Reviews

Obviously the director only focused on the visual aspect.

Apart from the thrilling chip heist, which matches the quality of the first film, the rest of the narrative is tedious. Many things are unexplained, and the chaotic storytelling diminish the film’s overall impact.

Harriet Tubman’s bravery is indisputable, and the film successfully conveys her monumental efforts for the abolition of slavery. However, the decision to depict her as a near-mythical figure with the ability to foresee the future undermines the film’s harsh realism, turning an inspirational tale into an overly dramatized one.

The documentary flirts with deeper themes like the commercialization of sports and the audience’s role in this spectacle. However, its release just days before Jake Paul’s match against Nate Diaz feels like nothing more than a marketing stunt. While Jake Paul may be a cultural phenomenon, this series deserves better subjects to explore.

I don't think you'll ever fully accept how everything between people is just a series of coincidences. Maybe Guy Ritchie is trying to say that all these coincidences actually have some sort of connection. The key to these moments is the inevitable relationships between people, shaping everything that happens.

The best coming of age film

This is a gangster movie, but it also shows a powerful father-son relationship. Even in the underworld, even as someone who kills without hesitation, the father still holds deep concerns and expectations for his son. The scene at the end, where Michael shoots for his son, is powerful.

Oliver Stone takes nearly two and a half hours to destroy a innocent soul. The film’s cruelty, emotional impact, and immersive storytelling surpass even Platoon, offering a powerful depiction of how Catholicism and patriotism can brainwash individuals. When a country urges its citizens to sacrifice themselves, it no longer deserves to be loved.

The story feels lifeless, offering a dull retelling of known facts with no gripping moments. The characters are poorly developed, leaving us questioning Patrizia’s true intentions. It’s clear the screenwriters didn’t fully grasp the complexity of her character.

While not groundbreaking, this is a standout within the romantic comedy genre. It avoids the usual plot holes and delivers a polished, heartfelt story. The cast shines, and the scene where Rachel confronts Eleanor is genuinely moving.

5

feel that this is almost a frontier realism topic from more than ten or twenty years ago. No matter how good the performance and editing rhythm are, they can't make this reality have an aesthetic rise.

missed the last 15 minutes because I was in a hurry for next screening in another cinema. I heard it was a big drama. I was curious and wanted to catch up.

The world of women in this movie feels too perfect. They trust, tolerate, and help each other. All the lies and misunderstandings are resolved gradually and naturally, without any awkwardness. Only in movies can such a world exists.

This movie is dark humor mixed with magical realism. It takes a deconstructive approach, presenting the harsh reality of people hurting and eating each other, but with humor. The chaotic vibe is totally captivating, and the quirky residents of the building are absolutely fascinating.

The director effectively manages both large scenes and intricate details. The film's color tone is also visually appealing, resembling an oil painting. While some mention that the beginning requires patience, as it can be challenging to understand the characters' relationships, I believe a good movie is worth taking the time to appreciate.

It’s wonderful that there are so many filmmakers in the world who are full of childlike wonder. While this film can't quite match the director's classic Amélie, it still has many outstanding details and beautiful, fairy-tale-like visuals. But… why isn’t the dialogue in French?

Self-esteem crushed by social assistance, marginalized people discarded by society, humanity degraded by institutional rules, and ordinary individuals victimized by capitalism—the helplessness embedded in this passive voice sharply contrasts with the strong, active declaration in the film's title, I, Daniel Blake. It highlights the powerlessness experienced by people caught in a system that marginalizes them.

Every time I watch a Pedro Almodóvar movie, I’m reminded that he is a great storyteller.

Love waits for no one. If you don’t get on with it now, you might never have another chance.