Just got done watching it again after a while and man I love it so much. It's a fantastic story alone, but mixed with that extra Fulci magic to make it an all around horror experience from the get go. The very beginning with the lightning and thunder had me reeled in like a fish. Speaking of animals.. that spider scene is insane!! The character of Jill was played so perfectly I thought and the two characters at the end, those shots with that incredible atmosphere Fulci creates to wrap everything up, the music is beautiful to me honestly. I could go on and on but I'm interested to hear what your opinions are

Wow. What a gem. I don't know how I never got around to it, but it really is a well-done flick.

I didn't realize (obviously) that the angel part didn't come in until the tail-end. But, the whole movie is fantastic. It's sad, wholesome, sad again, wholesome again, depressing, existential, then insanely wholesome at the end. My heart swelled at the end, and it left me thinking about it.

Happy Holidays, y'all.

It's 10:59 pm in LA and at 12 am I will watch the second season of the much awaited Squid Game and I will keep reviewing each episode in the comments. Do watch out for them!

( mr-goa )

...it was pretty wonderful. (Sadly, had to watch it in soap opera 59.94 since the TV was set up that way and the kids hated it at 23.98.)

As a Gen-X, that movie always seemed like a silly kids movie, the Millinneal equivalent of "Escape to Witch Mountain" or "Bedknobs and Broomsticks" for us. By the time it came out I was in the middle of college and that wasn't really on our radar as college kids. We were going out seeing Wild at Heart, Goodfellas, Reversal of Fortune, Miller's Crossing, The Handmaid's Tale, Tie Me Up! Tie Me Down!, King of New York, Metropolitan, Jesus of Montreal, and Come See the Paradise. It was a great year in film.

I had to look up how old the main actor was, he was just 10! I always thought it was Haley Joel Osment, but it was Kieran Culkin's brother, Macaulay. Kieran's new movie A Real Pain is amazing. Just incredible.

That movie relies so heavily on young Macaulay. They likely couldn't shoot more than four or five hours a day with him due to child labor laws. He probably had to nail a lot of performances in a short time, and he was really great. It's crazy to think of a ten-year-old having to anchor a whole movie. If his character didn't work, then the mom's concert wouldn't matter, things like that.

My kids inform me that Macaulay was a bigger star once, but now Kieran is. And they don't know who Haley Joel Osment is, so now I feel double-stupid. But I was pretty impressed by Home Alone and glad I finally saw it after all this time!

Coming in blind.

Dune has been a whisper throughout most of my life, the books, the film adaptation from the 90s or early 2000s, the games...

the mention of the word 'spice' and desert landscapes.

No clue what to expect but it's enjoyable so far. Bought the movie following years of it being the only movie everyone I spoke to agreeing on being an instant classic.

No doubt the original book is better, many here will point to the lore as being where it holds up.

For me personally, I finally need a good movie after avoiding them for years.

Originally posted here here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/the-best-christmas-pageant-ever-2024-movie-review.html

Based on the 1972 children's novel "The Best Christmas Pageant Ever" by Barbara Robinson, the 2024 holiday dramedy of the same name tells the story of a community who is about to discover the true meaning of Christmas with the help of six problem children, "the worst kids in the history of the world", who end up playing the lead roles in the town's traditional nativity pageant.

The film is directed by Dallas Jenkins, best known for helming the Biblical miniseries "The Chosen", and its shaped like your usual faith-based movie, in that it's a fairly dull viewing that allocates way too much time setting up scenes that serve as a crash course on the basics of Christianity. It doesn't feel like it's necessarily trying to convert the unfaithful, but it too often functions like a Sunday school session.

Also, don't go in expecting a comedy. It has its fair share of humorous material and its voice over narration takes great inspiration from "A Christmas Story", but I was disappointed by how rigidly and lifeless it's all presented. Add to that some flat and muted cinematography and the result has a made-for-TV dryness. Aside from that, its underlying message of redemption ends up being more poignant than I expected, wrapping it all up with a strong emotional payoff. It's also a nice tribute to the transformative power of art.

