Let’s start with what this ISN’T. Despite the title, it isn’t an Omen-like horror film and it isn’t remotely like Kingdom or amsuing in the least. It IS something between a “call to arms” and “a cautionary tale,” depending on how you veiw it. Or both. From the beginning it is quite in your face with its subject matter: sex, power, andgender relations. That isn’t apparent till well into the movie, but it is there on reflection. Now either this film is about why professionals should never treat their own family or it is a call to arms for women in general to overthrow male dominance and take an equal, if not dominant, standing of their own (or bothg). Ultimately, this is a beautifully filmed, creepy, taught psycho-sociological drama with moments that will make you cover your eyes… they’re just too real. It is effective, if a slight head-scratcher in some ways. It also provided me with my best reason yet for never going camping!
OK, yes, more of the same of the original, but that is saying something. Good movie? No, not really, but rip roaring fun and jaw-dropping stunts and fighting. Viewed as extreme dance, way cool. Definitely done with more money than B13 was, but it didn’t lose itself in that trap, using the $$s to improve film quality and the occasionl prop and site rental. Not for everyone, but if you love Jackie Chan for the choreography, you’ll love this.
Gilliam’s best in years capturing all the whimsy and outrageousness he is capable of, while still keeping a story going and grounded. Add to all of this Ledger’s last performance and the extraordinary solutions to work around his loss and we were sold. Admittedly, Gilliam is an acquired taste, but we’ve loved this flavor for years.
Yeah, you’re right, this should have sucked, but it didn’t. Mostly due to Seyfried’s performance and Cody’s improbable but engaging Whedon-esque dialogue and plot. Is it brilliant? No. But we’d watch it again, which is our bar for 4 stars. If you like teen horror flicks, but want something with more, um, teeth, you’d like this one.
At the risk of a badly selected metaphor, this wonderful animation is a fish out of water. In an era of 3D rendering, I understand why kids really didn’t get the wonder. While, as always, you can debate the value and pace of the story (the prince really does change for no apparent reason), the art and music, and even most of the humor, are worth the watch.
This just hast to be the highest body-count of main characters in a series ever. Fun, tense, and occasionally shocking… and no one is safe. Admittedly, by this 7th series, you’re looking for the clues as to who will be next rather than being too surprised, but they do find some spectacular ways to dispatch their cast.
OK, this is gonna be a long one—but there is so much that needs to be said. But if you’re looking for the quick answer: it isn’t a wasted 2 hours, but we probably wouldn’t watch it again.
So, where do you start with a musical.. and one that you may have actually seen when it was first opened on Broadway? The good: incredible visuals and dancing. Great female performances and engaging music. But it all misses the mark and the point. Marshall blows it from the first scene that is there to establish Contini’s duality of man and child, artist and husband. He opts for fun choreography and tight close-ups, but loses the division and internal struggle. You also just never believe this man is a genius—everyone tells you he is, but we really never get to see that. He comes across as a faker. In truth, Felini may have even found that aspect amusing.
As to Daniel Day-Lewis, he is no Raul Julia, who played the part originally. He has none of the joy of life that Julia had. This is probably a directorial and editorial issue as they also cut songs and moments from the original that caught those aspects. All of Lewis’ joy and creativity is shown only as he watches the fantasies he creates.. and then it is almost only watching a woman he knows singing and dancing… he only participates once, by proxy, as a boy.
Ultimately, this was never going to be a crowd pleaser film. Nine is not a happy and light story (and neither is 8 ½). It is Felini fer chrissakes! And worse, how many people even remember who and what Felini was to film and art? So, I won’t say don’t watch it, but take it as a variety show of some great moments that never quite come together into a story you’ll care about.
Art, writing, life explained… or at least commented upon…