There's no real story there, and a disappointing lack of twists and turns. But Elswit's framing and Giacchinos music make it work anyway.
Somehow, Spielberg managed to make one of his worst films with material that should have made it one if his best.
It may feel less important than «Hunger», but «Shame« is exactly the opposite. Once again crafting a film that is both a work of art and a sublime portrayal of desperation, McQueen builds a crescendo of a film that slowly reveals its' emotional powers and resonance. Fassbinder is superb, but Mulligan is equally good and it a better world they would both walk away with golden statues. Hélas, they will not.
Quirky and at hard times to follow, but this is nevertheless solid entertainment with good ambitions in the visual departments. And it's refreshing to see how far Hollywood dares to take the relationship between Sherlock and Watson.
Another okay, self-indulgent Marvel producion that fails to create any interest beyond its' running time. What happen to mystery, fascination and the respect for the source material?
Payne is an okay storyteller, he's good with actors and overall he manages to express some emotions. But there's just not much more to say. As with "Sideways", this film is shallow and tidious with not the slightest hint of anything original. Actress Shailene Woodley is the best thing in it.. Being a director with such a strong interest in film and its' history, it's surprising that his films end up being so bland.
Close to a masterpiece and a film that feels fresh and original in a way I haven't felt for ages. But it lacks a true final act, which in the end doesn't reward the investment we've put in the main character. That being said, the film is at times utter genius and a highly emotional ride into unknown territory.
Far from a masterpiece, but overall a well-made and involving nostalgia trip that should have been better. The script is uneven, the characters underdeveloped and the visuals often outdo the action taking place.
Eastwood is not a great director. His films are well produced, but overacted and self-indulgent productions that rarely provides anything else but the experience of a tv-film made on a bigger budget. And «J. Edgar» is no exception with DiCaprio trying way to hard (as usual) and all supporting characters struggling with lack of lack of meaty scenes, bad make-up etc etc etc. A few good scenes aside, the film is a bore.
An iriguing and well acted chamber piece that falls flat in the last act. A sharper script could have made this into something really unique. Instead «Margin Call» ends up being just interesting, never great. Kevin Spacey is good though and you can see Demi Moore is aching to prove she still has the talent behind that botoxed face.
Anna Faris' comic talent makes this both entertaining and charming, elevating a cliched story that doesn't do much to the worn-out romantic comedy genre. Chris Evans looks great naked, and that's pretty much it. Go Faris! And please someone; give her a really good script next time!
Entertaining in an old-fashioned way, «Real Steel» is inspired and clever, but it has nothing to do with Hugh Jackman. Once again, he has nothing to show except rugged looks and huge biceps. The real star is that kid, the animatronics and a director who knows how to throw a good punch.
Johnny Depp spent years trying to get this one made, but the result is so deprived of energy, vitality and quite frankly; talent, that it's probably both the biggest disappointment of the year and the final sign of Depp's carreer fatigue. What a terrible, terrible movie!
Uneven, overtold, overproduced and self-indulgent - british periode drama has rarely been done with less subtlety. But the biggest problem is Roland Emmerich's shameful attempt at trying to make it all intellectual, leaving me with a bad taste in my mouth all together.
Easily one of the best films of 2011, «Martha....» is a film that succeeds in everything it's trying to achieve. Creepy from the first frame, director Sean Durkin manages to keep you nailed to your seat throughout the film despite pacing the film at a speed that would make it boring in less confident hands. Impeccably cast on all levels and with sublime cinematography and smart editing.
A great start promises a tongue-in-cheek extravaganza and lots of gore, but in the end we are left with just gore. The visuals are dazzling, the creature design both creepy and frightening, but director Alexandre Aja quickly trades both the initial premises and the suspense for a flat and uninspired second act. The final showdown between dumb teenagers and clever fish is great though.
Ami Canaan Mann may know how to operate a camera, but it doesn't help when she's working with a script that is half-finished and poorly executed. The premise is great, the cast even better, but the result is a film that I really wanted to like - and to some extent loved, but overall come across as a television movie with a-list stars. A shame, really.
Don't let the critics fool you - «Ides of March» is nothing but a feature length episode of whatever good television series HBO gives us these days. The writing is both flawed and banal, the acting one-dimensional and Clooney's direction lacks both visual punch and emotional resonnance. Evan Rachel Wood is the best thing in the film, and steals every scene she's in.
A well balanced act of sweetness and sadness, beautiful acting and focused direction make «50/50» one of the best indies of 2011. The film's only distraction is Seth Rogen who is good, but that fuck&drink routine is getting old. And I wish there was more screen time for Angelica Houston and less soft focus in the framing of always-gorgeous Anna Kendrick.
I never really cared for Michael Shannon, and «Take Shelter» only makes matters worse. His face stays the same throughout the film, despite director Jeff Nichols desperate efforts to tell us a story on how the character he's portraying goes through a very personal drama. In the end you just don't care. Add to that very uneven visuals and a lack of structure in the script. Jessica Chastain is great, though!
Probably the best American film of 2011.
Truly one of the best films of the year.
What a wonderful, wonderful actress!
Sometimes a good melodrama is all you need, and «The Help» is just that. Yes, its' approach to the racial themes may be naive, but in the end there is a lesson here nonetheless. Plus the cast is superb, fronted by Viola Davis in what is the strongest Oscar contender so far this year. Octavia Spencer is wonderful too, but it is Jessica Chastain that (again) steals the supporting show. A great film with lots to offer.
It's not a great film, but it is certainly a good film. The Berlin section is wonderful, with Jessica Chastain again proving she's the one to watch right now. Madden's directing is more even and sharper then most of his previous films, and it's only towards the end that he looses the great momentum and rhytm that he achieves with the rest of the film. Newman's score is great, so is Davies' cinematography!
Nothing is better than a franchise that knows its' audience. Goofy and with lots of irony and punch, «Scream 4» is a surprisingly good film. It's never scary, but that was never really the point anyway. Go Wes!
Far from the sophisticated thriller we were promised, the experience of watching Morten Tyldum's «Headhunters» is more like watching a television drama from the 90's or any action comedy produced in the same period. There are elements of brilliance, but a very uneven script and uninspired visuals fail to create atmosphere and character.
Paraphrasing Spielberg seemed like a good idea when that trailer hit us, but JJ Abrams is nowhere near his idol. «Super 8» kicks off with a wonderful first act, but quickly looses both momentum and perspective. HIs biggest mistake is dividing the point of view between multiple characters, instead of staying with his well cast and engaging youngsters. Spielberg would have known better. A good, but far from great film.
Rarely has Hollywood given so much faith to development and story. The reward is one of the best franchise opener in a very long time. Wyatt's directing is precise and clever with pacing and editing elevating a good script. The vfx work is some of the best in history and Cesar is the perfect lead. Shallow human characters doesn't affect the overall feeling of a sensational reboot of a promising franchise.
Witty and wonderful with a great cast and Judd Apatow's firm grip on the script - »Bridesmaids» is a real treat, and probably the comedy of the year.
