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Ferrari (2023)
A heavy slice-of-life story around racing
5 April 2024
This is a difficult movie to rate, at least in an honest, personal way. The chosen story is not a typical Hollywood story, as partly dictated by life, although it is partly told like one, and has some typical "cinematic" appeals, primarily in the car races, of course. The main tension comes from team Ferrari trying to win against the evil Maserati Team, in order to save the company from bankruptcy. This is told very well and one is genuinely invested, although here it is still very misleading to expect a straightforward Hollywood story.

The quarrels with Enzo Ferrari's wife, played by Penélope Cruz (arguably appearing younger here than the aged-up Adam Driver), come across as rather melodramatic, though I suppose there is a similarity to what the real relationship was. The casting of Adam Driver is inspired, as it makes it more likely that the audience will root for the main character. As a non-Italien speaker, I would say his artifical accent is okay, although it is clearly not perfect. No matter. Enzo Ferrari here is a good "character", in the movie sense (and not judging in a moral or other way).

It would be far off the mark to call this a fun movie. There are echoes of war experiences (primarily WWI) over the movie, aside from the wound that the loss of their son has left. The large glasses that Ferrari nearly always wears give the movie a funereal tone, I don't know if this detail was an intentional part of it, but eventually this is how it comes across.

After reading a little bit, it appears they took some freedom with one of the drivers and main side-characters joins the Ferrari team, as a nobody who turns up out of nowhere, and this seems to serve to tell his story in a little more clichéd way. There are often senses of foreboding, but the movie is at the same time pretty good at misdirecting from them or pushing them aside. Part of this is due to making one see everything strongly from Enzo Ferrari's perspective and his goals.

There are definitely strong parts in this movie, but ultimately it is almost told in a "slice of life" way, so that there won't be some grand resolution, although it ends at a fitting point. The directing in this movie is very good, although I have some issues with how hard it is tell anyone apart in the races, like literally sometimes I didn't know who the good guys or bad guys were, simply in terms of visual clues. This is good, high-quality movie making, that feels enriching later, but don't expect to feel happy from this. I want to give this something like a 6 or 7, so I'll round it up, and it deserves it to make aware of its qualities (the craftsmanship, Adam Driver as the main character, some real impact etc).
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Job done, not much wrong with it
27 March 2024
The main draw is clearly Will Ferrell and John C. Reilly as Holmes and Watson and the actors playing off each other. This mostly works and is entertaining to watch, so one can be satisfied. Will Ferrell is very good at speaking in a pretentious, pseudo-intellectual fake British way, while maintaining his overall trademark stupidity. John C. Reilly is the perfect match as the humble, fawning buddy Watson, who dreams of being fully recognised as his "Co-Detective", but can also have pompous manners in his role as a Doctor.

The humour must be called stupid, but this is true also of 75%-100% of jokes in movies which count as way better, either just relative in ratings, or as truly good. I would dare anyone to enlist all the intelligent moments and lines that made them appreciate the actors in comedies. The truth is, the humour is pretty much the standard one gets anywhere, but I would say still more successful on average and fluid than in many other comedies. Something about it feels like genuine jokes among friends, and associative but still poignant (there is never a tedious improvisional feel), although the dialogue also features some effective use of old vocabulary.

One of the main visual jokes or running gags (and as one might have hoped) is probably the imitation of the slow-mo analysis and "calculations" of actions in an inner monologue, full of diagrams and rare words, in a similar manner to Robert Downey Jr.'s Sherlock Holmes, directed by Guy Ritchie. Not all of those sequences are equally good, but they are overall fun and exactly what they needed to do, given the premise.

One of my favourite scenes is Watson trying to speak like a "real doctor" to a woman doctor. (There is nothing meaningful about it, it's just funny.) Hilarious is also one game of chess between Holmes and Watson.

Something off-putting might be the overall grime and vulgarity of the setting, e.g. When they go to the docks, and some jokes are just genuine crap (like one scene of "romance"). But that is also not a special problem, nor does it overshadow everything else. The story also isn't particularly cleverly executed and the overall structure is pure Hollywood cliché. But some scenes are praisworthy at least in looking properly historical.

