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Old 12-27-2011, 01:43 AM
Submarine (8/10)
Old 12-27-2011, 02:28 AM
KILL LIST - 5/10

I like the dynamic between Gal and the lead dude; the tone is sometimes interesting (albeit with a laughably audacious soundtrack); I felt the relationship between that dude and his wife was convincing; but I hate it when a movie puts forth virtually no reason for its' existence except to put a final spin on the final few minutes and expect people to go "OH MY GOD SUCH GENIUS!"
I feel that this is one of those movies.
Old 12-27-2011, 04:50 AM
Harry Potter and the Deathly Hallows Pt 1 (8/10)
Old 12-27-2011, 01:03 PM
Mission Impossible: Ghost Protocol - 8/10
Old 12-27-2011, 01:24 PM
Guilty of Romance - 7/10
Carnage - 6/10
Moneyball - 6/10
Weekend - 8/10
Tiny Furniture - 6/10
Old 12-27-2011, 06:43 PM
The Devil's Backbone (8/10)
Old 12-27-2011, 07:26 PM

The Girl with the Dragon Tattoo - 9/10

The Swedish version of The Girl with the Dragon Tattoo suffered from a few problems. There was no scope, the lead character was portrayed as being invulnerable, there was no rhythm, and no nuances or subtlety. It also had an issue that is hard to shake for any adaptation of this novel, which is that the story has quite a few narrative issues. When Fincher signed on, I was intrigued by what he could bring to the table to a genre that he is familiar with, but also afraid that he may have been wasting his time with a flawed story. Well, some of the narrative issues still stand, but fortunately Fincher is able to erase the other problems that the Swedish version had. The scope is essential to the story. There are so many characters, it takes place in various places, it's cold and snowy, and with the flashbacks it ranges over a span of 40 years. Bringing a televisual approach to that, like the Swedish version did, just doesn't compliment the story at all, and is one of the reasons that version had such a poor rhythm. It needed to be cinematic, and Fincher ensured that it was.

Noomi Rapace gave a solid performance in the Swedish version, but played it pretty much as a charicature. She is not only physically different than what Lisbeth should be, but she played it as invulnerable, which is a complete misjudgment on her part and on the part of the director of that version. Mara blows that performance out of the water, and brings little nuances to the role that are essential for giving the film much needed depth. Things like her saying, "Hey hey," when she walks into a room with someone she is comfortable with, or flinching whenever someone comes close to her. The Swedish version threw in the rape scene to furthur the plot and explain her motive for taking part in the investigation. It did not explore her actual mental and physical reactions to that trauma, which Mara does so brilliantly in this version. As for the rhythm of the film, I thought the film was paced very well, for the most part. Not on the level of Zodiac or The Social Network, but still paced very well. The score is absolutely terrific and is essential for giving the film such a great rhythm. Lisbeth and Mikael don't even meet until about an hour into the film, but along with Fincher's editing, the score helps the film weave in and out of each character's story, to the point where it makes these stories feel like one. It reminded me of Magnolia in this way. That score just keeps playing, sucking you in and helping the film transition between stories. Now, as for that last 20 minutes, on one hand I almost can't see Fincher cutting it, because the relationship aspect is really terrific in this 20 minutes (the final scene is heartbreaking). On the other hand, however, it does kind of kill the pace that the initial 130 minutes or so had. The con aspect didn't really fit with the rest of the film and probably could have been the beginning of the next film (if there is one).

As for the other performances, Craig is great as Blomkvist. Skarsgård is eerily good as Martin and that scene where he is drinking with Craig near the end is one of my favorite scenes of the year. Plummer disappears after the first hour, but he was absolutely perfect for the role of Henrick. The way he talks and conveys things so clearly makes it very easy to follow all of the details that he is presenting to Craig. Now that I have pretty much covered all of the things I wanted to cover, I will say that, while this is a great film and one of the best of the year, I REALLY hope Fincher does 20,000 Leagues next. I'm sure he would do a fine job with the next two entries and I'd be there opening week to see them, but I just hope he doesn't get slogged down by the trilogy. If he does intend to make them, I hope the studio lets him shoot them back to back next year so that he can have 20,000 Leagues out by 2014 or 2015.

