As someone who loves animation I found myself slightly disappointed with this film. Don’t get me wrong, the first two thirds are fantastic, incredibly well written with a nice blend of humour and tragedy and a beating heart that is set on delivering a number of messages. However for me the last third of the film turned a little bit boring and predictable and didn’t offer anything new or interesting, which was a shame. Thankfully though, it wasn’t enough to ruin the film for me because I still found it largely enjoyable and I would definitely consider watching it again.
This is another example of a perfectly good horror film receiving a modern update, by stripping away everything that was great about the original. It’s the equivalent of a pet cat chewing the innards of a small animal, before placing the body outside your door and expecting you to praise them. There wasn’t a single moment of this film that scared me, nor was there a single moment I enjoyed, it was just tedious and unimportant. And yet the mindless modern audience threw $47 million at it, like prisoners of war digging their own mass grave. Thanks for killing the genre.
If you can look past some pretty awful child acting, there are still a number of significant flaws. Considering the time period and the quality of the first film the visuals are particularly disappointing, which is a fundamental flaw for a fantasy film. Aside from this the main problems are in the structure and tone; it seems to flirt the line between family friendly and dark and brooding without properly committing to either, which makes the 161 minute run time immensely painful. Poorly structured and incredibly ill-disciplined, not even Toby Jones and Alan Rickman can make me like this film more.
I’m aware there are various reasons why this film was made, concerning intellectual property rights, but honestly they shouldn’t have bothered. They should have given up gracefully, rather than take one of the most popular comic book creations of all time and make an obligatory film that is utterly redundant and doomed to fail. It’s no surprise the film was rubbish, considering the director hated the end product, and the cast of brilliant upcoming actors looked bored out of their minds. It is pointless, uninteresting, badly-written nonsense that is an insult to the legacy of Stan Lee and Jack Kirby.
In case it wasn’t obvious: this film is not funny. It is an infuriating piece of childish nonsense, which everyone liked out of obligation because they knew it would piss off North Korea, but beyond that there is nothing entertaining or interesting about this film. The prerequisite for a comedy is that it be funny, which clearly no one told Seth Rogen since he managed to co-write a film that’s as funny as Schindler’s List . This is the film equivalent of Kayne West: annoying, smug and arrogant, and the more important it claims to be, the less important it becomes.
I genuinely really enjoyed watching this film and found that there is a lot to like. While it initially feels like the setup for the usual cameo-ridden American comedy that is utterly humourless, it prevails that Trainwreck is incredibly funny and strangely relatable. Amy Schumer is not only a fine comedic actor but a very talented writer, because at the heart of Trainwreck is a fantastically written screenplay that’s intelligent and witty, but also heavily subversive and often quite melancholic. It’s like Bridget Jones but funnier and far less annoying, with genuine character development and without the smug self-destructive overtones.
While the Western genre is difficult to get right, this feature debut from writer/ director John Maclean is a terrific piece of work that fits perfectly into the genre. It may be a short film with a relatively simple narrative structure, but there’s a lot of depth carried in the screenplay. On one hand the film explores death and murder, but on the other hand it examines the parameters and universality of love, constructing a well-rounded and thought provoking experience. The ensemble cast is consistently brilliant, which combined with superb cinematography makes this an entertaining and interesting piece of cinema.
This is the epitome of the throwaway Woody Allen; a film that is at best watchable, but ultimately does not amount to much. While I was hoping for a witty and charming film that carried a heavy level of depth, I found it to be subdued to the point of frustrating tedium. The narrative and screenplay leave much to the desired, which is a shame to see from a writer that has previously written such fantastic films. Both Joaquin Phoenix and Emma Stone are criminally underused, in what can best be described as a deflated balloon of a film.
This isn’t perfect, but it’s one of the best Marvel film to date. I don’t know how it works, but the Russo Brothers nailed it. There’s so much content and substance packed in, and so many characters, yet they all get the right amount of screen time so the narrative is clear and cohesive and every character is well developed. From its sense of humour and expertly directed action, to its compelling story and outstanding performance from Chadwick Boseman, this film ticks enough boxes for me to tolerate its flaws. Most importantly, there’s some serious arse-kicking from strong female characters!
I don’t think I can adequately describe just how much I love this film. Of course it’s Woody Allen at his most neurotic, but the chemistry on screen between him and Diane Keaton really gives this film a beating heart. On a comedic level it has some classic Woody Allen moments, but what stands out the most is just how poignant the commentary on love is. It strikes a perfect balance between showing the positive and negative side of a relationship, forming one of the most honest romance films I’ve ever seen. It’s charming, witty, surreal comedy at its finest.