I would guess that not a small part of the hate comes from two short moments of dialogue, one where UK and US government systems are compared, and there are casual references to Trump getting elected (by using the words "trumped-up", showman and business man), and one even more forced and awkward line about getting true justice. (By "a jury of white property-owners" - but one has to understand this is still just a slight self-irony, not a critique, in the context of criticizing something else as injustice.) Someone might hate them for supposedly being an attempt to make the comedy more "relevant" or satirical, while many more probably simply hate a casual shot against Trump. I personally think those lines are too casual and minor to matter overall, and they probably haven't been worked on much.

Every once in a while, a work, in any medium, gets a full blow of hate and hypocrisy, over things that are either not much different or no worse than some other, ignored nonsense elsewhere. I think this is one of those works. It delivers its "stupid humour" in a more entertaining way than many other comedies which get a pass or many laughs.
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The Beekeeper (2024)
Right-wing propaganda
13 February 2024
Warning: Spoilers
Now this is mostly mocked for how extremely dumb and silly the beekeeper metaphor and dialogue are, and Jason Statham being a literal beekeeper while actually being part of a off-the-records organization of super capable soldiers or fighters, creating order where the law fails and answering to no-one. He becomes active violently taking down scam callcenters, after an old woman he cherished took her own life after losing (charity) money to one of those scams.

The story is obviously soaked in secret organization and conspiracy thinking, and while some of it is just part of the fun or even "positive" (there is the Beekeeper, after all), it becomes increasingly serious as it spins a "Deep State" narrative, connected to the easy hook of outrage against the scam callcenters. Sentences about those scammers taking people's hard-earned money appear increasingly context-less, creating similarities to slogans against taxation. The Beekeeper himself is a libertarian vigilante power fantasy easily beating up and brutally murdering FBI and Seal Team members (actually more so than any callcenter member - an odd choice), and guess what - all that scam money ultimately it all links up to money for the president. Yep, that's right. Can you take a clue?

Why do I give this 3 stars and not 1 (as I have no hesitation to, when I want)? That is because it's crappy, as expected and probably on some level wanted. I personally don't take it seriously anyway, although I find the narrative choices to be condemned and potentially having a problematic effect on a number of brains, no matter how subtle. And of course 3 out of 10 is very bad already. But mainly it also plays and is shot in a way that's relatively competent for this kind of movie and not completely boring.
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The Witcher: Shaerrawedd (2023)
Season 3, Episode 1
Terrible, terrible garbage
1 October 2023
Warning: Spoilers
I knew in advance this episode wouldn't be good, not just because of how the second season developed over time (if one wants to be generous about the start), but also because I noticed the writer from an episode I particularly didn't like.

Some of the episode might be called serviceable, if dull and routine. There is a sort of montage beginning where Geralt, Yennefer and Ciri constantly change their hideouts trying to escape the third-rate nobody from the books that is Rience - here of course more or less the main villain - with Geralt each time for absolutely no reason leaving a huge, fat sack of coin in the hand of the new landlord for their discretion. Since they constantly move on, it's kind of wasteful, practically useless and not believable for Geralt to have stashed (partly because they established for the show that barely anybody gives a crap about monsters or hiring a Witcher).

There is also a crappy, wasteful "cameo" or fan nod in the appearance of a minor villain called the "Professor" who serves no other purpose than that and is consequently instantly disposed of. (Cheap writing.) Then the episode is also full of tiring info dumps and lore dumps delivered without any elegance and struggling to elicit any kind of feeling. Instead, as it turns out, this sets up the total boneheadedness and crude nonsense that one finds in this show. Because one of the inelegant info dumps is about the tragedy of so many elves losing their lives in an ancient battle. Everyone, Geralt, Yennefer, Ciri agrees this is very bad, Ciri even makes a little speech about it.

However later the writer contrives a way to send a hoard of elves flailing their swords at them and a couple of dwarves for absolutely no reason (but basically just because nobody can meet without flailing their swords). Then the writer and director make a point of slaughtering (or letting Geralt very deliberately slaughter) most of the elves with absolute relish and like it's the most normal thing to do at the end of an episode. And in noticeable contrast to Ciri previously being shown apparently just trying a defensive approach. (None of the elves Geralt slaughters were even trying to get to Ciri, they were just doing their own nonsense battles against a random cohort of dwarves, because again, swords flailing and all that.) And by the way, Geralt could have killed Rience in passing with his sword (instead of just breaking his arms), but instead Geralt must have thought "oh whatevs".