P.S. was that shot of Mara hopping over the escalator and getting on the subway just as the doors were closing the coolest damn thing you've seen this year or what? Took my breath away. The old lady sitting a few seats down from me nearly had a heart attack, haha. That kind of thing trumps 3D any day.

Last edited by Bourne101; 01-02-2012 at 06:03 PM..
Old 12-27-2011, 07:49 PM
Warrior (Gavin O'Conner, 2011)

Good stuff. I found it to be a little generic for all the hype as some have already pointed out, but those last 20 minutes elevated it for me. Nolte seems to be getting all the praise performance-wise, but all three leads gave great performances. If Hardy is kicking this much arse playing a sympathetic character, I can't wait to see his Bane performance come summer.

Midnight in Paris (Woody Allen, 2011)

Too short! Woody could have squeezed in a lot more humour. Other than that little qualm, I loved it. Fantastic ensemble lead by the most charming Owen Wilson performance I've ever seen, which is saying something.
Old 12-27-2011, 08:43 PM
Albert Nobbs - 5/10

I can see why Close is getting the buzz, but, to me, Janet McTeer steals the show as Hubert. A great supporting performance. Mia Wasikowska was woefully miscast (her bench argument with Albert is a woefully directed scene).
Old 12-27-2011, 09:09 PM
Harry Potter and the Deathly Hallows Pt 2(9/10)
Old 12-27-2011, 10:11 PM
War Horse (Steven Spielberg, 2011) 2 out of 4 stars
Talk about typical Hollywood lowest common denominator shlock. This is the kind of film that will appeal to the masses but offer no food for thought. I like the idea of exploring a war through the eyes of a horse, but much of the focus is on the various owners of the horse and not the horse himself, and the film never really gives you the time to get to know these characters. The more "moving" scenes are really corny and the coincidences are so ridiculously Hollywood. I liked the horse and his buddy (another horse who ended up along the same journey), but none of the human characters really did anything for me.

The Adventures of Tintin (Steven Spielberg, 2011) 3 out of 4 stars
This was a very fun movie. The animation looks great and allows for a lot bigger and more complicated setpieces than what could be done with basic live action. The whole voice cast is awesome, including Jamie Bell as Tintin, Andy Serkis as his buddy Haddock, Daniel Craig as the villainous Sakharin, and Nick Frost and Simon Pegg as Thomson and Thompson, two identical bumbling detectives. Frost and Pegg provide a lot of great comic relief and Serkis contributes a fair share of the gags as well. The Adventures of Tintin is a pure and classic adventure flick, plain and simple. It's not food for thought, but it is very exhilarating and very entertaining.
Old 12-27-2011, 10:48 PM

The Hangover 2
Old 12-27-2011, 11:27 PM

Director Steven Spielberg’s newest film certainly feels like the director is bringing that old school serial adventure with the present magic of motion-capture graphics that fellow director Robert Zemeckis has been utilizing for his past films. There’s a beating heart in this film with the graphics complimenting the story and characters of author Herge’s comic book series but while the soul is pure, there’s something missing that makes this film a truly great movie experience. There’s a slight disconnectedness with the main character and while there are some great action set pieces, most of the film’s energy seems exerted in most scenes.

That’s where this film seems to be slippery on the rails; there just isn’t much energy in it. It seems the problem could be the character of Tintin (voiced by Jamie Bell), who simply feels like a cypher for the audience to be in the adventure. That was probably Spielberg’s intention, and Bell certainly brings life and excitement to the character of Tintin as well, but apart from his characterization of being a reporter who loves a good mystery there is nothing to make him a memorable action hero. His opening scenes for the film were a bit exciting, but there could’ve been staleness if he was the only hero that the viewers were following.

