I thought this was another movie. I thought it was Bodied, about a white guy who enters the world of battle rap. That one’s not supposed to be that great, but this movie had a workman-like quality that made it watchable. White boy in a black world of drug dealing. Kind of cardboard characters, but everyone does a good job with their parts, and it’s not boring.
This wasn’t as good as it was cracked up to be (Best Picture, Comedy or Musical, at the Golden Globes?), but it made for fine airplane fare. It was fun, and mostly witty and nice to look at. Lots of attractive people, clothes and cars and baubles and all that… it passed the time.
Equal parts charming and clumsy. It felt like a senior project, and the script had all the usual characters, as if cut from film school cardboard. But there is heart, and… Oakland.
An oddly engaging movie. There is nothing that a synopsis might tell you that would indicate the level of engagement that this story engenders. It may be in part the fact that we see most of the movie from the point of view of the children, who, however mischievous they may be, remind us always that what they represent is hope and possibility, for all of us. Disneyland may be an overt symbol of the fantasy life we all desire, but these kids show us that real life can be full of joy as well.
Disappointing to the point where not even Ryan Reynolds’ charms could revive it. Not even Rachel Weisz as a love interest could save it. There is too much script here. You can just see the writers piling it on. One more wrinkle, another complication, the expected unexpected. And back around to the beginning. Cute by a little too much.
Started out pretty strong, then quickly devolved into cliché. Woody Harrelson is a good choice for this role, and he makes the film watchable, even when the script gets lazy and offers up the most predictable situations. A pretty good way to kill time on a plane, but otherwise…
Netflix can do no wrong, it seems. This is a film that, on the surface, I wouldn’t expect to enjoy so much. The cast is not one that I have much interest in. But I’ve never liked Adam Sandler and Ben Stiller so much as I did here. They are both excellent, good enough to keep up with Dustin Hoffman, with no-one outshining the others.
Ah, the writer/director is Noah Baumbach… That goes a long way in explaining the quality on hand.
I don’t watch a lot of “horror” films, because they are almost always too predictable and clichéd. This one is anything but. It is very good at making the viewer feel a little bit uncomfortable, and then very slowly ratcheting that up. Until all hell breaks loose.
I did not see that ending coming…
I was told this was slow-moving. It was. And yet it never lagged. It’s a simple story, told without any flourishes. Straightforward cinematography, lighting, wardrobe, shot on location. I expected more yelling and screaming, more crying…
But it’s all about the dialogue and the acting. This is an example of ‘simple is best.’ Or almost best. I’m still glad that an equally quiet and straightforward film, Moonlight, won the Oscar for best picture this year. And Casey Affleck? He may have been the most deserving of the nominees, but I still think that Alex Hibbert, Ashton Sanders, and Trevante Rhodes should have been jointly awarded Best Actor for their work as Chiron in Moonlight…
Feels like a teen angst movie from the ’80s, if John Hughes had made films about a closeted gay guy in the ’90s, with a Canadian accent and a good deal of blood.
I didn’t realize that Isabella Rossellini was the voice of the pet hamster… that makes it all the better.