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The Beast shows Samuel L. Jackson doing what he does best: carrying a film and keeping you captivated. Much of the story takes place inside a car as Jackson and a security team member try to survive. You might expect that limited setting to become boring, but the movie keeps the tension alive.
A radical group has spread across the world, killing world leaders and throwing everything into chaos. Jackson plays the president of the United States, fighting to stay alive while trying to reach his family and represent his country. The story balances the danger with the responsibility on his shoulders, giving the journey real urgency.
Overall, the film does an incredible job with what it has. Even though so much takes place inside a car, it keeps you focused and delivers the action and suspense needed to make the story work. Samuel L. Jackson gives the movie a strong center, and the confined setting never stops it from holding your attention. I definitely recommend watching The Beast.
Final Destination is a really good horror movie with a very strong concept revolving around the tragic inevitability of death. The focus on premonitions and a steady stream of supposed accidents frees this from the baggage that similar horror films often have and it's satisfying to see all of it played in a straight faced manner where the characters accept the reality of the situation without making too many annoying jokes.
Devon Sawa is great in the lead role. He's pained by the knowledge he carries and is the ideal protagonist for this thanks to his ability to communicate his character's resourcefulness, which almost makes up for some of the other characters' colossal stupidity. Ali Larter, Kerr Smith and Seann William Scott round out a generally solid cast. Tony Todd only has one scene but his sinister screen presence ensures it leaves a lasting impression.
James Wong's direction makes up for a lack of scares (although there is one killer jump scare) with a collection of large scale set pieces that revel in setting everything up and then taking its time to let all the dominoes fall into place in a bloody fashion. There's enough of these set pieces interspersed at the right time throughout to comfortably sustain this. Composer Shirley Walker brings a fittingly bombastic and eerie score.
I have just finished watching HOMP and I was rather disappointed. I have read the book several times. The movie is faithful to the book in some respects (some of the dialog is verbatim) but I think if you haven't read the book you miss much of the meaning of the dialog in the movie. It's almost like getting a summary of the book rather than a dramatization. One of the things that was a major change was the romantic relationship between Polly and the owner of the Potwell Inn. Maybe I expected too much from an hour and a half movie. I did enjoy it though and thought the acting was well done. I am looking forward to seeing the John Mills version.
It's a lot, non stop demon! Ended great! Was roller coaster fun, just kept hitting you with curves. It's not serious horror, like Insidious or The Conjuring, it's fun horror! The story is a little mundane, but enough to keep you interested. They seemed to borrow some scenes from other horror, had a shot straight out of The Ring, but got everybody talking after the flick.
I just saw this recently, and found it interesting that the details of the case in it follow quite closely those of the controversial execution of Karla Faye Tucker Brown. Karla committed a double murder much like that portrayed in the film, and, like the film's Cindy Liggett, reformed her life in prison. Also like Liggett, she was a fairly attractive, articulate woman who argued eloquently, though futilely, for clemency. Unlike Liggett, however, Karla became a born-again Christian, and her clemency plea was supported by several prominent pastors including Jerry Falwell and Pat Robertson. It is thus notable that the governor who signed her death warrant was none other than our current, allegedly born-again President, George W. Bush. It is possible that nothing in Bush's checkered career reveals his true character more clearly than his callous, smirking mockery of Karla's dignified plea for her life during an interview with Talk Magazine the year after her execution.
Incidentally, Karla Faye Tucker Brown was killed by the state of Texas in 1998, two years after this film came out. That suggests that the filmmakers might have been trying to to make an argument for clemency, as Errol Morris did for Randall Adams with his documentary "The Thin Blue Line." If so, it failed miserably.
Old enough to be considered a classic. This is how the National Lampoon/SNL movies should work but rarely have. Snapshot of a few days at exclusive country club follows several divergent story lines leading to climatic golf match. Chevy's flaky Ty Webb and Murray's degenerate groundskeeper are unforgettable characters among a bevy of memorable parts. Followed eight years later by a sequel as utterly bad as this is good
The other actors are so bad and the story is ridiculous. His daughter is played by a good actor but that's it. A waste of time. The budget was obviously very low which created a movie that was doomed before it got started. Do not waste yor time and money. It has to be because Aaron needed money because 10 years ago he would have never taken this role.
🚅"red light, green light" 🚁💥
For those who have not seen the original Mission Impossible, it is a real shame. While the other flicks offer plenty of explosions and cool action sequences, the original remains the best for it's interesting plot twists, some decent acting, and a well developed element of suspense that's lacking in the later pictures.
