Not exact matches
The portion of the film after DiCaprio exits the
movie is very disappointing, and also
surprising because conflict
in most Westerns is resolved
in a gun fight between the primary hero and
bad guy (Earp vs. Clanton, Munny vs. Little Bill, etc.), not
in the falling action manner of this film.
Earlier this year Paramount and J.J. Abrams»
Bad Robot Productions dropped a major
surprise when it was announced that Dan Trachtenberg's Valencia was actually called 10 Cloverfield Lane, and now it seems we may have another Cloverfield
movie in the pipeline.
Provided you don't get too blootered, report back early to the BFI Southbank on Saturday and Sunday (August 14 and 15) for a two - day smorgasbord of exclusive clips, blockbuster previews, on - stage Q&A s,
surprise appearances, screenings, Kim Newman's Bastard - Hard
Movie Quiz, host Chris Hewitt's
bad jokes, and tons of spot prizes that are
in no way just the old tat lying around the office.
Rushmore may have shades of J.D. Salinger's writing and Hal Ashby's
movies, but Wes Anderson pulls humor from the trickiest of situations (the only actual jokes
in the
movie are
bad ones, and
in context, they are really funny) and always manages to
surprise.
One thing I've noticed when Smith essays such a performance
in a
movie that's not entirely
bad (and this
movie is rather good): my fellow critics seem a little
surprised.
Paddington was a nice
surprise in 2015, and that
movie and its sequel, Paddington 2, have something
in common besides the eponymous bear — criminally
bad marketing campaigns.
The first Paddington was such a pleasant
surprise, a warm and gentle and funny family
movie that felt no need to indulge
in the
worst habits of most moves aimed at children, so bring on the sequel.
With memorable
surprises from the innovative «Cloverfield» to the crowd - pleasing «Rambo,» things were looking up for moviegoers everywhere — that is, until «Over Her Dead Body» quickly reminded us that it's still winter, and that
bad movies go hand -
in - hand with the chilling cold.
So is Rachel McAdams (seemingly channeling Rose Byrne
in Bad Neighbours), and there are some nice
surprises in the supporting cast like Sharon Horgan from TV's Catastrophe, and Jesse Plemons being funny enough to steal the whole
movie.
Films like Beasts of the Southern Wild, Silver Linings Playbook and Amour got some extra exposure, which is nice (I wouldn't have seen Amour if not for its
surprise nominations, and I loved the living hell out of that
movie), and this is the first good Spielberg film
in a decade, so there are
worse Spielberg films to glorify.
No
surprise, the
movie that is taking the deep - space drama down is
Bad Grandpa — the latest feature
in the successful Jackass franchise.
The route that David Ayer and Skip Woods» script takes wouldn't feel so anticlimactic if it weren't lacking so
badly in any sort of tension, because there's nothing about «Sabotage» that's even remotely
surprising, except perhaps for the fact that a
movie with such a cool premise and awesome cast could be this boring.
What is
surprising however is that the film was made with the full co-operation of NASA - especially when there are no second guesses as to who the
bad guys
in the
movie are!
The most interesting thing about Buffy the Vampire Slayer is spotting the budding newcomer: Ben Affleck appears briefly as an overacting rival basketball player (a marginal
surprise, as Affleck seldom shows a pulse anymore much less an instinct to upstage); the better - as - a-boy Hilary Swank portrays one of Buffy's idiotic pals
in easily the
worst performance of a terribly - performed
movie; David Arquette sprays spittle - flecked invectives; and the unbearably beautiful Natasha Gregson Wagner has the bloodless role of a victim.
I have a feeling if a moment of
surprising intelligence were to accidentally bubble up to the surface of this cesspool, his fans might feel mighty uncomfortable (I'm talking strictly about the people who consider Punch - Drunk Love the
worst movie he's ever made)-- as uncomfortable as they are with sexuality
in general.