Thankfully, the film gets the ball rolling once Tintin meets Captain Haddock (voiced by Andy Serkis), the energetic character that the film was sorely needing to keep the film engaging. Serkis is known for giving pixelated character like Gollum from Lord of the Rings and Caesar from Planet of the Apes film, and this film is no exception. He is having a ball and owns most of the film’s laughs as the drunken captain held hostage by the nefarious Rackham (voiced by Daniel Craig), who believes Haddock can discover the secret treasure of the pirate ship The Unicorn.

But while the film gets the ball rolling in the middle half, the final act just seems to fall into set pieces that have been expertly directed (an action scene is created into one long tracking shot), but it just doesn’t feel exciting. It feels repetitive without much shock and awe and kind of squanders a truly amazing scene. Add to a pretty disappointing final stand off in the film and all that was the question of where all this great potential went.

And there was great potential for this film. Spielberg was under the director’s helm, Peter Jackson was producing, and some great British directors (Joe Cornish and Edgar Wright) were penning the film’s script. This had gold written all over it, but it just didn’t come to pass. Perhaps this was a film that was more suited for the younger crowd or viewers who are fans of the Tintin.

Whatever the case may be, Tintin just didn’t do it for this reviewer. Its heart was in the right place and there is certainly love from the people who created this film, but it just didn’t register. Overall, it’s a film that more or less will have an impact on a viewer who enjoys a certain sense of old-school adventure, as well as the magic of motion-capture.


What do you get when you have a movie that could be ripe for “Sport Movies 101” clichés but rises above to be an emotional, raw film with some excellent performances across the board? Well, that film is Warrior, a Rocky-like film that remains engaging throughout its 140-minute runtime, despite the fact the film is pretty predictable and its plot pints could be revealed through its trailers.

How does the film fight above these clichés? Well, for one thing, director Gavin O’ Connor knows how to handle these beats by allowing to develop the two central characters in an efficient manner. The film follows two brothers, Brendon and Tommy Conlon (Tom Hardy and Joel Edgerton), who decide to enter a MMA tournament in order to use the prize money for their own personal reasons. While Brendon’s storyline is pretty much by-the-numbers on why he needs the money, director Connor likes to handle Tommy’s storyline in a bit more subdued fashion, allowing exposition to become clear, but still lay a bit of mystery of how he came to be. But, while one storyline is a bit more interesting than the other, the two actors give it their all. Edgerton plays the weathered family man well, dishing out a hardened personality and warmth in the same scene. Hardy, on the other hand, plays Tommy as the brother who holds his emotions in a mask. Everything is corked in a bottle for hardy’s Tommy, and it’s a pretty incredible performance. He’s a machine that is battling through his dark past, and by the end of the film the audience will want him to just let his baggage go.

In the midst of the two brothers is their dead beat dad Paddy (Nick Notle), and Notle is certainly great at playing these strung out characters at this point of his career. While the audience is certainly aware of how much of a negative influence he was to his two bothers, Notle still manage to develop of pathos for the audience to hold on to, and it’s certainly impressive. The rest of the supporting cast is great as well, with Jennifer Morrison as Brendon’s wife and Frank Grillo as Brendon’s friend and trainer.

Director Gavin O’ Connor certainly knows that this movie is a personal struggle of the main characters as it is a MMA film, so his direction, with the help of cinematographer Masanobu Takayanagi, is more of “in-the-moment” than cinematic. Sure, they’re some nice shots of the Philadelphia and Atlantic City setting and the fight scenes are expertly staged, but the camera is almost always focused on the characters’ plights.

Overall, Warrior may seem like a typical “Rocky” underdog story, and it mostly is. But Gavin O’ Connor is not ashamed to put the film’s heart on its sleeve with emotional performances and a surprisingly engaging story. Some viewers may understandably dismiss it as a whole schmaltzy film, while others may be swept up in the engaging characters until the credits start rolling.