One imagines the writer wants to make a routine point about oh how bad it is that the elves are dying. But it is done in such an utterly idiotic and tacky way that it becomes hypocritical.
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The Witcher: Family (2021)
Season 2, Episode 8
The horrid rot of a sick show
28 September 2023
Warning: Spoilers
Even though the Witcher streaming franchise was still quite popular with most of the second season (although there were increasing dissenting voices, and many viewers are easy to impress, to be honest), it is revealing itself as a complete dumpster fire and train wreck in the last two episodes of this season. This is probably the result of ambition with terrible instinct for story quality - which probably even led to some deliberate and spiteful butchering and sabotage.

The main storyline is third- or fourth-rate fanfiction nonsense where monoliths shattering and deshattering back together again is always supposed to be some really momentous occasion. And there is a possession going on, with all the usual tugs and pulls.

They are trying to up the stakes and create drama by random and completely crude brutality, as well as oomping and wooshing sounds and completely pointless slow motions.

All the lines suck but often feel really self-important. Like, "it is not a matter of price... but of cost". Uh-huh.

They also continue their routine of displaying the witchers in general as total weaklings and cannonfodder (almost like the redshirts in old Star Trek) and cheerfully butcher pretty much all of them. What a... great idea.

It is completely impossible to feel invested in Ciri as a character here or to care for what will happen to her. Gone is also the casual interest in the unknown or the general tolerance, as the writer (and show creator here) goes out of her way to make one completely fed up with her by this point.

Since all the other characters just revolve around Ciri as plot devices, they also illicit no serious investment, even if Henry Cavill as Geralt of Rivia is still by far the most pleasant screen presence - and rare at that.

They also create a moral non-dilemma in that truly only one solution ends up being right, but instead they opt to display the other option as the only right one, while never allowing that in fact one might come to another conclusion or try to present it as a true "dilemma" (so any moral complexity is wiped out and the writer tries to take one hostage to feel a certain way). And all of this is completely unnecessary, arbitrary and pulled out of the writer's own behind, with no parallel to the source material.

Everything in this episode is completely made-up with no parallel to anything else.

If I had to guess based on the fraying last episodes of this season, I would say this show is created by someone who truly despises the Witcher, and after all there must have been a reason why Henry Cavill decided to turn away from a heart project after those two seasons.
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The Witcher: Voleth Meir (2021)
Season 2, Episode 7
Tacky, crude, callous
28 September 2023
This is the kind of episode that makes one just hate what one is watching, even it is from a franchise one believes one likes. Right from the beginning words of "Come back to bed. You have far too many clothes on" (incidentally to a character one initially definitely expected to be not cast for this), all the dialogue and behaviour is horribly clichéd. There is constant crude, shrill brutality and other hysteria, and the storyline reveals more than ever to be a million miles away from the original. One can almost feel how this must have seeped into Henry Cavill's brain to turn him away from the main role he so loved, especially with one symbolic scene towards the end... The writer and director of this have zero respect from me.
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Blue Thermal (2022)
Unbearable heroine
22 September 2023
This came on TV. What catches the attention the most, aside from the unbearably blue and hopeful, pseudo/post-Ghibli kitsch of modern anime movies, is the most unbearably sweet and positive heroine one can find anywhere, which is exacerbated by how she is supposed to be a semi-realistic character and not a completely artificial cartoon (which would trivially undermine the point).

The story is some random nonsense about flying, magically being the best at flying or engineering and having the best summer days ever (forever) and being somewhere between 17 and 21 forever. This may sound familiar if you've ever caught a glimpse of these colourful anime dramas.
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Detective Conan (1996– )
A travesty
15 April 2022
Every "Detective Conan" story is more boring and trite than a run-of-the-mill, old Sherlock Holmes movie or TV crime drama. Yet somehow the fact that this is an "anime" impresses the pretentious brains of those who would probably find the others boring too. I cannot stand the sight of it anywhere on TV or online, the lame pretense of it being "interesting" merely because it is "anime", aside from the sheer boredom of it.
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Big Nothing (2006)
Awful, meaningless, crude
30 September 2021
The title and the casting suggest that it will be a movie about a cover up of something "morally gray" or an accident, or a mix of both, that maybe then will turn into something bigger, where the protagonists deal not just with their own problems but also bigger trouble than themselves (which is indicated in the beginning).