To reveal any of the plot would be a disservice: it certainly has some pretty interesting occurrences that should be seen for full effect. What really makes this great though is De Palma's direction. Unlike the later flicks, key scenes are drawn out: there is a real Spense of suspense that is rarely achieved. Three key action scenes come to mind, and there all extremely cool: it's just a shame that Criuse couldn't enlist the services of more experienced director's later in the franchise.
This has to be one of Steve Martin's worst movies, and the main reason is that he's working from a hackneyed script created by Neil Simon, along with a couple of TV sitcom writers. The whole thing seems like it came out of a meeting where a staff of writers for a variety show were trying to come up with funny situations involving Lonely Guys. Some of the situations would have worked nicely as a blackout on a TV show, but in a feature film they just seem like unconnected building blocks.
The script doesn't play to Martin's strengths (wacky physical humor or surrealistic verbal humor), so he's playing a role that any bland actor - picture someone like Tony Roberts - could have done almost as well. Charles Grodin is merely an annoyance as the one-dimensional geeky lonely guy, and the main female characters are also static and uninteresting.
Even Jerry Goldsmith, who has beefed up many a marginal movie with a good score, goes vanilla here and gives us a bunch of goopy 80s cues, sounding like Dave Grusin on Prozac. The vocal numbers are horrendous, especially the screeching opening credit song by America, featuring a bad 80s drum machine/synth track. If you want a better early Steve Martin film, pick either the one BEFORE this ("Man with two Brains") or the one AFTER ("All of Me"), both of which are much better suited to his personality.
This movie was ok. I liked the series also. The toddlers have a bit of an accident and end up in the forest, where a big bad wolf is. So...their parents go to rescue the tots. It's ok for a kids movie but the plot is really weak. Still, it's an entertaining movie to watch but I wouldn't go and rent it. And despite going for just 79 minutes it's an animated movie so maybe thats an excuse for it and movies like it in the genre.
This is one the funniest movies of the 1990's. Filled with a star studded lineup of actors that includes a lot of cameo's. Loved the performances by Jenifer lewis, Tim Curry, whoopi Goldberg and Dolly Parton. The music was fantastic and the way it's told by Tim Curry is brilliant. Timothy Treakle...
I have seen "Joyful Noise" just once, and I found it a very entertaining, church-related film with beautiful music. Needless to say, I should see it again to see how the subplots are woven together as some reviewers criticized the film for its "unrelated" subplots.
I can understand the conflict between Vi Rose and G. G. Sparrow and their competitive attitude toward directing the choir. Ms. Rose has her own family hardships and disappointments she is trying to overcome, and Mrs. Sparrow is still mourning the death of her husband, portrayed by Kris Kristofferson. The husband was in the midst of working with the choir when he died, leaving Mrs. Sparrow to believe his work on earth was left unfinished.. To me it is understandable that Mrs. Sparrow would want to take over as director and complete his earthly goals.
My favorite scene is that of Mrs. Sparrow singing "From Here to the Moon and Back" as her late husband (as a ghost or a memory) approaches their house one dark night and they have one last waltz together under the stars and the moonlight. I believe this song is the most beautiful one Ms. Parton ever wrote, and I find the lyrics unmatched in expressing the memories and thoughts of a lost love. The words and rhyme scheme are much more varied than the usual song-writing formula that features a good deal of repetition, and I am sure it is difficult for any vocalist to memorize the words and the order of the verses. As one might expect, it is a song I plan to study and practice again and again.
As my own tribute to Ms. Parton and her contribution to American music, I plan to view "Joyful Noise" again and again.
Cregger captures what actually makes the games work: terrifying encounters, grotesque monsters and the constant struggle to survive. Throw in an utterly unprepared protagonist and some brilliantly inappropriate humour, and this might be the franchise’s best.
Heart of the Beast is not simply a survival movie. It is a story about two wounded souls trying to find their way home.
Brad Pitt gives the film its emotional center as James Belmont, a former Special Forces officer carrying the scars of a past he cannot simply leave behind. But the real heart of the story belongs to the extraordinary bond between James and Odin, his loyal combat dog. In the middle of Alaska's unforgiving wilderness, their journey becomes something much deeper than a fight against nature.
David Ayer understands how to turn physical survival into emotional survival. The cold, the isolation, the silence and the enormous landscapes become part of James's inner battle. There is action, danger and brutality, but beneath it all lies a surprisingly human story about loyalty, trauma, friendship and redemption.
