Commentaires de Ynocrozplatfom

28 Years Later is a zombie apocalypse film that mistakes chaos for depth, resulting in an exhausting mess that fails to resonate. Every character feels unhinged, their erratic behavior disorienting and confusing, with the possible exception of the ritualistic "weird" character, whom others dismiss as mentally unstable. The cinematography and editing are disastrous: rapid, shaky cuts induce nausea, while abrupt shifts to slow, lingering pans create whiplash. Some may praise its chaotic style as artistic, but to me, it feels incomprehensible.

This F1-inspired sports car movie delivers high-octane thrills but relies heavily on exaggerated "dirty tricks," undermining the authenticity of Formula 1's strategic depth. The lack of genuine team rivalries and distinctive driver skills, replaced by Hollywood clichés such as sensationalized personal conflicts and predictable redemption arcs, fail to capture the sport's competitive essence. While the races deliver dramatic split-second decisions, they grow repetitive over the 2.5-hour runtime, and the visuals, though captivating, add nothing to surpass the spectacle of real F1 broadcasts.

The film's meticulous attention to the details of how warfare unfolds is impressive, offering a level of realism that could serve as a case study for military training. Yet, this hyper-detailed approach might feel less like a cinematic experience for mainstream audiences and more like specialized material for military enthusiasts. Scenes in Warfare shine with authenticity, particularly in their small-scale focus on a singular event in war that could arguably be happening frequently on the battlefield but is rarely depicted on screen. These moments capture the raw intensity of combat, drawing viewers into the visceral reality of loss and survival. However, the film's choice to unfold in near-real time leads to a sluggish opening, with prolonged stretches of inactivity that may feel drawn out. While the narrative gradually builds momentum, the pacing remains uneven. The film's ultra-realistic approach may also feel awkward at some occasions in terms of the dialogue and how the events unfolded.

The latest (or potentially final) movie in the franchise delivers a mixed experience that struggles to live up to its predecessor. While the action scenes are somewhat engaging, they lack the innovation and originality that made the previous installment stand out, feeling largely uninspired. More critically, the plot is overly convoluted, making it hard to follow the characters' motivations or understand their actions, which significantly detracts from the viewing experience. The Entity, portrayed as a sentient AI, is inevitably depicted as an implausibly omnipotent antagonist, undermining any sense of logical storytelling by lacking credible limits or weaknesses, rendering the conflict illogical and the stakes hollow. While the movie attempts to build on plot points and relationships from earlier films, it gets embroiled in endless exposition and flashbacks, further muddling the narrative. As a potential finale to the franchise, this movie is a disjointed and unsatisfying close to the series.

This film pulls no punches, and leans harder into psychological devastation than other war epics. By focusing on a small slice of the warfront, it unleashes a relentless torrent of brutality and bloodshed that tests the limits of the audience's endurance. The film depicts a never-ending, lifeless hell swarming in despair. From merciless massacres to the corpse-strewn trenches, every frame screams the atrocities of war. By sharply contrasting youthful idealism with instant disillusionment, brotherhood with soul-crushing isolation, and infantry carnage with the extravagance of distant commanders, the grim reality of war is vividly portrayed, offering no redeeming qualities whatsoever. Daring to go full gut-wrenching, it stands out as a stark and realistic portrayal of war's futility.

The filmmakers have challenged themselves to improve upon their previous work, and they have totally succeeded. They poured their hearts and souls into stepping up their game and enhancing the stunt sequences, creating breathtaking action scenes that are a testament to their dedication and unwavering commitment to surpassing the achievements of the franchise's predecessors. This movie boasts an abundance of original and innovative stunt work that is perfectly executed, creating stakes that might be formulaic but still feel compelling and authentic. As adversaries grow increasingly omnipotent and omnipresent, it is hard to sit through any movie nowadays without questioning how the protagonist could have endured so long, and this film is no exception. Nevertheless, when comparing it to similar films, it undoubtedly establishes itself as a benchmark for future works in the genre.

This movie deals with a concept where even adults are grappling with every day. Even though it is set in a childhood context that everyone would have gone through growing up, the fact that we are evolving and maturing in a process of self-discovery and introspection just like Riley was makes the film ever so authentic and relatable. Although the movie gets slightly over-the-top at times, it manages to make time for expansive world-building of the inner mind in a hilarious manner that hints at limitless possibilities, without losing focus on the core plot line and "playing" with our emotions, which speaks deeply to the hearts of the viewers.

As with other action-packed movies of the franchise, this movie lives up to the John Wick name with well-crafted choreography and intense long shots. Yet similar to its predecessors, this movie still falls slightly short on the plot. The story feels dragged out occasionally, and rehashing the similar stakes only make the movie feel less thrilling. It is only the sustained originality with creative camera angles, weapon choices and distinctive combat styles for every main character that keeps adding something fresh to the franchise and fixes the audience's eyeballs on the big screen despite more than 2 hours of pure fighting.

Although the premise of the entire film is built on shaky grounds, and the resolve, unfortunately, succumbs to the obnoxious "protagonist has visions and decides to no longer seek revenge on antagonist" cliché, the movie was eventually able to integrate those pieces from a fragmented style of storytelling during the first acts and tell a somewhat coherent story. Powered by phenomenal performances of the cast from the Wakandan side, the tragic passing of Boseman was utilized to great potential, elevating the movie to end on a solemn and emotional high note, which stands out as a somewhat rare entry in the recent MCU.

The movie has preserved the high standard of narration from the previous one, telling a beautiful and simple yet intriguing story with clever little details sprinkled throughout that made it more enjoyable. Yet when it comes to the reveal, the movie did not feel like layers of an onion peeling off one by one to reach its core, but instead like an arrow being shot straight at the centre of the onion and we suddenly land there where everything just happens and miraculously yet unsatisfyingly falls into place. Despite this, this movie is able to nail its ending in a satisfying way without feeling cliché.