The cast gets the job done efficiently enough, and the kids are fine, but the under-appreciated Judy Greer steals the show, playing a mother who takes on the challenge of directing the treasured pageant. The stakes are high and the margin for error near zero, but she's unwavering in her determination to see it all through, and throughout all the chaos never gives up on the six troublemakers that the entire town wants to see kicked off the play. That's pretty much what true Christmas spirit is all about.

In the end, "The Best Christmas Pageant Ever" is a sincere family-friendly holiday movie with a genuine heart, that is unfortunately very clumsily executed. It's sometimes a slog to get through, so I don't quite think it will become a Christmas classic anytime soon, but it's definitely a notch above the usual holiday drivel, and could be worth a try, even if you're not fond of faith-based flicks.

Subverted plot/message: go gays! Fuck Russia.

A movie has not gotten under my skin like this in a long time. The whole movie is expertly shot and put together as Kubrick was known to do. The ceremony scene is so haunting and beautiful at the same time. I think Sydney Pollack is underrated in it, I really liked how he played his character. This movie also makes me miss when Tom Cruise would challenge himself and not just play action/spy man.

Originally posted here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/genie-2023-movie-review.html

The 2023 Christmas movie "Genie" is a a remake of a 1991 British television film directed by Sam Boyd and written by Richard Curtis. Both return to helm and pen the updated story of a genie (Melissa McCarthy) who enters the life of Bernard Bottle (Paapa Essiedu), a stressed-out workaholic who is on the verge of losing everything that matters in life, his family, just in time for Christmas.

Apart from the twist of adding "One Thousand and One Nights" into the Christmas mix, the film is still very much restricted by the confines of the overused and overabused holiday genre. It features the same tired tropes and cloying sentimentality that we've experienced countless times in Christmas movies. It seems to want to say something important about the meaningful things in one's life, but the script and characters are too bland and uninspiring to deliver that message in an effective manner. It's heavy on platitudes and light on Christmas charm.

Most of the cast is unfortunately very forgettable. Paapa Essiedu plays a dull protagonist, making me wonder how this movie would have played out with someone like Eddie Murphy involved. The only bright spot in this otherwise dreary affair is Melissa McCarthy, who is pitch perfect in every scene. I'm always surprised by how well her comedic timing works, even when she doesn't have a great partner to work off of, and how she can squeeze some comedy from the dumbest dialogue imaginable. While she's basically playing herself at this point, I do appreciate her talent for comedy. Alan Cumming, who starred in the original film as Bernard, makes a brief, but funny appearance as Bernard's nasty boss, while Luis Guzmán is a lot of fun as a hard-boiled police detective.

It's hard to believe the script is written by Richard Curtis, the same man who also wrote "Four Weddings and a Funeral", "Notting Hill" and "About Time". Yeah, "Love Actually" too, but the less said about that one, the better. I never watched the original, which was titled "Bernard and the Genie", but I have a feeling it's probably better than this watered down streaming fodder. "Genie" is no Christmas classic. It's light on laughs and gratingly flat, but not really offensively bad, either. It's just another generic Christmas movie that doesn't have what it takes to stand out among the flood of Hallmark/Netflix-style holiday offerings.

I can't see how or why this movie was ever rated X...there was barely any nudity...and as far as being on the top 100 movies if all time?...no. It's just not very good

I love docos but I intentionally avoid anything with child victims because it bothers me roo much.

This had a slow reveal and sneaked through my defences. I regret watching it.

I need to know WHY. I have questions keeping me up at night.

1) Why the fuck did Jill Dudley pimp her innocent boys out to upper class pedos?

Was it for the money stashes found in the house? Or Was it for sexual kicks?

2) Were the parties otherwise normal or were they specifically for attracting pedos.

3) the horrific photograph was carefully locked away. Was that the brochure used to entice the pedos.

4) the dad must have known something???

This documentary has disturbed me greatly. I wish I never saw it and I wish those boys were never passed around by there mother.

Sickening and infuriating

https://jwwreviews.blogspot.com/2024/12/sonic-hedgehog-3.html

Grade: A

(Note: This review will briefly discuss an element in the movie that has already been shown through a lot of promotional material. However, said element is kept a mystery for a little bit of the film and if you're coming in completely cold turkey to this, you may want to avoid this review if you want to be completely surprised).