Last edited by Mr.HyDe807; 12-28-2011 at 12:06 AM..
Old 12-28-2011, 12:44 AM

The Adventures of Tintin(2011)-8/10
Old 12-28-2011, 01:32 AM
Warrior (9/10)
Old 12-28-2011, 02:06 AM
The Diving Bell and the Butterfly (9/10)
Old 12-28-2011, 05:04 AM
War Horse - ****

Very likely the best film of 2011. I still have several others to see but I can only see 1 or 2 of them actually matching this beautiful, majestic, frequently viscerally charged and emotionally uplifting (though pretty dark at times too) piece of work. It is Spielberg's best movie since Minority Report and the first movie to receive 4 stars from me since 2009's Up.
Old 12-28-2011, 01:04 PM
Don't Look Now - This was a creepy thriller with Donald Sutherland and Julie Christie. It was very well done especially when dealing with the parents grief over their daughters death. 8/10

I Remember Mama with Irene Dunne - The story of Norwegian immigrants in early 20th century San Francisco and the difficulties they face. I liked some of the performances such as Dunne and Barbara Bel Geddes but the film did drag on. 6/10
Old 12-28-2011, 02:53 PM
Heat (9/10)
Old 12-28-2011, 05:17 PM

Old 12-28-2011, 05:43 PM
documentary on supervolcanos.
Old 12-28-2011, 05:51 PM

Young Adult - 9/10

Jason Reitman just solidified himself as one of my favorite working directors. He was pretty much already there after Up in the Air, but this puts the icing on the cake. This is his most stripped down and raw piece of work. A lot of that has to do with Diablo Cody's terrific screenplay. I find she gets far too much flack, and I hope that after people see this movie they start to warm up to her. I see how people might get annoyed with her dialogue, but I feel they go a bit far with their criticisms. In terms of her dialogue here, it feels more natural than Juno and shows a great sign that she is maturing as a writer. I love how she follows through with the Mavis character, instead of having her learn a lesson and change her behavior. Most people don't change, and when they do it is often a facade. There is a brief sign that she might change her ways near the end of the film, but Cody sticks to her guns and follows through with the character. As a result, the film won't become a smash hit like Juno, but it's a better film for it. I also like how she didn't portray Patrick Wilson's wife as the woman fighting to keep Mavis away. So many fucking movies do that and it pisses me off. It's much more interesting to see her as more than a device, and someone who understands Mavis and wants to help her. The scene where she spills the juice on Mavis is absolute perfection. Charlize Theron gives a performance up there with her work in Monster. She plays the bitch well, but also gives the audience a bit more to chew on. The big surprise for me though was Patton Oswalt. Not that he was better than Theron, because he wasn't, but he went places that I didn't know he had in him. The scene in the woods near the end is one of the finest pieces of acting I've seen this year. I hope the Academy finds room to give him a supporting actor nomination. All in all, Young Adult is a fascinating portrayal of a woman stuck in the past and unwilling to move on with her life. It's hilarious ("You're fucking mentally ill,") and will also make you feel extremely uncomfortable at times (juice scene). The combination makes for a very rewarding film that is one of the very finest of the year.

Last edited by Bourne101; 12-28-2011 at 05:54 PM..
Old 12-28-2011, 09:54 PM
****Minor Spoiler Ahoy****

Mission Impossible: Ghost Protocol

Aside from my personal affection for the first instalment, I can concede that this is one of the rare series' that gets better with age, defying the odds for pretty much every action franchise in existence. Impressive feat, as are the absolutely incredible and endlessly creative setpieces that are oodles of fun to watch unfold, defying reality and frequently gravity. The Dubai sequence is something else. Tom Cruise remains in prime condition to pick up the slack in whatever nutty stunt Brad Bird and his mad genius writing team has super agent Ethan Hunt doing this time around, of which there are many and often. Renner, Patton, Pegg and even a throwaway but pivotal role for Josh Holloway from Lost are all given some dimension so the film doesn’t become an extended commercial for Cruise’s wavy locks (see: M:I 2), and like the third and first movies, really fleshes out the individuals on the team to make you care about their contributions, not just to be appreciated as action figures. It really is the perfect blockbuster to end 2011 on a memorable bang, and a must-see if you love the franchise. In fact, the only thing that irked me was the thankless cameo of Ving Rhames. For the one other guy except Cruise who’s been there every step of the way, THAT’S all we get for a legendary character like Luther? Seriously? Shameful.

