Archive for Release Year: 2002
21 posts from 27 May 2017 to 17 November 2024.
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Woody Allen is not perfect, and this is an example of it. Just like Scoop, this still has chucklegoofs, but the drudge you need to wade through before getting to the good jokes is too much.
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It seems ironic that Spielberg adapts sci-fi stories, when he flatly doesn’t care about the story. Feels like a bet he won, making a blockbuster about something he couldn’t give a shit about.
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The Rules of Attraction as a reluctant thriller.
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That’s Pinocchio, all right.
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The one with Halle Berry, Rosamund Pike and Maddona.
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Undoing the character development in the last film for fun and profit.
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A very good action film with really inventive fight scenes. Has more in common with the old Jackie Chan films than the usual fight-scene driven drivel, but with a better script.
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The 2002 remake (original is here). Po-faced ultra-violent silliness. It’s not even a metaphor for NFL, however thinly veiled. The audience uses vuvuzelas, GTFO.
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Half of Dangerous Liaisons, with a not so tragic ending. Not that it ends happily…
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One of Clancy’s roman à clef.
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Wow, Michael Pitt is a psycho killer? Who would have thought? Funny how he plays Games with everyone…
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I had never seen the extended cut. They cut so much Wombosi stuff out, and there was apparently plenty of cuts and reshoots too. Still manages to blow most thrillers out of the water.
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Kinda redundant, an horror film set in The Great War’s trenches. Even if it’s a big purgatory metaphor, and the entity testing the souls is a German POW.
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A letdown compared to the first one. Box-ticking exercise, everybody is just going through the motions.
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What the, what? Virgin scientist cyborg-clones herself thrice, in the Three Faces of Eve personas, but eventually finds true love herself, amidst a potential pandemic of barcode rashes and male impotence.
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A higher budget cannot hide the outdated CGI, but is great despite that. The characters are just awesome!
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It’s no Event Horizon, but it’s a competent mainstream horror film. Derivative, but a good effort.
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I thought I detected the Soderbergh touch, not only on the very extensive cast, most the cut away gags, the stylish editing-based jokes. The underlying seediness, the depression, the mental instability, that’s something else, something Being John Malkovich-shaped.
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It that Rose Byrne? It’s like Harry Potter over here, a massive amount of English people!
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A great thriller with so much class subtext, where the focus is all on the technical trickery and old-school CGI. Working Class people are fucked over badly, while aristos can withstand ugly home invasions and come out of it relaxed and looking for more places to gentrify.
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Why does this have to be so complicated and convoluted? There’s at least three interlocking stories here, stories withing stories.