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.
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.
Considering the cast list and the fact this was written and directed by Terry Jones, a living legend of comedy, this film should have been a lot better. It’s disappointing because I like the concept, I just wanted more from it. The majority of this film is based upon a sense of humour that consists of nitpicking and being incredibly pedantic about specific word choices, which as a student studying linguistics I admit I found funny. For about ten minutes. After that the film becomes incredibly annoying and repetitive and becomes a film to endure rather than enjoy.
It is complete and utter insanity. It’s like Wacky Races on Acid, but I would be lying if I said I didn’t enjoy it. On a technical level this film is really impressive; the production design is phenomenal, and despite the post-apocalyptic vibe it’s a strangely beautiful film full of colour. I admire directors like George Miller, still mastering the action genre and proving it doesn’t have to be stupid. In regards to acting Tom Hardy consistently grunts like a neanderthal, but more importantly there’s a knockout performance from Charlize Theron – yet another female character kicking arse in modern cinema!
As much as I admire Brad Bird for making this unabashedly bold science fiction film, I found that structurally it does leave much to be desired. I like the concept, and I thought the visuals were really quite impressive, it’s just sometimes the pace needed a bit of a gentle push to keep things moving. Generally, it is a solid lighthearted sci fi adventure that holds together, without being anything to be too amazed by. I admit I enjoyed it and I did find it intriguing, but I wouldn’t necessarily jump to watch it again any time soon.