-> 8/10
Old 12-28-2011, 10:09 PM
The Darkest Hour - 6/10
Downgraded to a 6.
Alvin And The Chilpmunks 3: Chipwrecked - 2/10
This Must Be The Place - 3/10

Last edited by Cronos; 12-29-2011 at 08:35 AM..
Old 12-29-2011, 12:17 AM

Carnage - 8/10

Loved it. I'm very weary of parents who defend their kids to the death. Parents who blame principles, teachers and other parents for their own or their kids problems. Parents who force competitive sports and extraciricular activities down their kids throats. It is coming to the point where kids are incredibly overtired, depressed, and unable to solve personal problems or initiate creative activity because they are too used to structure. I'm a strong believer in letting kids play in an unstrucutred manner and letting them naturally work out their issues. It's a healthier way of developing. That's not to say strucutred activities and discipline should be thrown out the window, but I think it should be dialed down significantly. Anyway, to segue into how that relates to the film, I think the film does a perfect job of showing just how fucking ridiculous these parents are. They bitch and worry about the dumbest shit and try to make a smack in the face by a peer seem like a fucking murder. And I love how in the end they keep arguing, while the boys naturally resolve their issues and play in the park. It might be obvious to some, but I think it's a solid way to hit home the point. I've seen a 30 minute special on TV looking at issues similar to the ones that this movie addresses, but I'm glad someone finally addressed it on film. It is a problem that is going to royally fuck over the current generation, and likely subsequent generations.

Many people who have reviewed this film complain that there's nothing to it, that the parents talk about nothing, and that the ending is abrupt and doesn't mean anything. I think that's bullshit. Look at the bigger picture. Sure, the film is plenty entertaining, but that's just the icing on the cake. I honestly think this is one of the most important films of the year. I've seen a lot of films this year, and quite a few good ones, but very few of them have really delved into current societal issues. Now, as for the performances, I thought they were great all around. However, John C. Reilly and Christoph Waltz steal the show. Both of them had me cracking up throughout the entire film. It's definitely the funniest movie of the year. Stylistically, I was impressed with what Polanski did with such a small space. He doesn't overdo it, which sometimes happens when trying to adapt plays, but rather makes it cinematic and prevents it from feeling stagey. Overall, I had a blast watching this, but because I feel so strongly about what the film is conveying, I think it resonated with me a lot more than it did with others.

Kill List - 7/10

The first hour or so doesn't entirely work, but was intense and unsettling enough for me to be engaged. However, those last 30 minutes were kind of terrifying. It's been a long time since a film has genuinely creeped me out, but Ben Wheatley has done it. That bit in the woods where the two main characters are being chased by the cult members will surely give me nightmares. And just seeing that woman nonchalantly hanging herself was absolutely chilling. The final bit was a bit contrived, but I was so with the movie at that point that it didn't really bother me. Overall, it's a flawed, but genuinely creepy film.

The Guard - 7/10

It's no In Bruges, that's for sure, but Brendan Gleeson is so fucking funny in this. Every word that comes out of his mouth is gold. The stuff with him and Cheadle is great, although I wish there was more of it. Unfortunately the plot is pretty weak and never reaches the emotional heights that In Bruges did, but if you're looking for a good laugh and want to watch Brendan Gleeson steal the show, give it a watch.

Last edited by Bourne101; 12-29-2011 at 02:34 PM..
Old 12-29-2011, 12:32 AM

A film about cancer is a very unbalanced bridge to cross. On one hand, the sentimental moments can feel genuine for the characters’ struggles and create an emotional response from the moviegoers, while on the other hand the film can dish these moments in such a hackneyed way that the film is no longer about the character’s struggle and simply a manipulative way to create an emotional scenes. In the past few years, there have been movies that have used the latter ideas on how they would portray films about cancer, but thankfully director Jonathan Levine and screenwriter Will Reiser are smarter than those former films. Their film about cancer, aptly called 50/50, is certainly a film that will make viewers laugh and cry at the story of a young man who discovers he has spinal cancer, which leads to an emotional and uplifting journey that the titular character takes throughout the film.