In the third Sonic the Hedgehog movie, Sonic (voiced by Ben Schwartz) and friends must confront the mysterious and dangerous Shadow the Hedgehog (Keanu Reeves) who is angry at the world.

3 differentiates itself from the last two movies by being the franchise's Empire Strikes Back. This is noticeably darker and contains more mature, tragic elements. (Since the movie features Shadow, they drew a lot of the story from his premiere game which had his origin story Sonic Adventure 2, one of the most serious games in the franchise. Yes, there are more serious Sonic games).  This culminates in a touching and well told story about loss and about how we deal with our past. 

Using the Sonic games anti-hero Shadow was always going to be a bit of a risk as they had just already used an equally fast rival to Sonic in the form of Knuckles (voiced by Idris Elba) in Sonic the Hedgehog 2. Of course there was the risk of Shadow being just more of the same, but he manages to feel fresh. Whereas Knuckles was goodhearted but misguided and had a silly side to him, Shadow is bitter and angry and is played completely straight. He works as a great opposite to Sonic. He's also a boss when he fights, being faster than Sonic and friends and has a wider skill set than them, featuring some style of fights that haven't been done before.

As much as I've talked about the darker elements, that's not to say this movie doesn't have jokes. Honestly the more serious parts and the humor manage to coexist really well. That all having been said, I did think they could've cut down on a few of Sonic's snarky lines.

The whole story culminates in the most impressive final battle in the series. It knocks the other two out of the park as it goes full EPIC.

Admittedly due to the movie being plot heavy and having a lot of characters, some scenes and elements felt like they were sped through too quickly. Also, some of the human characters from the previous films don't have much screen time. (I know some people complain about them, but I like 'em).

Shapiro remains a great casting choice as Sonic. He's an expert of displaying bravado in a fun manner, but when it comes the time for Sonic's more emotional side, he's able to pivot so easily. 

Yes, Jim Carrey as Sonic's enemy Dr. Ivo Robotnik, and this time also playing his grandfather Prof. Gerald Robotnik, continues to be one of the highlights with his comic performance. I was worried that Gerald would be played too similarly to his grandson, and while there are similarities between the two, the guy really feels like a separate person. While in the previous, Robotnik has basically been played as a cartoon villain, this movie dives into his past and what makes him tick, and for the first time Carry gets some more dramatic material, and he really manages to knock it out of the park. (Given that in the past Carry hadn't been a fan of making sequels and that he'd said recently that he was planning to retire, the script here makes it completely obvious why he decided to come back as it gave him more to do).

Highly recommended. Director Jeff Fowler and his writers have reached that extremely rare achievement where all three films in a trilogy are good and there is no quality degradation. 3 manages to be as good as its predecessors but in a different way. 

Janice (Sandy Ratcliff), a teenager living with her traditional authoritarian parents, finds her homelife tempestuously fracturing after a forced abortion leaves her with feelings of guilt and emotional neglect by her mother (Grace Cave) and father (Bill Dean). Causing a frenetic recourse and declining mental health where madness is her only refuge outside the suffocating infrastructure of those who curse a woman who has unconventional prospects outside the “normal” spheres of social acceptability. The culminating family dysfunction breaches its limits, causing her parents to turn to the public health system for a solution to Janice’s emotional instability, leading to her institutionalization.

Loach effectively fine-tunes the film from its broader dimensions into the more focused captive state of Janice’s reality. Bringing us within a hair’s breadth of her parents’ recoiling absolutism towards her, the narrative finds temporary balance through an unconventional therapy introduced by Dr. Donaldson, a progressive family psychiatrist. His methods seem promising for Janice but enter a stalemate with her parents, who remain steadfast in their refusal to accept any accountability for their family’s dysfunction.

Continue reading at: https://cinemawavesblog.com/film-reviews/family-life-review/

Easily one of the best movies ever. Haven’t seen a cinema room this packed since pre 2020.

