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easy A and takers
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The Machinist.
Great.
Bales best gig by far. Always thought he was "ok" and over intense but this movie physically ((not just the skinny aspect)) and emotionally he was brilliant.Best reason to have a license.
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The Town. Very good flick IMO, and the fact that I've been to Charlestown a ton of times it was cool to be in or around a lot of places they used to film it. None the less, good movie.Comment
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Saw The Union: The Business Behind Getting High last night and it was really good. It takes a good look on why pot is illegal and what not.Comment
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Stargate
:3star:
After hearing about the Stargate TV series that have been on TV for seemingly forever, I decided to check out. It was OK.
"Sometimes I just want to be with my family and watch movie and eat some popcorn. But when I step on the mat I know there is no other place I'd rather be." - Marcelo GarciaComment
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lol....
Queen of the damned...
LOL
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Downfall/Der Untergang-Awesome flick about Hitler's last days, the actor portrayed him perfectly
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Black Swan
Mindfuckery at its finest/10
*Kunis munching Portman's box didn't hurt, either.
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DON'T JUDGE ME, I'VE BEEN BORED!
The Slaughter Rule: 7.3/10 - Most prominent for being an early starting vehicle and a sign of what was to come of Ryan Gosling’s career, The Slaughter Rule is a low-key, humble and honest look at misery, the attempt to escape it and, eventually, the search for mercy when it seems as though darkness has surrounded you. Well-written, acted and directed, The Slaughter Rule doesn’t hit the viewer over the head with its themes, characters, developments and character relationships. It’s far from straightforward and more of a character study than anything; one that, due to the largely unfamiliar setting and way of life, might be difficult to grasp for some people. Ryan Gosling stars as Roy, a high-schooler who is having the worst winter of his life: his father dies, he’s cut from his high school football team and any connections that he forms with people are eventually disrupted by Roy’s uneasiness, his inability to trust and the inexperience in the line of passion. With his father gone and his mother busy with her own problems, Roy becomes distant with a local girl he’s intimate with, fights with his best friend and doesn’t trust his new, low-level football coach (David Morse), who Roy believes to be gay, but simply wants to be there and be supportive of Roy. The film isn’t within its bumps in the road. It’s only eight years old, but in terms of compassion, The Slaughter Rule shows its age. While the relationship between Roy and Coach is ultimately harmless, the viewer can’t help but believe Coach to be gay as his characters companionship is depicted in a jaded form. On the other hand, the relationship between Roy and the local girl is underdevelopment and their split seems to come out of the blue and the viewer is never given any clear means as to how Roy deteriorates the relationship. However, the film is loaded with symbolic metaphors that play off of its main points and, though unlike the average person in today’s culture, Roy is a relatively easy person to empathize with. The Slaughter Rule is a slow watch that takes its entirety to come full-circle, but for some it will be worth it.
Blue Valentine: 9.9/10 - Easily the most honest and socially accurate film of the year (and possibly the decade), Blue Valentine pulls out all the stops in their display of the up-and-down romance between high school drop-out Dean and nurse Cindy, from their early marriage to their life as parents. In many ways, Blue Valentine is a difficult watch. For many adults, it may strike a chord that’s far too close to home; that’s just how realistically the film plays out. Nothing is fabricated, no truth is stretch; Blue Valentine carries the honest to goodness, yet sad truth that many couples face in their lifetime. From their sex life, to her parents, to their jobs, to their daughter, to their daily interactions, Dean and Cindy slowly begin to erode and the one-time deep lovers show the painful truth: no one’s love life is guaranteed happiness. Not everyone works out or is right for each other. It’s something that we as people witness day-to-day, but never are able to see the full picture. Love is tricky, difficult and sometimes can’t be worked out. Love doesn’t happen overnight and falling out of love is the same story. Everything about Blue Valentine is worked to perfection. The script is phenomenal, the dialogue is sharp and, while easy to relate to, is still insightful and works into a bigger picture. When combined with the unbelievable acting of Ryan Gosling and Michelle Williams, the characters of this story are as far from artificial as can possibly be. The narrative consists of interwoven shots between past and present and not only works wonders for the story’s pace, it also adds to the impact of the climax and the ending. Overall, Blue Valentine is a modern cinematic masterpiece and might be the best film of 2010.