The film follows one Adam (Joseph Gordon Levitt), a pretty laid back and good-natured guy. He has a loving girlfriend (Bryce Dallas Howard), a great best friend in Kyle (Seth Rogen), and a successful job as a radio producer. But, as life can always be, there are some sharp turns that come ahead. Adam learns he has spinal cancer that gives his chances of getting over it to be 50/50, and this realization is one that comes to a shock for Adam, as well as creating a dramatic impact on his family, friends, and loved ones. While Adam does try keep a level head by going to a therapist (Anna Kendrick) and getting support from Kyle and his high strung mother (Angelica Houston), the unknowing realization of what is going to happen to him begins to take a toll.

Now, while this plot synopsis is ripe for being a depressing and uncomfortable ordeal for some viewers, Reiser is completely in control in making sure that everything in this story is evened out, mostly because he has had expertise in dealing with cancer. There are moments of joy, hilarity, friendship, heartbreak, sadness; and every moment feels earned. No moment overshadows the other and instead keeps the viewer on its toes of what they are going to expect. It’s a lot like life and how these genuine feelings can come at any time, at any point of our lives.

Another piece of what makes this film works are the actors involved. Joseph Gordon Levitt is a young actor who has been a bit under the radar, but has been making his mark in films like Inception and 500 Days of Summer. If there’s a film that could certainly break him out to the mainstream, this film can certainly be it. He plays the character Adam with such humility, pent up anger and confusion that the camera just needs to focus on him in order to give viewers an idea of what he is going through. It’s a truly great performance, and it all comes together in the final act of the film.

But what’s a great lead actor without some able body-supporting cast? Well, this film certainly has it in spades, with one Seth Rogen bringing his usual charisma and charm as Adam’s best buddy. Sure, there is real no stretch for Rogen, but his typical personality certainly plays a part in the bigger picture by the end of the film. The rest of the supporting cast are also solid, from Kendrick as the amateur therapist that is doing all she can to help Adam, to Angelica Houston as Adam’s concerned mother, who at first appears one dimensional but soon brings layers to what her character is going through in the movie.

The last piece of this great film is the direction of the film’s story, and director Jonathan Levine certainly has the style and skill to bring this story to life. His last film, The Wackness, was a film filled to the brim with a mood and style on its own and while this film is a more relaxed vision, Levine still has a few tricks up his sleeve. He has a knack for the right music in the film, and allows his actors to improvise to bring a natural feeling to scenes. It’s a natural film, don’t get me wrong but it certainly has that Levine touch in certain aspects.

While there have been films that deal with cancer in certain lights, 50/50 is a film that brings that idea in a non-manipulative way for its audience. While the film has comedic edge in certain points, it also takes its time to bring dramatic moments to never sugar coat the character’s ordeal. It’s a roller coaster ride for sure, but its certainly a ride that viewers should take a part in.

Old 12-29-2011, 12:53 AM
Mission: Impossible - Ghost Protocol (8/10)
I thought this was the best of the series thanks to the solid characters, a fast-paced plot, and one truly spectacular sequence in Dubai. Honestly - one of the most thrilling scenes in a movie this year, or in a long time actually. It really needs to be experienced on the big screen.
Old 12-29-2011, 12:56 AM

We Bought a Zoo(2011)-6/10
Old 12-29-2011, 01:23 AM
Originally Posted by Puck Bond View Post

We Bought a Zoo(2011)-6/10
Damn was hoping for a higher rating from a fellow Crowe fan, will have to see what ilovemovies thinks of it.
Old 12-29-2011, 03:29 AM
Haha. Funny you should mention that.

We Bought a Zoo - *** 1/2

I came out of this movie feeling the same way as I did coming out of Almost Famous, Jerry Maguire and Elizabethtown. I absolutely fell in love with the movie and boy does this movie end on a perfect note. Really loved that final scene. One of several scenes in the movie that moved me to tears. Thus far, it's my second favorite movie of the year behind War Horse.
Old 12-29-2011, 08:31 AM

Midnight in Paris
Old 12-29-2011, 01:31 PM
Cimarron (1931) - This story of settlers in Oklahoma was pretty good and some of the characters were actually pretty tolerant of non-white people - pretty progressive for the time. I liked Irene Dunne but some of the other actors weren't so good. 7/10

Snowglobe - Another mediocre Christmas movie. At least Christina Milian is gorgeous. That's pretty much the only reason I watched the whole thing. 3/10
Old 12-29-2011, 03:05 PM
Originally Posted by ilovemovies View Post
Haha. Funny you should mention that.