Source: https://www.reeladvice.net/2024/12/anora-movie-review.html

You never quite know what to expect with "Anora", a film that presents a journey with surprises at every turn. From its provocative, sex-filled first half to a sharp comedic shift in the second, this genre-defying story concludes with a deeply satisfying ending, perfectly closing the chapter on Anora’s whirlwind romance with the son of a Russian oligarch.

Anora (Mikey Madison) is a young sex worker from Brooklyn whose life takes an extraordinary turn when she begins a relationship with Vanya (Mark Eydelshteyn), the son of a Russian oligarch. Their impulsive love story reaches its peak with a spontaneous Las Vegas wedding during one of their extravagant dates. However, the fairy tale takes a darker turn when Vanya’s disapproving parents arrive from Russia, determined to annul the marriage.

Much of the buzz surrounding "Anora" focuses on Mikey Madison’s magnetic performance, and it’s well-deserved. Madison delivers a multifaceted portrayal, balancing Anora’s seductive confidence with her underlying vulnerability. She transitions seamlessly between the character’s fiery strength and quiet fragility, creating a complex and compelling protagonist. Beyond Madison’s standout performance though, the supporting cast equally shines. Karren Karagulian and Yura Borisov bring a lively, comedic energy to the film, enhancing and amplifying its unpredictable and unusual tone. While the narrative doesn’t reinvent the wheel, it thrives on its execution. The story’s twists and turns keep the audience engaged, even if its overall trajectory feels familiar. The chemistry between Anora and Vanya at the start and the eventual path that Anora has to take, lends am authenticity to this tale of young, impulsive love. The film’s primary shortcoming lies in its limited exploration of Anora’s inner workings. While her resilience and external strength are emphasized, the audience is left wanting a deeper understanding of her emotional and psychological journey. This missed opportunity could have added even more nuance to an already intriguing character. Despite this flaw, "Anora" is an exhilarating experience. With its bold shifts in tone, strong performances, and unexpected moments of humor, the film offers a memorable and entertaining ride.

Rating: 4.5 out of 5

Originally posted here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/the-edge-1997-movie-review.html

"The Edge" is an underrated gem that aimed to be a brainier alternative to the loud, brawny blockbusters of the 1990s. Directed by Lee Tamahori ("Once Were Warriors". "Along Came a Spider", "Die Another Day") from a script by the great playwright, filmmaker, and author David Mamet ("Glengarry Glen Ross", "The Spanish Prisoner", "Wag the Dog"), the film is a survival thriller that finds Anthony Hopkins and Alec Baldwin fighting both the elements and themselves when their plane crashes in the Alaskan wilderness.

Hopkins intensely proclaims that "What one man can do, another can do!", and indeed, when confronted with the edge of civilization, the protagonists form strong bonds to overcome adversity. Unfortunately, humanity is also prone to division before unity for any number of reasons, which also applies to our heroes, but I will not reveal any more to keep this review spoiler-free. What I will say is that at the edge is where we discover the true nature of man, and the moral of the story is that intelligence and wisdom are equally if not more important than strength when it comes to survival. The story's psychological and moral complexities are right up Mamet's alley, with well written dialogue and nuanced characters that give Hopkins and Baldwin meaty roles to play as well as some very quotable lines.

While there's plenty of heady material to explore, the movie is also a respectable adventure film with thrilling set pieces, the best of them involving a ferocious man-eating Kodiak bear, and stunning nature photography lensed by veteran DP Donald McAlpine ("Moulin Rouge!", "Clear and Present Danger", "Medicine Man"). Also worth mentioning is Jerry Goldsmith's majestic score which features one the greatest themes ever written that will be stuck in your head long after the movie ends, and was even ripped off by Klaus Badelt for the 2002 sci-fi flick "The Time Machine".

Bart the Bear, who previously worked on movies like "The Bear", "White Fang" and "Legends of the Fall", is the movie's greatest asset. With the help of daring stuntwork and crafty editing, the imposing bear provides the film with a uniquely tangible sense of danger. I can't even imagine what this movie would have looked like today. They would have probably employed CGI for the creature and it would have looked awful. I still cringe when I think about the animated bear in 2022's "Prey".