Instead it immediately spirals out into absolute ludricousness of crosses and double-crosses and evil or sociopathy that feels random and without tension and without engagement. It is a short movie, so it is literally without transitions or development one the main "plot" has strated. Before one has gotten into the basic rhythm of the spiralling nonsense and darkness, one may wonders at first if maybe something is supposed to be a hallucination or daydreaming (like when a police officer is immediately on the spot for basically no reason), and so things keep happening, mostly without one being able to pretend in any way a moral grayness or accident or sanity to the proceedings anymore. The title is therefore a straightforward lie, I would also say a failure, as there are still suggestions (like one or two shots of the night sky or a valley) that there would be some actual meaning to it, but that is not a case. It is not a "big nothing", a big "cover-up" of any sort, it is just a straightforward, giant mess, and rather off-putting, with the characters feeling mostly personalityless.

The movie is like a soulless exercise in originality, and one gets the sense, as in the casting by default, that the characters are supposed to be quirky and memorable, which is not the case in the slightest. I would only say that Alice Eve does a slightly interesting sociopathic portrayal, in a fairly low-key, chipper way, but is still served badly by a completely artificial character. David Schwimmer is supposed to be the moral center and just visually console with his long face. Simon Pegg gets into it, but the character remains hollow like the rest of them. I am only describing them in the most basic way, trying to find their "good" points, mostly based on the fact of the casting, but the movie just leaves characters without real presence or depth.
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Best Sellers (2021)
It's very bad
23 September 2021
First of all, this is like a lot of modern movies that feel very "long" despite not a lot of content. Modern movies, not unlike streaming series seem to cover a lot of running length, merely as a matter of convention or because it's there. It's never like there is actually enough material to require so much time.

More specifically, this is a movie where the writer seems to think, because it concerns itself with a smart or "sophisticated" subject matter, it can otherwise be as routine or conventional as possible.

Michael Caine's author character is given a lot crude vulgarity in order to seem cool and deep. The other dialogue is pandering to an internet audience and often feels like a redditor or whatever trying to sound smart.

Aubrey Plaza is acting her butt off in another serious role, and it deserves acknowledgment. (I think she should be given a role where she isn't always in deep depression.) Michael Caine also does a good job at playing his role and dialogue as straight and with has much conviction as possible, which doesn't help make his character any less farcical.
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Not just boring and meaningless, bad with predetermined laser-precision
26 August 2021
Know how Loki can be beaten up by a random redneck in a store? (To be fair, a "fat" redneck, that represents strength, you see...) And here everyone and their dog can casually beat up Thanos too. Not because that is a new "rule" about him, but just because none of the writers ever give a crap. Or let's correct that, they just like to crap on everyone, except whoever they decide for their story to shine in ludicrous ways. I wonder where they get those writers or why they don't just make a rule against this nonsense. It's so easy to avoid and elevate any material... It's boring and feels utterly insignificant every single second anyway.
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Hard to see why this is loved by so many
17 August 2021
This is supposed to be very good, clearly. But that makes one wonder what is so good about it. The first episode may be written relatively well (which says more about following episodes than anything else), but it is already lacking in real plot, and there tensions build which seemingly go nowhere only to then be resolved in annoying ways or be reset to where they were (as the resolution...). The main or at least title character may be acted alright in a kind of Doctor Who way, but he seems entirely without competences or even intelligence. He is just a standard British eccentric "intellectual" (the TV kind, which is actually more childish than intellectual). For some odd reason storylines seem like 4th or 5th rate horror. I would maintain that is actually the reason for the popularity, even though that 5th rate horror is more in terms of vibe than actual content, because as mentioned there is a lack of plot or anything happening. Another odd aspect is that the show is unpleasant to look at. They use a washed-out filter for no reason, which just gives everything an unpleasant, cold, washed-out look for no reason, which further seems to translate to the perception of the lack of content. And as hinted, the show follows the standard pattern of: first episode is written rather neatly, second episode for some reason is given to the worst hack they could find. What is that all about? It's usually like that. Maybe people actually love it that way...
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War Dogs (2016)
That girlfriend's mother is impatiently looking at her watch
8 August 2021
Warning: Spoilers
I was wavering about how I felt about this movie for a while throughout. It only got on my watchlist because one of the writers wrote the modern "cult classic" Lucky Number Slevin, and I was just curious to see more of his potential. It's good that he is not the main writer on this, because the writing is mostly veeeeery mediocre. I was briefly interested when they went on their trip to Iraq. After that it got back to average again and one scene in particular settled how I felt about this movie.

