witster18
Joined Nov 2006
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witster18's rating
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witster18's rating
The original film was a bit camp, and relied on digital wonder, sound, and root-worthy characters. Its plot was similarly simple, but fascinatingly fresh. Tron Legacy built upon that foundation, providing an update, and Daft Punk's extraordinary soundtrack. Legacy did a fine job of entertaining the audience while having a secure connection to the original film.
Like Legacy, Ares received early mixed reviews, but fits perfectly in the franchise. The look is still fasinating, and unsurprisingly, NIN's soundtrack works as effectively as Daft Punks, fitting rather seemlessly into this entertaining "popcorn-flick". The film sounds incredible.
Leto's Ares is the real show stealer, providing a bit more character depth than i expected. The films' plot is no more complex than the first two films, but none of the films are as systematically complex as the subject matter might suggest.
I suspect Tron fans, and those who don't mind some style over substance, will enjoy the film, while others will find it as forgettable as the original. That's to say that those who have looked forward to the film, those who kniw what to expect, will not be disappointed
At the very least; it looks good, it sounds great, and it didn't overstay its welcome - that's more than I can say about the third installments from some other franchises. Not bad.
69/100
.
Like Legacy, Ares received early mixed reviews, but fits perfectly in the franchise. The look is still fasinating, and unsurprisingly, NIN's soundtrack works as effectively as Daft Punks, fitting rather seemlessly into this entertaining "popcorn-flick". The film sounds incredible.
Leto's Ares is the real show stealer, providing a bit more character depth than i expected. The films' plot is no more complex than the first two films, but none of the films are as systematically complex as the subject matter might suggest.
I suspect Tron fans, and those who don't mind some style over substance, will enjoy the film, while others will find it as forgettable as the original. That's to say that those who have looked forward to the film, those who kniw what to expect, will not be disappointed
At the very least; it looks good, it sounds great, and it didn't overstay its welcome - that's more than I can say about the third installments from some other franchises. Not bad.
69/100
.
Monolith is a slow-burning thriller with a rather convincing lead-performance. It shares some admirable qualities with films like Pellington's "I Melt with You", or Jonathan Glazer's "Under the Skin". Fans of creepy atmospheric indie-thrillers will truly enjoy this little film. Instantly thrust onto '22s top-25, and even though I'm only 1/3 of the way through the '22 watchlist, I'd say there's little chance this won't hold onto a top 15-20 spot. For now it's number 7,
The film is deliberatly paced, but builds nicely throughout. It evolves from mysterious to more thrilling and intriguing as it moves along. The ending will divide audiences, and surely draw its share of ire, but I found it quite effective and symbolic. The entire film centers around the weight of guilt, lies, and decisions, and the way this is all tied into her career-is, in hindsite, quite brilliant.
Monolith is definitely worth a spin, and will be going on the 4th installment of ""Jeremy's B-Movie Marathon".
70/100
You might like this if you liked: I melt with You - about even Under the Skin - About Even Finchers The Girl with The Dragon Tattoo - better Wasted on the Young - about even.
The film is deliberatly paced, but builds nicely throughout. It evolves from mysterious to more thrilling and intriguing as it moves along. The ending will divide audiences, and surely draw its share of ire, but I found it quite effective and symbolic. The entire film centers around the weight of guilt, lies, and decisions, and the way this is all tied into her career-is, in hindsite, quite brilliant.
Monolith is definitely worth a spin, and will be going on the 4th installment of ""Jeremy's B-Movie Marathon".
70/100
You might like this if you liked: I melt with You - about even Under the Skin - About Even Finchers The Girl with The Dragon Tattoo - better Wasted on the Young - about even.
PYW is a smart and entertaining tonal mish-mash starring Carey Mulligan as a vengeful, witty, supposed-killer. There is a delicate balance between the films' disturbing subject matter, its' dark humor/satire, poignancy and stylization.
Fennels' debut is undeniably fascinating. Now, it's not Antal's "Kontroll(Control/87/100)" fascinating, nor Mendes' American Beauty(90/100), beautiful, but she definitely scores here with sharp casting, storyline, and pure-shock value. Mulligan is fantastic. The opening sequence is fantastic. I guess, after the title sequence, I was hoping the whole thing would go robert rodriguez' grindhouse aesthetic. I understand what the film was going-for in terms of content restraint and anti-exploitation, but the abandonment of the typical exploitation look/gore kinda hurts the film imo. It could have exploited the heck out of every aspect except the women, and still served its' message, no?
The opening and title sequence have a pleasant grind-house quality. I wish the film had kept that sharp edge/stylization throughout, but it gets slightly-less visually creative as it goes. At times, it looks a bit too much like its' light-hearted indy!roots. I wish it would have been a bit darker and more serious in tone tbh, but then again, Anna Kendrick's "Woman of the Hour(75/100)" did that, and was no better than this(both are pretty good - despite my criticisms).
The film does an excellent job with the late twists and its' unexpectedly "tidy" conclusion. It is entertaining and certainly buzz-worthy. Straight to '20s Top-25 List.
You'll like this if you liked: American Psycho(better), Spring Breakers(much worse), Brick(slightly better), or Deathproof(better).
76/100.
Fennels' debut is undeniably fascinating. Now, it's not Antal's "Kontroll(Control/87/100)" fascinating, nor Mendes' American Beauty(90/100), beautiful, but she definitely scores here with sharp casting, storyline, and pure-shock value. Mulligan is fantastic. The opening sequence is fantastic. I guess, after the title sequence, I was hoping the whole thing would go robert rodriguez' grindhouse aesthetic. I understand what the film was going-for in terms of content restraint and anti-exploitation, but the abandonment of the typical exploitation look/gore kinda hurts the film imo. It could have exploited the heck out of every aspect except the women, and still served its' message, no?
The opening and title sequence have a pleasant grind-house quality. I wish the film had kept that sharp edge/stylization throughout, but it gets slightly-less visually creative as it goes. At times, it looks a bit too much like its' light-hearted indy!roots. I wish it would have been a bit darker and more serious in tone tbh, but then again, Anna Kendrick's "Woman of the Hour(75/100)" did that, and was no better than this(both are pretty good - despite my criticisms).
The film does an excellent job with the late twists and its' unexpectedly "tidy" conclusion. It is entertaining and certainly buzz-worthy. Straight to '20s Top-25 List.
You'll like this if you liked: American Psycho(better), Spring Breakers(much worse), Brick(slightly better), or Deathproof(better).
76/100.
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