"The Edge" is among my favorite survival movies, and one that I revisit almost every year. Its perfect balance of insightful depth and man-versus-nature thrills gives it a timeless quality, and while it's not without its flaws, it deserves its place in cinema history and needs to be seen by more people.

Originally posted here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/k2-1991-movie-review-michael-biehn-matt-crave.html

As far as mountain climbing movies go, 1991's "K2" has a particularly interesting background. Directed by Franc Roddam ("Moby Dick" and "Cleopatra" miniseries), it's based on a 1982 one-act stage play by Patrick Meyers, which features only two actors playing climbers stranded on a ledge at 27,000 feet, just below the summit of K2. The play is a psychological drama about friendship, the meaning and value of life, survival, and strength in the face of adversity. The movie, on the other hand, widens the story's scope and turns it into a cinematic adventure, while also incorporating the play's introspective and philosophical themes.

The two climbers are Taylor (Michael Biehn), a womanizing adrenaline junkie assistant district attorney, and Harold (Matt Craven), a physicist with a wife and young son. They couldn't be more different, but despite all that they are best friends, united by a common passion: climbing mountains. A chance encounter with billionaire Phillip Claiborne (Raymond J. Barry), who is putting together a K2 expedition, lands them a chance to ascend the infamous "Savage Mountain". The expedition will not only test their skill and abilities, but also their bond.

The film's first half is all about building character development, but it's also slow and clumsy. The script by Meyers and Scott Roberts ("The American Way", "Shadow of the Cobra") is fairly clunky, with stilted dialogue and muddled ideas, but Biehn and Craven give it their all and their performances make the story constantly watchable and always at its strongest when it focuses on the bond between these two men. The rest of the characters and story aren't as compelling, but sufficient for the movie's purposes.

Of course, no mountain climbing movie is complete without jaw-dropping scenery, and "K2" delivers in spades with gorgeous photography from cinematographer Gabriel Beristain ("Blade II", "Black Widow", "The Beekeeper"). It never goes over-the-top, so to speak, featuring realistic climbing sequences and some breathtaking stuntwork. It's so refreshing in this day and age to go back and watch a movie like this, unburdened by fake-looking CGI. It's not the most expensive or polished movie ever made, but there's a purity to its filmmaking style that just warmed my bitter, cynical heart.

Another highlight is the wonderful score composed by Hans Zimmer, which features rousing cues typical of his power anthem glory days, with stylish electric guitar solos by Pete Haycock, as well as emotional, heart-tugging melodies for the more dramatic scenes. The film was actually released with two scores. Zimmer wrote the music for the European release of "K2", while the US version was scored by Chaz Jankel. I've had the opportunity to watch the movie with Jankel's score, and it's unfortunately extremely underwhelming. In the end, Zimmer's soundtrack was the only one to get a commercial release, and it's absolutely superior to Jankel's music.

On the negative side, some sloppy editing undermines the tension in a couple of scenes, and a rushed ending robs the finale of a bigger emotional impact. The supporting cast is also a mixed bag. Roddam's adaptation ultimately doesn't do a particularly great job of integrating the play's cerebral themes and use of climbing as a metaphor into a broader adventure narrative, but it's still solidly entertaining because the core ideas are strong enough to shine through.

While far from perfect, "K2" is one of the better mountain climbing movies, and needs to be plucked from obscurity. It's also long overdue for a Blu-ray remaster. Seriously, it's getting unjustly passed over, and it's a crying shame, because it would look amazing in high definition.

Originally posted here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/arctic-2018-movie-review.html

The survival drama "Arctic" was the feature debut of Brazilian filmmaker and musician Joe Penna, best known for his YouTube channel MysteryGuitarMan. Penna co-wrote and directed the film, which stars Mads Mikkelsen as Overgård, the lone survivor of a plane crash in the Arctic Circle.

