Reviews

This movie feels super forced; it feels like they just slapped elements from the last one with basically the same story. It tries so hard to copy the plots; it's like there's no originality at all. This whole series is just full of this pretentious style that comes off as really silly, not just in the plot but also in how awkward every character is portrayed. It's like a collection of all the horror movie clichés that people always complain about, and watching it feels like a drag.

I considered giving this film a 7 out of 10, but Scarlett Johansson's and Channing Tatum's good looks and killer outfits pushed it up to an 8. The supporting cast adds some diversity and fun to the mix, too. But the plot is a bit all over the place, and the pacing could be better. Additionally, more romance would've been nice too. Overall, it's not perfect, but the cast is definitely visually appealing.

Overall, this is a light and entertaining American mainstream movie. Scarlett Johansson's performance is seriously charming! My only complaint is that "Fly Me to the Moon" doesn't get featured more than expected. Honestly, I was worried it wouldn't fit in, but the director did a great job with it.

Most of the humor in this film comes from the dialogue, which is like 80% of the movie. That makes it kind of a drag to watch in theaters, and I believe it'd be better if you stream it at home. The character development is pretty generic, and the story isn't very inspiring. The "fake moon landing" idea is cool, but it takes a while to get going. The finale with the fake vs. real live broadcast is pretty intriguing, but most of the movie is kind of a bummer.

At first, Sony's promo didn't really make me think this was a mainstream comedy, but the script for this movie is both funny and well-written. The way the leads clash and work together is really interesting, but the romance is pretty boring. Maybe it would've been better without it. Scarlett Johansson, you're gorgeous, and I'll always be a fan!

I was expecting a bit of political satire, but I got a full-blown American patriotic moon landing movie. The retro and modern love stuff felt a little forced, but the story structure was solid and didn't have too many wild twists. I was thinking about giving it a 6 out of 10, but I'll pump up the score to 8 because it's kinda rare to see a well-done, albeit a bit clichéd, Hollywood commercial film these days.

This movie has a pretty long runtime, but it has some funny moments that occasionally perk you up. Overall, the plot is kind of flat. However, Scarlett Johansson is just perfect for period dramas. She really shines in this one. Her charm is off the charts, and she totally steals the show from even some of the male characters with her amazing performance.

Christopher Nolan's films consistently provide exhilaration and pleasure, while also provoking deep contemplation about the world. Where does the boundary between good and evil lie? While redistributing wealth benefits the poor, it can be disastrous for the rich. Bane is established as the central villain, yet the true antagonist is revealed unexpectedly towards the end. The film thoroughly explores the concepts of justice, the confrontation of fear, and the boundaries between life and death.

This film presents the most dramatic conflict and profound examination of human nature. The parallel narratives and storytelling are masterful, and the Joker stands out as the perfect embodiment of the shadows and fears we dare not face.

The film is truly marvelous. It might be Coppola's most exquisite depiction of theexternalizationof inner thoughts. Using the framework of a suspense film, Coppola subtly introduces two main themes: the alienation of the individual in an information crisis and the inevitable subjectivity in audiovisual reconstruction.

This is a great film about sound. The reversal of fates between the eavesdropper and the eavesdropped forms a polyphony, transforming Caul from an all-controlling overseer to a manipulated pawn. Through sound, a deception is crafted, and the delay in visuals enhances the deception's realism, vividly portraying the protagonist's inescapable anxiety and loneliness.

Few possess Cronenberg's talent for materializing abstract concepts. In "Videodrome," the media alters people's perception of reality and self. Media stimulates human senses, becoming a vessel for desires. Here, reliance shifts from dependence on other humans to the media itself. This phenomenon warrants reflection from viewers after watching the film.

The director's ideas and viewpoints are genuinely ahead of their time. The core theme of the film is that the transmission of images controls human consciousness and life and death. However, I believe the film's special effects and plot direction are too bizarre, leading to a disjointed narrative. The second half is entirely self-indulgent, with nothing but oddities.

I couldn't forget it for a long time. On one hand, the film's content is disgusting and unsettling; on the other hand, the director is truly admirable. Despite being a remake, it's more captivating, emphasizing on the horror and delivering stronger visual impact than the original, making me feel rather traumatized for a long time. Cronenberg captures the gradual dehumanization process with a complex mix of emotions. The ending evokes feelings of sympathy, fear, and disgust.

This film is absolutely stunning in its impact, assaulting the our eyes, nerves, and even our appetites. Cronenberg knows how to captivates the audiences and gradually dismantles our psychological defenses. If the protagonist had transformed into a 'Brundlefly'' quickly, the audience wouldn't be as terrified. Instead, the director takes a step-by-step approach: first there's the strange hair growth, then there's facial deformities, followed by corrosive fluid oozing from the body, and finally, a gradual transformation into the 'Brundlefly'. Interspersed with increasingly tense plot developments and eerie music, the audience is immersed in an atmosphere of fear.

The existence of twins is both cruel and fortunate. The two entities in the womb are competitors rather than symbiotes, sometimes merging into one for nutrition and growth. The female lead's three uteruses echo the triangular relationships in the film's first half. As the female character exits, the brothers' relationship becomes increasingly complex, evolving into a dual personality with a single physical existence. An intricate design indeed.

The opening is well-executed, with illustrations of ancient medical practices emerging against a gradient of black and red. Jeremy Irons plays dual roles, acting against himself without deliberately differentiating the roles through hairstyle, costume, or voice. Instead, his nuanced performances in each subtle expression distinguish the brothers, leaving the audience and characters alike confused about who is who by the end. So, who knows the truth in the end?

Any interpretation of the film seems futile. I can only marvel at the director's vivid depiction of the cold desires existing in a postmodern city. Cronenberg strives to portray a synesthetic experience, where the pain from scars is not exploited by the camera but instead evokes a sense of romance.

A film so cold it made me uncomfortable. The visuals, dialogue, and music continuously emphasize a repressive and cold emotion. Human primal desires are suppressed in an industrialized society, only to be released in various distorted ways. I understand the film's message, but I still couldn't fully immerse myself and empathize with the characters.

Being a product of its time, the film can't avoid the limitations of its era, which naturally affects the viewing experience. Interestingly, the movie doesn't focus on Batman's perspective but on the perspectives of others, offering only scant narration from Batman's viewpoint. Furthermore, the ending, which points out the main theme, is indeed groundbreaking, though it only briefly highlights it before moving towards a comical conclusion under a gothic extravaganza.