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Old 12-16-2012, 05:26 AM   #1129
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The Hobbit: An Unexpected Journey 5/5


No complaints really. All the negative reviews seem to be critics just looking for something to hate.
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Old 12-17-2012, 01:30 AM   #1130
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Perks of being a Wallflower: Incredible movie. Loved it
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Old 12-21-2012, 02:02 PM   #1131
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not the last one i saw (Hobbit), but recent one... a foreign film called Quill. It's about a seeing eye dog. fascinated by the training and the relationship of these dogs with their masters. it's a japanese movie - nothing spectacular but based on a true story. I remember this old Disney movie about seeing eye dogs - Love Leads the Way - but it's like impossible to find/very expensive on Ebay - i think only on VHS. so was interested to watch another movie about seeing eye dogs.
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Old 12-21-2012, 02:22 PM   #1132
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Jack Reacher: 4.75 stars out of 5.

Those Tom Cruise haters need to get over themselves. This movie is a true throwback to the 80's action movies mixed with the 90's thrillers. Tons of laughs and tons of gratuitous violence. It got a quarter star off for missing gratuitous nudity...dang pg-13. Haha.

Great movie, I hope there is a sequel.
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Old 12-21-2012, 04:16 PM   #1133
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Seen a bunch over the last few weeks. Waiting until I'm done to review 'em all.
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Old 12-22-2012, 12:14 AM   #1134
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A rare breed of the college film genre that specifies no one in particular, rather everyone that experienced or is currently experiencing college. Above all, Liberal Arts features a realistic view on how different people deal with college as well as the careful symmetry at hand when dealing with the youth, the middle aged and the near-elderly and their yearn to grow older, move on, relive their past and recapture the hope of less stress-inducing times. The dialogue is playfully sharp and the script is very intelligent. 8/10



Heavily touches on the bounds men will reach to look acceptable to women and other men, which is a modern enough topic to be pertinent, but nothing is taught, nothing is learned and, despite the involvement of some stars, will successfully lose your interest half-an-hour in. Mansome confirms the age-old rumor: that spending twenty minutes shooting in an old-time, foreign-run haircuttery-stylier will result in tedious, sleep-inducing film. It also breaks a thought-to-be fact as myth: that bringing Will Arnett and Jason Bateman together and letting them do their thing breeds an entertaining scene. Lacks a middle ground between the vain, over-confident groomers and those that just don't give a flying fuck about their appearance. A movie that just wouldn't end. 1.5/10



It's basically a glorified look at the career points and upbringings of Tim Wakefield and R.A. Dickey more so than a history lesson on the knuckleball and it is very self-aware of the line between safe and personal, but the end result is a gratifying, easy-to-watch documentary of two likeable guys and a fascinating pitch. 7.5/10



Easily a top five surprise of 2012, Cabin in the Woods reflection on the staples of the horror genre mixed with bloody fun and one of the best "wow" moments of the year, makes it no reach to say this is not only a great horror movie, but a great movie in general. 9.5/10



You've got to hand it to RZA, he had an image of the type of film he wanted to make and he made it to the best of his abilities. The result is a ridiculous mess of sorts that features wonderfully over-the-top fight sequences, dialogue and acting. The plot is predictably thin as the main feature is the lunacy of it all, but it's far from the disaster it could have been. 6/10



Lincoln moves along at a crawl, albeit an inspirational crawl thanks to Spielberg's direction that doesn't cut many corners and a powerhouse cast lead by another spot-on, Oscar-winning turn by Daniel Day-Lewis. Handled with elegance through and through and carefully shot, Lincoln is a great movie... Just not exactly one of my favorites. I can pretty safely say that'll be my one and only watch. 7.5/10



Anthony Hopkins and Helen Mirren are unsurprisingly flawless, but the brilliances of Alfred Hitchcock are only on display in a spotty manner and the decision to focus more on the relationship between Mr. and Mrs. Hitchcock isn't exactly the right move when surrounding something as monumental to cinema as the creation, motivation and filming of Hitchcock's most influential masterpiece "Psycho." 6/10



The romance of it is nothing to write home about, which puts the primary focus on the sadness of it all, and boy is it sad. Nothing about it feels like it's being presented for a reaction. A totally depressing train ride that never sways from its one impending, undeniably destination, one that happens to feature a perfect performance from Dakota Fanning. 6.5/10



In the world of sappy comeback stories featuring provocative "me against everyone else" of miraculous inspiration, Undefeated is a raw, sometimes joyous, sometimes poignant, always real picture of a typical inner city school and the trials and tribulations of its students. It's values of character, togetherness, hard work, and sacrifice will stick with you even after the credits roll. 9/10



It's simple: if you're looking for plot, character development and something that stews, look elsewhere. If you're looking for good old-fashioned ass kicking action, it isn't delivered much better than it is in The Raid. Though excessive, ridiculous violence is favored more so now for style, The Raid features extensive fighting sequences that offer a modern twist on a more throwback style. 7/10