The movie starts well after the fact with Overgård relatively safe and as comfortable as possible in his daily survival routine, which involves ice fishing, working on a huge "SOS" spelled out in the snow and operating a distress beacon with the help of a hand-crank generator. When a helicopter responding to his beacon crashes, he finds himself saddled with a severely injured survivor (María Thelma Smáradóttir). As her health begins to deteriorate, he's forced to embark on a perilous trek through the icy wasteland in order to find rescue for both himself and his unconscious companion.

The movie is more character than plot driven. It operates with minimalistic delivery of information regarding its characters, leaving it up to the viewer to pick up subtle hints sprinkled throughout. This removes pointless exposition, but it's also fairly slow paced and features virtually no dialogue, leaving much of the narrative and emotional heavy lifting to Mikkelsen, who achieves a wonderful performance, a complex one-man show that never falters thanks to the actor's ability to communicate a lot more with just his expressive eyes and face.

Penna does a great job creating an almost first-person account of Overgård's harrowing survival story that immerses us in his isolation and despair, as well as the frustation and helplesness one usually faces when confronted with nature's most unforgiving environment. It is unfortunately held back from greatness by a rushed and somewhat unsatisfying ending, that comes about abruptly and feels a bit too convenient.

Fans of survival movies should be able to enjoy "Arctic", but some might be put off by the movie's glacial pacing and lack of a traditional narrative structure. I do recommend this movie, as I think it's one of the best of its kind, but be warned, it might take a little warming up to realize how good it really is.

I mean technically the last time I watched it was at 17 where I was still old enough to understand the messages of the film, but I didn't really grasp it mainly since I didn't watch it all in one sitting and I was only paying half attention. But tonight I decided to watch it because I needed to get my copy to lend for someone tomorrow anyway, so I thought I might as well watch it tonight while I have it out.

So, when I was say 8, I was absolutely obsessed with Wall-E. I couldn't tell you why, probably just because he's a cute robot and I wanted ALL the figures and gimmicky toys I could find. As an adult, I came away from the movie with different feelings.

The first thing I wanna address is what we see front and centre for the entire time we're on Earth, and what the whole plot is based around. I feel like this is almost too obvious to really say much about that isn't said in the movie already. I feel like it speaks for itself.

What I REALLY wanna talk about it BNL. So, this company has seemingly taken over the world. They make boats, ships, fridges, lighters, basically anything you can think of. Oh and robots too, of course. When we're on the Axiom, we see the humans react accordingly to what the computer tells them to do. They're told what to eat, where to go, how they should feel, etc. It's very dystopian. The only two humans who break through it before the climax are Mary and John - both on accident, both because of Wall-E. This conformed by the books world is alien to him as it is to us. But maybe we're not that far off. How many times have you been influenced by companies telling you what you can and can't do? How many times have you ignored the outside world because you were too addicted to your phone? When Wall-E interacts with Mary, she's taken aback at how the Axiom really looks, as if she's seeing beyond her screen for the first time. Now I'm not saying Wall-E has changed my life or anything, but it's definitely interesting watching it all this time later and having a new perspective on it.

Those types of films are truly the best.

Source: https://www.reeladvice.net/2024/12/heretic-movie-review.html

Who would have thought a film about religion could be both intriguing and unsettling? And who could have predicted Hugh Grant delivering a performance as one of the creepiest villains imaginable? "Heretic" takes a bold approach, exploring the darker, more chilling aspects of missionary work. While its execution falters towards the end, the film stands out as one of the year’s more memorable cinematic experiences.

The story follows two young missionaries (Sophie Thatcher and Chloe East), as they visit a remote house during a snowstorm. They are greeted by Mr. Reed (Hugh Grant), who promises them his wife is baking blueberry pie inside his house. The pair sees an opportunity to share their faith and accepts his invitation to come inside. However, they soon discover that Mr. Reed has far more sinister plans, ensnaring them in a deadly game where their beliefs - and their lives - are put to the test.