This film, with that kind of world building, visuals and narration style, feels more like a triple A video game in story mode than a movie in retrospect from the twenties. But concerning that this movie came out at a time when smartphones weren't even a thing, one can only imagine how pioneering and groundbreaking it was at the time of initial release. The film struck a fair balance between telling the story while sprinkling in the underlying themes, with the advantage of powerful and striking visuals, helped elevate the emotional impact and bring out the message from the filmmakers as they obviously intended without making the movie feel too much like propaganda.

This movie, or should I say, video game story is a familiar product from 2009. The difference from its predecessor being that the focus feels forcefully transported from the forest to the ocean just to show off the underwater motion capture technology they waited so long to mature, yet better capture technology still could not cover up the distracting flaws from bad facial acting. The storyline flaws from the last movie, unfortunately, seemed to be exemplified from being cliché to straight up illogical and self-repeating; and the movie should no longer rely solely on the immersive visuals to stand as a landmark movie.

This movie is a random pot of nonsense with cheap and borderline funny jokes scattered across. It has no coherent story, and one may argue this movie has no plot at all. The seismic tonal shifts are also unbearable. One second it seems to be earnestly exploring themes of family conflict and legacy, but a second later they devolve into a slow-motion fist-fight destruction montage for no reason, nothing happens afterwards and the characters still live their usual lives. The characters are still the exact same characters at the start of the movie, and the tiniest of character revelations have nothing to add to the plot at all. No idea why this movie could succeed at the box office.

Full of fist-clenching fight scenes that always manages to exceed the previous one, this movie is wave after wave of intense fighter jet combat that is absolute pure adrenaline, starting and ending on a high note without a dull single moment.

The Northman has impressive cinematography that well demonstrates the spectacular Nordic scenery with skillful camera work throughout that serve the thrilling fight scenes well. Despite the presence of hiccups from an occasionally flawed and predictable plot that feels somewhat stretched out, such a story that is carefully intertwined with ancient Nordic cultures and lifestyles gives what is necessary for this revenge story fascinating to watch nonetheless.

This movie is a never-ending nightmare full of nauseating drone shots, sloppy editing, excessively shaky camera work and non-stop illogical yelling with a plot that defies reality and common sense, yet still tries to stretch out to accommodate for occasioal funny scenes and a seemingly touching story. The end product is a giant piece of nonsense that defeats every single thing that the movie wants to tell.

It is hard to imagine a movie that is comical, funny, cool, chaotic, dark and refreshing all at once. Yet the creative minds behind the scenes was able to pack this majestic roller-coaster all into one movie.

This one-of-a-kind film is able to hold up to its ambition of paying homage to multiple genres across the mutiverse and delivering on multiple themes while not feeling disjointed, and the experience just gets better for the Chinese audience who understand the language. Although the movie crumbles slightly at the end under its own weight, and some themes could be developed more profoundly, with strong visuals, cleverly designed gigs, eccentric acting and immersive editing, this textbook version of cinema has excelled in all technical aspects of achievement that few other have achieved.

Unlike the previous installments of the MCU which made good use of previous world building in establishing their story, Doctor Strange 2 instead crammed too much new exposition into the movie, making the story so violently overpaced that the audience does not have time to digest, and the end product could only be seen as a forgettable fast-forwarded story with little weight. This is situation is exacerbated by Marvel's attempt in making something new with horror elements and a darker tone, which itself is commendable, yet when mixed with out of tune Marvel humour, purposeless characters and poor editing, this movie can only be seen as an inconsistent multiversal mess that one would hope that a better version exists among the vast realities.

Minimal stakes plot with no suitable exposition. Remotely relevant characters that somehow exist for no reason. Complete scenes that are somehow edited to fragments, making the tone all over the place. Addition of more pointless plot points and devotion to chemistry-less characters. This movie does not seem interested in illustrating scenes that are the most crucial to the main plot which prohibits emotional attachment into any of the characters, despite 2 (arguably 10) previous installments of build-up and foreshadowing, which is a shame given the scale and potential of the wizarding world.

This reboot takes a more practical and grounded approach to the Batman, which definitely made the film more relatable, but instead of providing more details on the premise of this Gotham city and the character settings, the movie spends time illustrating standard Batman elements, which unfortunately are not closely intertwined enough to the main mystery, making the story feel somewhat unsatisfying and empty. The detective part also seems like a direct exposition that presents itself, which was a wasted opportunity for a step by step drive towards the core that indulges the audience. But all in all, with a matching tone, a suitable colour schema and unique visual effects, this movie stands out as a refreshing type of comic book movie that many fans would love.

The movie tells an increasingly intriguing story with good direction and great acting from the ensemble cast, but after committing so much screentime into the main characters and interesting side plots of the story, it seems that the movie is ended hastily and is unable to come up with a satisfying ending that is a sum up of many of the plot points that make the story interesting in the first place.

This movie is a huge melting pot containing the kind of silly talk with everything you could possibly think of, which seemed nonsensically funny at times but just flat out awkwardly embarrassing at others.

A movie with an interesting premise and mechanism, but is presented in such a convoluted and chaotic manner that perhaps even Nolan himself wouldn't get if he weren't the screenwriter.

A thought-provoking and emotional story that wonderfully tackles multiple themes about family, aspirations, tradition and death throughout with a tightly interwoven Mexican culture background and clever plot revelations, which when presented with state-of-the-art animation, powerfully reverberates with audiences from all cultures and backgrounds.