had me captivated from the very start, but it was the ending that truly sealed the deal for me. When it comes to old school horror, this one will definitely rank among the finest.

The location is absolutely stunning, and the story itself is filled with clever twists and turns that will shock you at crucial intervals.

Furthermore, The script flows naturally, and the emotions portrayed by all the characters are so compelling that you can't help but feel for their pain and sufferings. And let us not forget about Nicole Kidman, she was fantastic, as she always is.

Now, I do not have any major complaints, but if I had to nitpick, I wished the writing here delved a bit deeper into the characters' backstories. Not that it didn't, but I expected more!

It's quite impressive how the sequel managed to amp up the action with an abundance of guns and explosions, all while staying true to the tone set by the first movie. It was just as gripping and effective as a zombie horror piece.

The sound design is absolutely phenomenal, and even though the editing can be a bit chaotic at times, it alleviates the suspense.

However, the character development is where I feel it fell short to some extent. Having talented actors like Elba, Renner, and Byrne, only to not capitalise on their potential and deliver well-rounded characters, feels like nothing but a missed opportunity to me.

I admire the swift establishment of its direction right from the outset, as it avoids unnecessary exposition and immediately sets the narrative in motion.

The script is concise and propels the story forward at a rapid speed, ensuring that the audience remains engaged from the get go.

I particularly enjoyed the raw and unblemished portrayal of the apocalypse, which stands out in contrast to the typical zombie features we see in the mainstream space.

My only complaint is that there could have been more dissection of the 'virus' in question. Some additional information or discussions would have largely benefited the storytelling.

One of those sad instances where ceiling-high expectations eventually weighed down on the film's merit.

I have heard so many amazing things about it that while tuning in, I was anticipating nothing but brilliance, and that might have had an adverse effect on my viewing.

While I adored Pattinson and the movie's skilful technicalities, especially the background score, which had its own identity, a unique footprint, I found myself constantly craving coherence in the storytelling.

It's all so messy, a bit too chaotic. Perhaps that's what they intended to go for, but their approach didn't work out for me.

The captivating melodies, undeniable chemistry, and Gaga's mesmerizing vocals are what drove the storyline forward.

Gaga and Copper's connection on screen is truly commendable, creating an organic dynamic that seemed to have sprinkled magic whenever they grace the screen together.

However, every single time the focus shifts from their relationship to their individual characters, the impact diminishes significantly. The magic that previously enveloped the screen seems to fade away, leaving a void in the storytelling.

The emotional depth and turmoil that the writing aimed to convey fell short resulting in a mediocre screenplay which failed to resonate. I really wish it did.

"I miss you. I miss not touching each other. Not seeing each other, not breathing in each other. I want you. All the time. No one else."

Adèle and Léa's electrifying chemistry propelled the narrative forward, as their dedication to their roles shone through in their notable acts.

While the film excels in capturing romance and sensuality, it falls short in providing substantial LGBTQ representation and a deeper storyline. This may leave some viewers with lingering doubts and reservations.

It would have been advantageous if the three-hour-long screenplay had allocated a bit more time to showcase the challenges and difficulties faced by individuals belonging to the community.

A more sensitive and heartfelt portrayal, coupled with cohesive storytelling approach, would have greatly benefited the narrative as a whole.

If you are anticipating a steamy, passion-filled ride, you will be let down. There is no intercourse involved in the 'act', the tone is more melancholic than seductive in my view.

Moreover, their intentions aren't fulfilled. Despite clear aspirations, their objectives fall short of breaking free from traditional constraints.

Suffice to say, it left me yearning for that extra push in the storyline.

Even though It did make me contemplate on how some individuals, through the acts of seduction, resort to pain, bodily humiliation to escape their grief, their inner turmoil.

Humans are truly peculiar creatures, and these narratives only reinforce that notion.

Human beings thrive on connections, it's in our nature. In today's fast-paced world, it's easy to get caught up in the hustle and bustle, to isolate in the name of survival. But deep down, we all crave human touch, that sense of belonging.

"Aloners" by Hong Seong-eun expertly captures this essence. It serves as a poignant reminder of the importance of human connection in a society that is increasingly losing touch with humanity.

Perhaps it's high time for us to take a page out of our protagonist, Jina's book and begin to truly live. Let us embrace the chaos, the messiness of human relationships, all the highs and lows, and rediscover the beauty of empathy and human connection.

"To tell you the truth, I am not cut out for eating alone. Or sleeping alone or taking the bus alone. I don't like smoking alone. I am no good on my own. I just pretend to be."

A session of reconciliation brings together the parents of the school shooter and one of the victims, allowing them to gather the courage to face each other and comprehend each other's point of views.

As the discussion unfolds, secrets are revealed and new details about the tragedy come to light.

What I appreciate the most about the writing is how it places the audience in a neutral position, enabling us to pay attention to both sides of the conversation, without preconceived bias marring our conscience and clouding our ability to draw a fitting conclusion.

Scripts such as this rely heavily on powerful dialogues and performances, and I must say that 'Mass' excels in both of these segments.

And I also admire how the movie avoids vilifying the perpetrator, which is a common tendency in many stories. Despite committing unimaginable sins and inflicting unspeakable pain on others, they still have the right to share their struggles, their reasons.

No one is born a killer; adverse circumstances, social isolation, and a lack of proper upbringing all contribute to the creation of a murderer.

The sooner we acknowledge this, the better it will be for our children as well as our next generation.

Experimental movies can be a bit tricky to grasp. The filmmakers often have a specific message they want to communicate, but not everyone will understand. It takes a lot of skill to convince the regular audience of the intended meaning, and unfortunately, I don't think "Upstream Color" quite achieves that.

Instead of coming off as one genuine attempt at something meaningful, something constructive, it mostly comes across as a pretense. The film lacks the necessary execution to engage and make the audience contemplate.

The pacing is off, the editing feels disjointed, and worst of all, I found myself uninterested in the characters.

Despite my respect for everyone involved in the production, I have to say that I couldn't connect with it. Perhaps there's nothing concrete to hold onto, or maybe it went over my head and if that is the case then there's no shame in admitting that.