Ironically, it’s the slower, quieter moments of "Heretic" that leave the most lasting impact. The film doesn’t rely on overt scares but instead crafts a deeply unsettling atmosphere that keeps viewers on edge. While some may find this decision to be lackluster, the movie’s intent seems less about delivering pure horror and more about exploring the discomfort and challenges of missionary work. In this, it excels. Hugh Grant is the film’s standout, delivering a disturbing and transformative performance as the cunning Mr. Reed. It’s a rare turn for Grant, stepping away from his usual charm into full-blown menace, and he does so with chilling conviction. Thatcher and East provide solid performances as the innocent missionaries caught in Reed’s sinister web, effectively conveying vulnerability and resilience. However, "Heretic" stumbles in its final act. The narrative rushes to wrap up its story, resulting in abrupt tonal shifts and underdeveloped character arcs. Key moments lack coherence against the film’s earlier scenes, leaving the twists feeling unearned and the resolution unsatisfying. Despite its flaws, "Heretic" is a film that lingers long after the credits roll. It delivers an unsettling exploration of faith and while not without missteps, it offers a unique and thought-provoking cinematic experience that will spark conversation for those willing to dive into its dark depths.

Rating: 4 out of 5

Originally posted here: https://short-and-sweet-movie-reviews.blogspot.com/2024/12/vertical-limit-2000-movie-review.html

The year 2000 was a huge year for blockbusters. "Gladiator", "Mission: Impossible II", "X-Men", "The Perfect Storm", "Charlie's Angels", "The Patriot", "What Women Want", "Scary Movie", "How the Grinch Stole Christmas", "Meet the Parents" were among the big hits that came out that year. The high-altitude adventure thriller "Vertical Limit" is not one of the major movies of that year. It did okay, but is mostly forgotten today, and has gained something of a bad reputation. For me personally, it's a solid "so bad it's good" guilty pleasure that I enjoy revisiting.

Directed by veteran action helmer Martin Campbell, who is responsible for two of the best James Bond movies ever made ("Goldeneye" and "Casino Royale"), the film is a rip-roaring adventure set on K2, the second highest mountain in the world, after Everest, and it involves a motley crew of climbers who set out to rescue three stranded climbers stuck in a crevasse at 26,000 feet. To this end they bring along canisters of highly unstable military-grade Nitroglycerin. Is this the best idea in the given situation ? Probably not, but who really cares ? "Strap on the nitro !" as one character says in what feels like a line written specifically for the trailer.

It should be noted that climbers absolutely hate this movie. American free solo climber Alex Honnold said it was the least realistic and worst depiction of rock climbing in any film. I wouldn't know, but even to the uninitiated, it still feels horribly innacurate. Although, to be fair, taking this movie seriously or demanding it be realistic, is in fact missing the point. The script, written by Terry Hayes ("The Road Warrior", "Dead Calm") and Robert King ("The Good Wife", "Evil") was originally meant to be a sequel to the 1993 Sylvester Stallone flick "Cliffhanger". An idea as bonkers as blowing holes in a mountain using Nitroglycerin absolutely belongs in a 1990s action flick. To Campbell's credit, he does at least try to keep things as down to earth as possible given the over-the-top premise. It's also a fairly brutal movie, racking up a healthy amount of injuries and broken bones, as well as deaths by explosion, avalanche, noble sacrifice, or straight up murder.

Overall, the writing isn't as horribly bad as other movies I've seen, especially in recent years. Some lines are at least amusing. However, it's also far too generic and cliche-ridden to stand out among much better action-adventure movies. The set pieces strain crediblity to its breaking point, but they are fairly intense and fun, lovingly crafted and executed, beautifully shot by DP David Tattersall ("Con Air", "Star Wars" Episodes I, II and III), and vigurously edited by Thom Noble ("Witness", "Red Dawn", "The Exorcist III"). It also features a fantastic score composed by James Newton Howard with an ear-worm of a main theme.

Scott Glenn, Robin Tunney, Chris O'Donnell, Izabella Scorupco, Alexander Siddig, Ben Mendelsohn, Temuera Morrison, Robert Taylor, Bill Paxton and Nicholas Lea round out a solid ensemble of stock characters. Nobody gives the performance of a lifetime in this movie, some are a bit wooden, but nobody is phoning it in, either, and the actors even performed many of their own stunts. Paxton and Glenn are just about the only standouts, doing the most with what they're given. Let's just sum it up by saying the acting is passable and move on.