This is 40 more of a broad image of middle age rather an aimed feature, which makes the long running time seem longer. However, there's solid balance in terms of resolution. Some relationships are mended, others are shown to be a constant work-in-progress and problems will always surface. Subtracting the Knocked Up supporting cast and adding the likes of Megan Fox and John Lithgow doesn't exactly bolster the comedy-portion, but there are still a good amount of laughs, especially from the likes of Paul Rudd and Melissa McCarthy in her two brilliant, show-stealing scenes. Jason Segel is horribly under-utilized and his character is terribly pointless. Leslie Mann has been better and is more effective when used sparingly. 7/10
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Old 12-28-2012, 03:09 AM   #1135
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A safe, by-the-book film, but a risque turn for a Nickelodeon production, Fun Size - to no one's shock - doesn't provide any new entertainment, no moments of true tenderness so vital in the story being told and no laughs whatsoever. 2.5/10



A gritty, blood-pumping, strikingly relevant film, Jack Reacher is supported by a perfectly mysterious and above-the-law type of bad-assery from Tom Cruise, even if the end result is slightly less satisfying than it should be. 7.5/10



Seth Rogen and Barbara Streisand work fluently and the mother-son bickering and bonding registers the right amount of sweet, but for a road-trip comedy featuring a bigwig comedic actor like Rogen, The Guilt Trip doesn't provide enough to make up for the lack of laughs. As a side note, the consistent nagging of Streisand's character, while necessary to convey the relationship, is over-the-top to the point where it's redundancy becomes tiresome. 5.5/10



A straightforward thriller about a man of high means that gets in over his head when his poor choices come back to get him into some trouble, Arbitrage is engrossing, well-paced, toned to the right setting and well-acted. 8/10



The story doesn't veer far from its main priority, which makes the mastery of Django Unchained that much more impressive. Quentin Tarantino's usual flair for stylistic direction, his wry dialogue featuring impeccable comedic timing and the resounding handful of performances, lead by a truly outstanding Christoph Waltz make this easily in the conversation for 2012 best. Side note: Jamie Foxx was the only choice as Django. Fuck Will Smith and his safe casting decisions, he would have oversold it anyways. 10/10



Silver Linings Playbook is, above all else, challenging. It's limited release was odd, considering FX once spent an entire commercial break advertising it, then went on to do the same thing twice more in a 30 minute block. By all means, Playbook looked like an oddity of a romantic comedy. It's much more than that. David O. Russell offers a harrowing and redemptive picturesque of mentall illness and instability. The familial bond lies at its core and the effect that a situation like has on loved ones is prominent, be it a protective mother, a distant brother, an in-over-his-head father or a weirdly understanding outsider. Looking past all the glamour of the Philadelphia Eagles, the superstition, the love story and the other footnotes, this film is thematically stout and powers home its message that a silver lining isn't even needed as long as there's a reason to get better. The general consensus is that Jennifer Lawrence is the frontrunner for Best Supporting Actress. That very well may come true and deservedly so; however, an argument can be made on Bradley Cooper's behalf that he was the show-stealer. Playing a character that's self-aware of their issues is difficult, but playing one that is optimistically in denial of his goings-on requires a lot of conveying. Cooper hits a grand slam and his career is heading down a very promising path. Oh, and don't look now, but Robert De Niro finally gives a raw, comeback kid-type performance. 9.5/10
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Old 01-06-2013, 06:23 AM   #1136
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It takes a while to get used to the fact that Russell Crowe is singing - and not terribly for that matter - before it dawns on you just how impressive the entire cast is. Though, I think it's not declaring anything bold to say that Anne Hathaway's viscerally antagonizing bit stands out among the rest. This is my first time seeing Les Miserables in any form of medium, so I was taken by surprised when it was more of a "every other line of dialogue is sung back and forth" musical rather than a "there's some musical numbers" musical. Tom Hooper's direction is, well, the word grandeur doesn't quite cover it. The music is a revelation and the fact that it was performed live, on-the-spot is unthinkable. Having shelved out the kudos, here's the catch: I nearly dozed off multiple times. The lull's in the story in which a character is singing a particular heart-felt ballad should be captivating, but after dealing with constant song for over 2 1/2 hours, I was fighting off a headache. 7/10



Shame. Billy Crystal gives it absolutely everything he has at this stage in his dwindling (dwindled?) career and his supporting cast goes step-for-step with him and the sweetness, at times, is off the charts. Sadly, Parental Guidance is nothing more than the typical modern vs. old school schtick movie that relies too heavily on cheap gags, hippy parents, out-of-control, problem-ridden children, and out-of-the-loop grandparents. There's no doubt where the film will go from point A to point B and, unsurprisingly, everyone ends up better than they started off by having each other in their lives. 4/10