The Green Hornet: 5.4/10 - The blame has to be placed somewhere. Is it the curse of releasing a film in January? Was all the hype surrounding the project bad for it? Was Seth Rogen even TRYING? If you want to get right down to it, The Green Hornet feels empty, pointless and lazy. Mixing the superhero genre and comedy isn't something new; however, with the level that's been reached with recent superhero films such as The Dark Knight, Iron Man or even The Incredible Hulk, The Green Hornet just seems like a bad joke. Granted, there are some laughs. The film features a strong second act in terms of comedy after starting off very slowly. The storyline seems stripped and barren; the characters thrown out there to fend for themselves without any real direction or multi-dimension. There is no development. Christoph Waltz, who once again steals the show, sees a limited amount of screen time and is lackluster in the villain department. For much of the film, the dialogue seems lazy and unpolished. Rogen has no problem throwing together words to form characters, most of which are simple reactions or retorts that are childish and irrelevant. Seth Rogen isn't cut out for the PG-13 movie. A superhero movie can easily flourish with such a rating, but Rogen simply can't work his magic both on screen and off without his usual tirades of profanity-laced nonsense. From a cinematic standpoint, The Green Hornet showcases good visual effects as well as fluent editing and acceptable pace, but the writing and the overall story are lacking. Christoph Waltz and James Franco (in his one scene) are the saving grace of this film. Mark this down as disappointment #1 of 2011.
Rabbit Hole: 9.2/10- This film's greatest success is all in its approach. The main characters are sculpted so that the audience (as well as the characters themselves) aren't really sure how they're handling the death of their son. Each have their own mechanisms of coping that the other doesn't truly understand. Becca is ridding herself of everything that reminds her of her son and avoiding contact with people she feels doesn't understand, yet she finds comfort in talking to the teenager who accidentally hit and killed her son. Howie is more open about the death of his son, but can't quite let him go. Rabbit Hole joins the select other films of 2010 that doesn't sugarcoat real life problems. It's best attribute is the obvious idea that peace-of-mind can never be fully accomplished after such a tragedy, but it is possible to find solace in those around you who love you and are there for you and that eventually, the pain will ease even if the parties involved aren't quite sure where to go from here. The writing does a great job of capturing moments as they are, but it's the acting that makes Rabbit Hole a success. Kidman steals the show, but Eckhart has his moments as well. The title "Rabbit Hole" has to hint more towards Becca's coping mechanism of isolation and ignoring the concern others show for her situation because, to be honest, I wasn't feeling that whole "parallel universe" comic book thing.
The Company Men: 8.7/10 - It's a little behind the times as some would argue the worst of the financial crisis is behind us, but regardless, this film that deals with company downsizing and the individuals it impacts is meaningful, eye-opening and, for the most part, an accurate picture of how it can affect certain people and certain groups of workers. The home life takes center stage in this drama as a major interest is showing just how many cut-backs a family can suffer when a family member loses a high-paying job. From relatively small items such as the XBox to the mortgage, personal belongings are no longer affordable and the family becomes even more important than it already is. Likewise, The Company Men shows how difficult finding another job is. In a tough economy, it's the young who standout while the older, more experienced workers and left out to dry. The film captures pride perfectly, but also manages to show how one can overlook dignity in dire times. Those who need a higher salary to pay mortgage, for children or college or those older people who are laid off find themselves at a dead end; at a crossroads, looking for the next step to take through what is ultimately a rather hopeless journey. The writing is strong, especially dealing with Ben Affleck's character and his family. It almost seems too real. Featuring a fantastic cast that also includes Tommy Lee Jones, Chris Cooper, Kevin Costner, Maria Bello and Craig T. Nelson, The Company Men is the first surprise of 2011.
No Strings Attached: 5.8/10 - It's similar to 2010's Going the Distance, though it's co-stars aren't able to match the humor brought to the table in said 2010 release, but No String Attached let's its two stars do most of the dirty work. Ashton Kutcher and Natalie Portman have no problem creating chemistry together and their coupling is a treat. Being somewhat of a new role for Portman, her ability to be funny is actually quite refreshing and she, along with Kutcher, carry the load on their backs. The fatal flaw of No Strings Attached is that it's inconsistently funny and gets no help from its supporting cast. Kutcher's two best friends (one played by Ludacris), failed to bring any sort of laughs. They're not called up for comic relief a lot and when they are they produce nothing but crickets. The same goes for Portman's posse. It's raunchy, but not too raunchy; funny, but not consistently funny. Most importantly, it's predictable and cliche. Sex and comedy are enough to forgive a foreseeable outcome, No Strings Attached didn't provide enough of either.Comment
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This has nothing to do with the movies in your post SOS, but David Morse comes to the vet that I volunteer for. I've talked to him on the phone a few times to set up appointments, and I've seen him once or twice and it's really strange. Really looks almost nothing like he does in movies.
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Could not find the thread for this, but after seeing Black Swan, I think I'm ready to compile my top 10 list. Still need to see Blue Valentine and a few others, so this is subject to change:
1. 127 Hours
2. The Social Network
3. Inception
4. Exit Through the Gift Shop
5. Black Swan
6. Shutter Island
7. Scott Pilgrim v. the World
8. The Town
9. Restrepo
10. True GritComment
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What about Kick Ass? lol
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