Our protagonist's hot girlfriend (with baby) suddenly decided to "move to her mother for a while", because he lied to her - not about the selling weapons business, which she had known for a long time, but about the dangerous travel to Iraq early on when she didn't know yet. (Unsurprisingly this is not the first thing he had told her, when he kept the nature of the business secert at first.) Not only is this rather silly and dramatically unconvincing (or not really dramatic), but a clichéd as heck character, dialogue and behaviour.

I think some shady, try-hard cool "hero's" hot girlfirend "moving to her mother for a while" says everything about a movie. Mediocre, I shouldn't have bothered just because one of the writers on the list.
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They did it
12 July 2021
Firstly, this movie is very boring, which is almost an achievement, however one that deserves extra punishment, given the ingredients. Or maybe it just shows inherent flaws of the ingredients. That is a bigger discussion that is not worth getting into now and one can ignore to evaluate this movie.

Again, it is as boring as these things get, almost like an old TV episode, whatever the reasons are in detail. It is very stretched, with poor pacing and subplots, for one. It also contains everything one finds annoying about these things even one is trying to like them, like wobbly, annoying powerscaling that is inconsistent according to plot demands or to give a more important character, that previously was shown as quite weak, an edge over a less important character, that previously was shown to be very strong (and is not even a bad guy), and so on.

It contains a lot of cruelty that is automatically supposed to be a big plus. I don't know and don't even really care about that, but as part of that they make the storytelling very moody, and of all things give a certain "Damian Wayne" which apparently is a Robin character from Teen Titans a leading role as a moody, annoying brat, and we are supposed to believe (explicitly told several times by one character) that he is very cool and likeable... It is simply the worst character I can even remember, and giving him a lead role is obviously a mistake.

So, for trivial, avoidable, but very real reasons, and because it is boring, it just is not any good or recommendable whatsoever, except as that boring movie that is (perhaps unexpectedly) too uninteresting to watch in full.
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Not so great
25 May 2021
This is boring, trite, quotidian, which of course are established modes of pretentiousness no-one normally can see through. However there are even more trivial reasons for why this is crazy popular and approved, just as there usually are.

First of all, there are random, pointless cat-hating remarks by one character in the first couple of minutes. While anything "cat"-related tends to be popular, this is even more so the case for cat-hating stuff, which even the catlovers usually think is just "funnay" and are boosting, not seeing through how it harms the image of what they purport to love... Anyway, this is of the same order of triviality (I admit, but still relevant both for viewers and even the writers) as what made "The Queen's Gambit" popular, though the first episode is as boring and uninteresting as one owuld expect and as it gets. But in that, there is an annoying, unlikeable character, which happens to be black, which gives everyone comfy anti-PC vibes (and of pro any lower psychological impulses), which instantly makes them think is very special. This is of course not really relevant in any way, however still determines some subconscious, automatic approval.