We Bought a Zoo - *** 1/2

I came out of this movie feeling the same way as I did coming out of Almost Famous, Jerry Maguire and Elizabethtown. I absolutely fell in love with the movie and boy does this movie end on a perfect note. Really loved that final scene. One of several scenes in the movie that moved me to tears. Thus far, it's my second favorite movie of the year behind War Horse.
Excellent, I'll give it a shot next week.
Old 12-29-2011, 08:13 PM
I'm seeing We Bought a Zoo this afternoon, though my expectations are a bit low to be honest, despite having loved all of Crowe's films.

Braveheart (9/10)
Wow. Much better than I remember it being. The Sophie Marceau/Mel Gibson romance feels semi-tacked-on, but it's a small complaint in an incredibly impressive and emotional movie.

Sleepers (8/10)
The first hour and a bit of this was brilliant. The Hell's Kitchen neighbourhood was really well-established and felt so lived-in and authentic. Then we get to the juvenile centre and the film goes in a harrowing, deeply disturbing way. Some of those scenes will truly burn in the memory for a long time. Kevin Bacon's performance here was some of the best acting I've seen from him. The second hour isn't as good as the first, the film seemingly becomes a little scattered. There is pressure to fit in a lot of story and pay-off and the scars that the experiences in the juvenile centre left on the boys aren't fully explored as they could've been. You get a sense that they are all pretty fucked up from it - but it should've been looked into even more than it was. The courtroom stuff was great (Dustin Hoffman rocks here), but I would've preferred to see a more personal story as the first hour was. Sleepers is still an engrossing, deeply affecting motion picture all the same.
Old 12-29-2011, 08:22 PM

War Horse - 9/10

I am totally with Spike and ilovemovies on this one. I definitely understand where the complaints are coming from, but I just got swept up in the film. I think Spike's assessment of sentimentality is very accurate. It's kind of random how individuals respond to different sentimental films. The first 40 minutes or so are VERY old fashioned, but I kind of dug it and thought it was quite charming. I've heard some complaints that the boy didn't have enough motivation to be so upset about the horse leaving. I thought there was plenty of motivation. His father risked their farm to buy the horse, he spent a long time training the horse, and the horse ended up ploughing the field and buying the family a little more time. Once these 40 minutes are over though, the film goes to another level. We follow the horse as he touches the lives of several individuals. He doesn't care what side he is on. He is a neutral being in a war filled with enemies. Each of these stories were very engaging and most of them were heartbreaking.

The battle sequences are breathtaking and the sound is impeccable. The barbed wire sequence at the end of the last battle is one of the best scenes of the year, and the way it ends up bringing a German soldier and English soldier together is incredibly touching. One of the best bits of dialogue of the year comes in this scene, when the English soldier says, "You speak good English," and the German soldier replies, "I speak English well." It's very funny, but also shows that these men can joke, even under circumstances where they have been forced to hate each other. As for the ending, obviously it's sentimental, but I thought the way it was executed was pitch perfect. The whistling, the blindfold, the removal of the mud... it was all executed masterfully. What really got to me though was the auction at the end. To find out that a certain individual who had come in contact with the horse had died was heartbreaking.
Old 12-29-2011, 08:51 PM
24 S07-S08 end) - 8/10
Aside from the typical bullshit technology you see on american tv an entertaining end to the series.
Old 12-29-2011, 09:03 PM

Old 12-29-2011, 10:28 PM

Red Riding Hood
Old 12-30-2011, 12:09 AM
CRAZY STUPID LOVE (I was forced to watch it...)
Old 12-30-2011, 12:30 AM

War Horse(2011)-9/10
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