Brad Pitt is excellent because he doesn't try to overplay the character. He allows James's pain to live in the silence, in his eyes and in the way he interacts with Odin. And Odin is not simply a "movie dog" - he becomes James's companion, protector and perhaps the one reason he keeps moving forward.
Heart of the Beast may look like a wilderness survival thriller, but its real subject is the will to keep going when everything inside you tells you to stop.
Beautifully shot, emotionally grounded and carried by the extraordinary chemistry between Pitt and his canine co-star, this is the kind of adventure film that stays with you after the credits.
Sometimes survival means finding the strength to come home. Sometimes home is the one who walks beside you.
A powerful, emotional and beautifully crafted survival drama.
🪖Saving Private Ryan stands out for its emotional authenticity and pioneering filmmaking techniques. Spielberg does not just narrate a war story; he raises ethical questions about war and individual sacrifice. The characters are built with psychological complexity, making every decision and loss feel real and tangible. The film remains an essential benchmark for understanding modern war cinema, everyday heroism, and the human impact of war. The narrative intensity, masterful direction, psychologically deep characters, and a moral focus on war make Saving Private Ryan a classic that transcends the war genre, offering a profound meditation on humanity in the face of conflict.
Robert Pattinson is extraordinary as Chris Hansen. A near-perfect impersonation wrapped in a grimy, beautifully shot A24 thriller about predators, ratings and the ugly business of turning justice into entertainment.
🏴☠️When I saw this movie, I was carried away by the excitement of the adventure. I have waited a very long time to finally see a heroine as strong, fascinating, and likeable as Morgan Adams (Geena Davis). Her character is a wonderful change from most female characters I've seen. Davis is in a perfect role as a rough pirate woman.
Throughout the movie I remember hearing the audience cheering and clapping as the pirate companions foiled their foes. Everyone seemed to be electrified by the pure pirate adventure and chattered excitedly to one another as they exited the theater. Imagine my surprise when I heard how lousy this movie did in the box office.
I believe this movie's box office failure was a prime example of bad-timing and scathing reviews. Such reviews made me wonder if any of the reviewers had actually watched the movie! Pirate adventures are meant to be simple -- all treasure hunt and swashbuckling style. The incredible, well-done explosions and death defying stunts made this movie an edge of the seat experience.
Anyone who has ever enjoyed pirate adventure stories or role-played in treasure hunting genres will truly enjoy the fun ride of this movie.
Sometimes a treasure hunt is just a treasure hunt! Enjoy it!
Seven's quality puts it so far beyond most of the "cops on trail of deranged killer" genre that it comes out as a true jewel of cinema. Everything about seven is perfect. It is art captured on film. This movie is a bright spot for all of the stars who worked on it.
Brad Pitt never gets the credit he deserves for his acting because he's a pretty boy and the press is a lot more interested about how he and Jennifer are doing. That's a shame because he is a talented actor that isn't afraid to take chances with both the roles that he picks and the characters that he plays. That is quite rare in the A-list world. Morgan Freeman is a great actor. You can always count on him to do what he does best which is play a wise veteran that has seen it all. Kevin Spacey is another great actor that has great range and really puts life and personality into his characters.
The real talent of this movie, excluding the actors that brought it to life, is the director David Fincher and the writer Andrew Kevin Walker. Fincher's talents for making a visually stunning film are now well known and he often brings a dark patina to his work. Andrew Kevin Walker must have some incredible demons living inside him. Either that or one hell of an imagination for bringing the intricate story of Seven and the plan of John Doe to life.
John Doe's plan really is twisted and I won't be spoiling it here. Suffice to say I have never seen so evil and complicated a plan in a movie before or since. The cinematography of the film is dark but beautiful and throughout the film it is either night or raining or both except for two very brief moments. It is such an emotional movie that you can't keep from being caught up in what is happening. Do you understand and sympathize with what John Doe is doing or do you think him a mad killer that must be stopped.
Bottom Line: If you haven't had the opportunity to see Seven yet then you must at least rent it. It is so damn good that I know you will like it. The only reason you wouldn't is because you're just too damn fragile to take something this hardcore.
The Cycle was a pleasant surprise. A distinctly X-Files-inspired mystery that gets progressively darker, with an investigation every bit as engaging as the horror itself. Some excellent practical creature effects too. Refreshingly intelligent genre filmmaking.
Crawlers has some wonderfully gooey gore and a slightly strange sense of humour that gives it a bit of personality. Shame the final ten minutes descend into ridiculous decisions and increasingly unbelievable nonsense. Decent enough, but forgettable.
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