The second reason why this is mindlessly approved of, although it's nothing special is the name. "Mare" sounds kind of like "mayor", but is not. What's more, "mare" is itself kind of like a joke-name. This double-joke makes people think it is very clever... Although it doesn't get more trivial, of course. It's as simple as that. While this might deserve some critical approval, just as the Queen's Gambit, they remain actually rather boring and uninteresting, and the reason for their crazy popularity are as simple as the aforementioned reasons.
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Not a good movie
20 March 2021
And so the curtain falls on the world's stage, and with it, Agent Cody Banks 2, a film that like all other human inventions will one day cease to be governed by the laws of man, it will be left to the entropy of the universe. Until then, we patiently wait for the moment where someone watches Cody Banks 2, unbeknownst to themselves, for the last time. And that moment could very well have already happened.
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Black Bear (I) (2020)
Insufferable waste of time
30 January 2021
This is a movie that shouldn't exist. It is full of boredom and annoying things which one is supposed to excuse or even celebrate because of... reasons. Indie movie reasons. There is not a minute where it isn't either boring or annoying or both. There are two "parts" which are similar but with sort of reversed roles (we are supposed to figure out how and why) and which are just a steady, boring rise towards pointless, annoying hysteria one can't care about.
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The Stand (2020–2021)
Stephen King adaptation up to or above par
31 December 2020
I don't like Stephen King, I think he's not that good, but usually his modern TV adaptations are hugely hyped. This one isn't, although it's pretty much on the same level as these things go. I would give it a worse rating than I do, but think this wouldn't be fair, since the way the modern internet works, this one just has such an abysmal rating relative to the other things right now, because it has Whoopi Goldberg in it... As simple as that, one can observe this principle of rating in a few other things where a casting or subject matter just pisses off some rabid hoards. They might partly even go on to justify it other ways, but that's where it starts, mostly.
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Truth Seekers (2020)
Storyline is awful, uninteresting, unscary
31 October 2020
This could be an easy, almost automatic win and in parts it almost feels like nothing is wrong. The ever sympathetic Nick Frost being a ghost hunter or paranormal investigator, with some slightly comedic dialogue and a nice, slow pacing that encourages immersion. (Simon Pegg also appears, however he looks weird and dosn't leave an impact for whatever reason.) The main problem doesn't lie in the comedy not being actually funny (this is remedied somewhat by a relatively naturalistic feeling), but in the chosen storylines being complete nonsense that could not possibly interest anyone and or be explained by anyon (not because it's "supernatural" but completely arbitrary and boring) and that is never scary the slightest bit, so little that it's unclear it's even supposed to be (aside from the ambient soundtrack), although then there would be no point in the concept either. I am giving 6 out 10 because I don't hate it and want to commend it for putting Nick Frost in a role which sounds fun in theory...
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The Old Guard (2020)
Recommended, but I don't like it
25 July 2020
In principle this is commendably well-done, well-produced, written and so on. However in some respects it tries too hard, and in ways which are annoying in order to be "deep". When things are annoying, one knows it's supposed to be drama and meaningful etc... However probably the worst part I actually found Charlize Theron releasing one of the most annoyingly weird and extreme screams at one point, which I just can't let go.
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I'll Be Gone in the Dark (2020–2021)
Worth watching, but narrator-writer can be tiring
18 July 2020
In some ways it feels beside the point to rate something like this. And the documentary parts are certainly very good. However I will say the narration done by the amateur investigator who supposedly brought (will bring?) the case to some results, and self-described "writer", is pretty weak and tiring to listen to, and I especially don't care for the slightly self-indulgent-feeling bits of her personal life that have nothing to do with the case and are in no way necessary by episode 3, but still appearing.
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Derailed (2016)
Completely useless mess
19 May 2020
If you want to watch this movie as part of the still relatively small catalogue of the slightly trending actor Dong-seok Ma (often playing a charismatic tough guy), you are likely to be disappointed and very bored. The movie is mostly about personality-less and rather pathetic teenagers (though I suppose they are partly supposed to be 20, or "college-age"), whereas Dong-seok Ma plays an unsympathetic tough guy, pressuring them into work and this and that. Completely uninteresting, without any likeable characters or actors (the movie made me realize how utterly personality-less teenagers are), slightly hypocritical advertising (see the movie poster).
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Unstoppable (2018)
Pretty babbly, boringly told
17 May 2020
Like most of these tough South Korean (or other) revenge thrillers, the movie tries to have a pretty cool or sophisticated look. However unfortunately the story is not very captivating and it is boringly told, it is also pretty babbly, apparently trying to establish some sort of relatable themes, however this doesn't work. Aside from that there is also a lot of emptiness. One can say however that the bad guys are convincing psychos and that they come across as truly "bad" without needing much melodrama.
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Justified (2010–2015)
Have you heard of "TV"?
17 May 2020
This is basically the modern version of what Tarantino parodies as "Bounty Law" in Once Upon a Time in Hollywood (although frankly still a little more boring than that). Very routined episode format, humble production standards, some soapy efforts at writing and thematic treatment... It's TV.
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Gangs of London (2020– )
Casual burning alive right in the beginning
14 May 2020
I don't tolerate this kind of shi-. For example, for this reason I've instantly abandoned the Hanna series, which seemed not as good as the movie anyway. Now I've been really looking forward to this show because it's the new project by the director of The Raid 1+2, two truly excellent (=basically no competition) martial arts/action movies. But stuff like that, or this in particular (not much else like it), gets from me a big penalty in rating or een wanting to watch any more of it. I suppose this is directly related to how much I don't tolerate the practice in general and it is one of my big historical pet-peeves, also how "casual" people are about this kind of (unimaginably bad) stuff.

As it turns out, over the rest of the episode, the directing is pretty decent in action sequences, but it is otherwise pretty boring. The dialogue sounds like "Murp, murp, Brexit... Murp, murp, Fish'n'Chips", as expected from Brits.
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