If you're a climber, you should avoid this movie. It does to mountain climbing what the "Gladiator" movies do to history. But if you usually enjoy well-crafted mindless action flicks, you can always do a lot worse than "Vertical Limit".

So I wanted to see the 2024 documentary fly because it highlighted an activity that always looks cool but too dangerous for me to ever want to do. That activity is base jumping.

This was a very good documentary. You get to hear multiple groups talk about their experiences and what it’s meant to them. Along with that you get some amazing aerial and POV video but what really makes this a great documentary is that you get these people talking about What it’s meant to them but also the dangers.

To summarize, even though this is an activity that I would never try, even though I’m up for bungee jumping and wing walking, it was still a fascinating documentary to watch

Rating-4.5/5

I just watched Dog Day Afternoon for the first time. God damn I love John Cazale.

Source: https://www.reeladvice.net/2024/12/carry-on-movie-review.html

Action films and Christmas - a tradition as enduring as the holiday itself. Netflix attempts to tap into this unique magic with "Carry-On", starring Taron Egerton as an airport security agent who finds himself blackmailed into letting a dangerous piece of luggage slip through his scanner. The film might best be described as a silly yet entertaining ride, one that requires audiences to suspend disbelief to enjoy its action-packed moments fully.

Ethan Kopek (Taron Egerton) is a security agent at LAX who has just discovered he is going to be a father. On Christmas Eve - the airport’s busiest night - he’s eager to prove himself worthy of a promotion and lands a chance to man the X-ray machine. But his ambitions take a dark turn when a mysterious traveler threatens him, forcing him to be an accomplice to smuggle a mysterious carry-on onto a flight. Ethan is faced with an impossible choice: save one life or risk the lives of many.

At its core, "Carry-On" feels like a throwback to '90s action films, with clear aspirations of becoming a modern-day "Die Hard" counterpart. While some familiar story beats are present, it ultimately falls short of matching the iconic holiday classic. Still, the film has its merits. Taron Egerton delivers a compelling performance as the everyman protagonist, balancing vulnerability and grit. Jason Bateman, stepping out of his usual comedic roles, shines as the cunning and cutthroat villain - his subdued yet menacing demeanor adds an edge to the narrative. The film also boasts a few standout action sequences, including an intense car chase on a freeway that recalls the raw energy of a "Kingsman" film. However, "Carry-On" often stumbles under the weight of its own implausibility. Some plot points stretch believability to the breaking point, even for an action film. These convoluted setups repeatedly disrupt the immersion, making it difficult to stay engaged. Despite its flaws, "Carry-On" is not without charm. If you’re willing to embrace the over-the-top scenarios and focus on the spectacle, it offers an enjoyable holiday diversion. It may not redefine the genre, but it’s an entertaining option for those undecided on what to watch during the festive season.

Rating: 3 out of 5

I 17FTM have continuously heard my parents (60F and 69M) talk about Green Mile. So I wanted to watch it. I haven't been able to find it. Until tonight. I am currently crying and watching Happy Feet lol. I did not know it was going to be like that. Del's execution was... something. I know his crimes were horrid, but I generally was so disgusted with Percy with this. I felt bad because no one should have to live through a death like that. The way John was played was amazing. You don't see enough of that like innocent and just trying to help big men played in movies. It was like you could feel the emotion with how well it was played.

I feel like a lot of acting isn't like that. There was so many moments where I felt so emotional to scenes. John's death was obviously so heartbreaking. The fact they honored two wishes. To watch a flicker film and also to keep the cloth off his head. Then the scene with old Mr Jiggles. Ugh. I told my mom I was crying cuz of it and she said "yea that movie does that to you".

Even if I knew the Wild guys charges, actually watching it play out through John was so heart wrenching for the girls. So yea this was.. an experience lol. It shows so much emotion. And I like the fact it shows how racism could affect people. John being a man who just wanted to help, being convicted quickly without anyone even looking around. I also love him and Del’s friendship if you can call it that. And I honestly giggles at the scene with the cornbread where John just side eyes “I… think I’ll keep the rest of it boss.” Love it.