It worked to great effect in The Raid; Redemption, which really makes everything else pale in comparison.
Ya mean this isn't a sequel to Attack Force Z ?!?
Fails on two related fronts--remaking Superman into Batman and remaking Snyder into Christopher Nolan. And damned if they didn't make Krypton the ugliest advanced civilization you ever saw.
Not bad, and deftly enough directed, but not Hawks-y or Lubitsch-y enough to keep from taking on water.
Its biggest sin is that it's oddly joyless in its homage.
Fung is still stronger graphically than he is narratively, no doubt, but this is kind of, as they used to say, a hoot.
Vidor's final feature . . . streaming on Netflix in the U.S. until 5/1.
"Vidor’s long career, which began with short films made in his native Texas in the 1910s, intertwines two principal strands. He was a sociologist (and marginal socialist) who documented American economic malaise both before (“The Crowd,” 1928; “Hallelujah!,” 1929) and after (“Street Scene,” 1931; “Our Daily Bread,” 1934) the great stock market crash. He was also a moody romanticist whose work remains startlingly frank in its treatment of passionate sexual attraction (“Stella Dallas,” 1937; “H. M. Pulham, Esq.,” 1941; “Duel in the Sun,” 1947). His best films, like “The Fountainhead” (1949), combine sociology and sexuality into hormone-charged fables in which rampant capitalism and an irrepressible life force come together, a combination most recently explored in Paul Thomas Anderson’s Vidoresque “There Will Be Blood.” " ---Dave Kehr
Pink Floyd: London 66/67?
Intimations of _La Nouvelle Vague_ . . . about 25 years too early.
Yeay, Outskirts is available to watch.
Fine work on Siegel's part, and a pretty good late iteration of the Eastwood '60s Western persona before Eastwood started tinkering with it within the confines of his own directorial career. Still, MacLaine is horribly miscast, and it's hard not to construct a fantasy version of the film as Boetticher intended it alongside the actual in your mind as you watch.
Thanks for adding this to the db, Mubi!
Disney, before they figured out the whole 21st century thing.
It's minor Sillitoe, and Becker's neutral realism lacks the bite of Reisz's *Saturday Night and Sunday Morning* and Richardson's *The Loneliness of the Long Distance Runner*. Still it manages, albeit somewhat clumsily to get somewhere pretty moving . . . then unfortunately it stumbles on for another ten minutes getting back out to an suitable ending spot in the awkward framing story.
Not THAT bad. Lightly likable, with Baldwin doing the "I'm not quite really here but can comment on what's going on" thing he does for those Capital One commercials and Allen playing himself as that parody of him they do on "The Simpsons." Eisenberg is underwhelming as the Woody surrogate, though.
Travis seems to be aiming somewhere between Danny Boyle and the late Tony Scott. What's with all these action films were it just someone fighting his/her way up to the top floor of a highrise lately?
Nowhere nearly as good as *Nightwatch*, in case you're wondering, but it's at least a well-directed bad film.
An interesting idea executed relatively poorly. The zombies are a metaphor, but since there's little visceral impact (either literally or figuratively, the metaphor doesn't mean much.
Noooobody wants to play with a Ryan-in-the-box! : (