Reviews

The screenplay is actually really good. It kind of reminds me of Trainwreck—it's adapted from a stand-up comedian’s own experiences, with a lot of sarcastic dialogue and a story about searching for love. But the biggest problem is, I never really saw any love for the female lead in his performance—he always comes off as indifferent. Sure, his nonchalance can be funny in a comedy, but in a romance, it just doesn't work.

The film's story is much deeper than I expected—it really surprised me. The two elderly characters are bound by fate, constantly entangled and hurting each other, both cold and heartless. The narrative doesn’t have many twists; it just drives home that old saying: it’s not that the elderly turn bad, but that the bad simply get old.

The inclusion of the World War II and sexual assault backstory in the film feels a bit forced. Honestly, I'd have preferred a professional showdown between two con artists.

This is the best biopic I've seen this year. It exposes another side of the American Dream—about someone who just wants to be loved by everyone but ends up being hated and even turned into a worldwide joke. As contradictory as it may sound, it’s not satire; it’s completely real. The harsh truth is that life has a way of messing with you.

In the female lead’s story, society's idea of the American Dream ends up ruining her life. Every aspect of the film is top-notch—especially the editing and the script. But the overall message feels really muddled to me. I'm not quite sure if the director is saying that a troubled childhood destroyed her, that her own personality flaws did her in, or that it's the unspoken rules and prejudices in the sports world. It's all a bit unclear.

This type of film might be unremarkable as a cinematic work, but what they capture holds a meaning that goes far beyond the screen. To really appreciate them, you have to connect with them through your own experiences. Sometimes, just a scene of driving down a lush, overgrown road is enough to make you fall in love with a movie. I got that same feeling when I watched Boyhood.

The plot isn’t anything groundbreaking—it's like the creators didn’t really know how to wrap it up. Even as a straightforward romantic comedy, it feels way too bland. But none of that really matters. What does matter is that I've seen Ethan Hawke's movies from the '90s and two decades later—he might have a dad bod now, but I still think he's incredibly handsome.

This film is both a love lesson for a shy, obsessive-compulsive individual and a story of a prophet. The problem is, in the second half, you can completely predict how the characters' fates and relationships will unfold—there's just no surprise twist.

I once heard that one spring day, the director was out walking, soaking in the fresh air, when she suddenly felt that maybe a passerby was experiencing the same emotions and thoughts as she was. Inspired by that moment, she finished the script in just two weeks. She's always made her movies this way—starting with a feeling and then building a story around it. As a woman, I really appreciate the female perspective behind the camera.

After watching the film, here’s hoping the director’s next project will be Roasted: A Christmas Massacre by Killer Turkeys.

I’m all for this quirky monster concept, but the script and atmosphere need sharper focus. A Cthulhu-style tentacled creature on a Halloween pumpkin feels more comical than creepy. Overall, it’s just a standard, run-of-the-mill holiday movie.

From start to finish, it feels like a typical Western religious melodrama—until the final act reveals that it’s actually a biopic. Through persistent prayer, this family rises to the pinnacle of life.

It’s much better than I expected. Beyond faith, it's the family that truly kept them going. The mother is a strong role model, and the parents’ stable bond feels ideal. I can’t imagine how much trauma other kids would endure facing the same experiences without role models like them.

The ending is purely a happy ending with no hidden truths. I can’t fathom how Lina falls for such a scoundrel. This should have been a tragic tale of a woman destroyed by love, not a sugar-coated romance.

The script is odd with plenty of plot holes. Cary Grant’s character is a greedy sleaze—cleared of murder and walking off with the girl and a happy ending. If he really planned to kill her, it misses Alfred Hitchcock’s trademark twist to make it compelling.

In 1953, Henri-Georges Clouzot cemented his mastery with The Wages of Fear, rivaling Hitchcock. This 1977 remake not only replicates the plot and tension balance but also adds grander scenes and contemporary themes made possible by advances in filmmaking, turning it into a major commercial blockbuster.

Overall, I appreciate this remake, but I have a few quibbles: the director gets so caught up in the scenes of the truck crossing the swinging rope bridge that he seems to forget the most crucial plot point—there’s highly volatile nitroglycerin in that truck!

Brilliant! Most filmmakers satirize reality through realism, but Luis Buñuel uses surrealism to lampoon it—his approach is more indirect in form, yet the critique lands even harder.

I couldn’t catch every detail, but it’s truly enjoyable to watch. Between banquets and bizarre dreams, Luis Buñuel’s storytelling style is a real treat.

As an avant-garde experiment, it’s beyond reproach. But with its agitprop essence, it desperately needs an objective eye. The subject matter is so heavily biased, the characters feel like stereotypes. If Eisenstein had tackled a non-ideological noir, he’d have truly excelled.