We don’t see a plethora of shots in their entirety, but the only trick I want to see is how Strathairn can move us with so few words.
A well acted, decently filmed, but unneeded sequel. That’s the best definition of a side-quel I can muster.
In all it does what you want good comedies to do by giving several re-watchable moments and leaves a pleasant smile on your face. Great comedy risks more, but these guys have friendships with most of the people they are skewering. That’s okay, though. It’s only a Friday stuck at home in Covid 19 season.
“There is one bad guy to put up a fight, and he is saved for the right person. You’ll know it when you see it. And you should see it. If for no other reason than to get ready for part two, which should be pretty good.”
Director David DobkinScreenplay Will Ferrell, Andrew Steele based on Eurovision Song Contest by EBUStarring Will Ferrell, Rachel McAdams, Pierce Brosnan, Dan Stevens, Melissanthi Mahut The first surprise when watching the […]
The Safdie’s are not breaking new ground, but it covers familiar territory like Velma looking for her glasses, in Scooby Doo. We know she’s going to find them, but someone else will get the credit for the win.
The soldiers deserve the knowledge that we cannot or will not forget their sacrifice. Then we can work to earn the freedom they gave to us, like Captain Miller wanted Private Ryan to do.
This is good Kurosawa, brought up by a great Shimura and steadied by Mifune.
Shin Godzilla is a movie both fantastic and frustrating.
If only the scriptwriters could have done more to punch up the story to match the superior acting talent, this might be a classic.
It’s the invention of the buddy cop trope that gets Stray Dog it’s spot as a Criterion release.
In all, this is a good, not great film by a studio that’s in the sophomore slump. They could hit a winner out more often, if they weren’t concentrating on getting everyone to first base.
The result is a good, not great first script. There are two fantastic moments and many good ones to boot. It’s not much more than that, even as Tarantino’s legend rises beyond what anyone imagined.
The combination of Hiller, Lemmon, Miller and Jones no doubt is what makes this a Criterion selection. I can’t argue with this. As a film, it may not be a classic, but it is worth exploring.
“The track record for Flanagan is astounding. His output is prolific and is always appealing. Every one of his films, even those he has adapted, feel like a part of a patchwork.”
We’re never entirely scared, sometimes on the verge of laughing. Sometimes though, it is quite moving. Not sure these are selling points for a classic, but it is definitely not a waste of one’s evening.