Red Dawn is the kind of action movie that gives the genre a bad reputation. First and foremost, the movie is built on villainous deficiencies including gaping holes in strategic defense, brutal underestimation, disorganization and the typical fact that the most of the North Koreans are terrible, terrible shots. Somehow, it's hard to believe a Marine can train inexperienced, immature high school kids to be more accurate with fire arms of all sorts than trained killers. The characters are paper thin and their existence is carried along by familial clichés such as death and abandonment. These issues are, of course, fixed when they're thrown into the most challenging of circumstances that make them forgive, atone and learn from the past. The emotional moments are few and far between, but when something similar pops its ugly little head up, it's wooden and unfeeling. The spots of humor that action movies often rely on? Red Dawn brutally sprinkles in some scenes made for nothing more than comic relief. The timing is awkward and the execution is even more so. It's not a film that requires much thinking; in fact, any thinking at all will reveal that the whole thing doesn't make much sense. Throughout the course, there's a puzzling uprise in general terms of support in numbers for the U.S.A. rebellions' cause through recruiting (how?) and weapons. Really, it all comes back to how thrown together the North Korean character threat is. Red Dawn feels like it ends before it starts with an electrifying pace, which is odd because the whole story can't help but appear like nothing more than groundwork. I like Thor kicking ass and everything and lord knows anything anti-North Korea will get my support, but Red Dawn is a disaster. Josh Peck was better when he was fat and hanging around with Drake and DUI Bynes. 3/10



A similar film to The Raid, Dredd is the usual bad ass movie featuring a takes-no-prisoners hero and a soon-to-be-proven rookie, except for the fact that it's a visual sensation, entertainingly woeful, peculiarly funny and perfectly frank with its outrageousness. 8/10



In Anna Karenina, there's something to say for the way female adultery is received in contrast to male adultery. Director Jon Wright somehow makes a story similar to everyone's least favorite book The Scarlet Letter watchable with fresh with themes of love, marriage and ideology to go with top-class cinematography and a dedicated cast. Still, Anna Karenina is the slowest movie of 2012. Brutally paced to the point where even as a melodrama it doesn't work, the efforts of everyone involved are wasted simply because it's a snoozefest. To be honest, this whole Russian love genre ain't really my thing. Take this with a grain of salt. 5/10



Make no mistake, The Impossible is first and foremost a cinematic work. The tragedy that happened cannot ever be properly depicted in a mainstream nor indie release. The dialogue isn't particularly strong and contains bits of structurally coincidental moments and phrases that add nothing but emotional impact. There are also inevitable moments of cinematic-born suspense such as near-misses during their search for one another. In general, the screenplay avoids the dirtiest of work by making the audience assume the painful hours of search and rescue rather than witness it; understandable, but a few more shots of the worst would have been beneficial. Still, the best way to sum up The Impossible is that it's everything you want a disaster movie to be, but everything mankind hopes it's not. The film is a true, large-scale that is captured wordlessly in its destruction and tragedy. It's acted from the soul, which is proper about a film topic that encapsulates the human spirit, togetherness and determination. Naomi Watts is a revelation and her performance is one of the most uncomfortably strong of the year. 8.5/10



Hyde Park on Hudson is composed of elements that don't mesh. Tonal shifts are a buzzkill to an otherwise timely, silly off-beat comedy of sorts featuring the strong personality of FDR and the King and Queen of England when they visit Hyde Park on Hudson to sway the USA's position on joining another war amidst the Depression. The relationship between Daisy (Laura Linney) and FDR doesn't seem necessary as it's hard to follow, frustrating, weird and no more than a means to build a story around FDR when there are many more worthy, interesting stories to tell about the man. Linney is dull and gets no help from her character. Bill Murray is impressive though FDR somehow doesn't seem to get enough screen time. 5.5/10



It's an uphill battle to create a good film when it lacks tolerable characters. Save the Date features the usual bit of problems that occur during and around an engagement announcement: fear of commitment, an empty gauge on life and how it works and the uncertainty that comes with living it. The token troubled girl is played by Lizzy Caplan, who is best utilized as a sarcastic sass slinger, comes off as a whiny, uncommunicative nuisance that just can't explain her reasoning for being such a pill. She strings men along then bails when she loses any of her safety nets. Alison Brie is also badly miscast as she isn't allowed to make use of her best qualities as an actress. The usually bubbly and sexy Brie is trapped in a lifeless character; cold, unenergetic and lacking any form of personality, and most importantly, unsupportive of her sister, played by aforementioned troubled girl. As I watched, I hoped and hoped that it wouldn't reach a conclusion where everything works out. In a sense, a terrible ending would have made sense and would have been a saving grace. Instead, flaws are recognized and problems are worked out. I call nonsense. Almost all the characters are painfully stubborn individuals. Martin Starr is the most tolerable. Tells you something right there. 3.5/10



In Deep Blue Sea, the battle for balance in physical and spiritual love is a long, difficult, winding road. The most obvious alternative when neither is found is... Attempting suicide. Rachel Weisz is an exceptionally strong actress and is so once again, but if her character isn't the queen of the sad sacks, I need to meet who is. There's no big statement on love here, just an hour and a half of a woman in despair, explaining her woe. Shades of examples are expected to drive home the extent of the two types of love and how devastating the gray area of the combination of both can be, but this does no more than set-up a tedious crawl of a watch featuring people there's no connection to and thusly no sympathy for. To mix things up, random songs of sadness and wartime honor are inserted in hopes that they may just become a distraction. Along similar lines, long, extended silences are relied upon throughout to get the message of melancholy across. Both do nothing to derail from the obvious, Deep Blue Sea is freaking boring. 4/10
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