The first
film felt smart and fresh.
Not exact matches
There are some clever themes about identity, the nature / nurture debate and good guys and bad guys, but you never
feel as though the
film gets too
smart for its own good.
I
felt as invested in Mark's journey in this
film as I did Tracy's, which is a testament to the
smart choices made throughout.
Even though it relies on a gripping
feel of intense paranoia, this is an overlong sci - fi / horror movie that suffers from certain problems in logic and kills its tension with long passages that make the pacing irregular, not even being
smart enough as an allegory like the original
film.
There is nothing conspicuously revolutionary about the «The Kids Are All Right», a sleek,
smart, enormously entertaining
film about a middle - aged lesbian couple (played by Annette Bening and Julianne Moore) whose teenage kids seek out the sperm donor who is their biological father (Mark Ruffalo); it has big - name actors, a sun - dappled Los Angeles setting, and the
feel of a classic Hollywood comedy at its snappiest.
Sure, cataloging the
film's copious references and antecedents will make critics
feel smart — but does that just make First Reformed fan service for those who share Schrader's obvious affinity for Bresson, Andrei Tarkovsky, and Ingmar Bergman?
Despite a passable grade, given the stretched - out
feel to the movie, with, for a
film about a nationwide revolution, the
feeling that it's a bit small in terms of scope, this is a clear example of why splitting the final book into two
films, while financially
smart, is quite a bad choice for fans, who deserve to
feel fired up when going into the fourth and final
film in the franchise.
«Magic in the Moonlight» doesn't make you believe in magic, or love, or anything, really, although maybe that's just the cynic in me, eager to expose the
film as the fraud that it is, because the whole thing
feels less like a genuine Woody Allen comedy (
smart and funny with a healthy dash of neurosis) than a pale imitation.
Wes Anderson's
films may be weird little beasts, but each one has a simple approach to «quality control» that allows the viewer to
feel somewhat
smart, partially «in» on the joke, and an important part of the storytelling process.
Josh Ritter's soundtrack also works well, his upbeat music and
smart, literate lyrics about struggle and pain mirroring the
feel of the
film.
Blame must go to the Farrelly Brothers, who could have tried a lot harder by making the
film more contemporary (every situation
feels dated) and much
smarter.
Aside from the failure to engage the audience that essentially dooms the
film as a romantic drama, or perhaps because of it,
Smart People justs
feels so lacklustre.
However, the
film's pure and simple
feeling is
smart for how it keeps the spotlight on Hawkins — who gives another immersive performance to her list of many.
Johansson recently talked up Whedon's script for the sequel, saying, «It doesn't lose that exciting comic - book aspect that people enjoyed in the first
film, but it's
smart and it
feels like the next instalment.
It's a
smart way to wink at how audiences
feel about reboot culture while also getting across that this new
film is very much it's own thing.
In a
film culture where genre storytelling all too often boils down to the stock gimmicks used over and over again with special effects or high concept twists to hide the familiarity, this is so refreshingly old school
smart that it
feels almost new.
My problem with the
film was that as
smart as Carruth was at employing engineering terminology to make the time - travel more believable, he wasn't the best filmmaker (or actor), and the
film didn't
feel interesting to me, despite all those really cool elements.
I
feel lucky to be living in a time when David Fincher is making great
films, dark,
smart and now, funny.
What the Lynchheads seemed to like about his
films was an open - endedness that allowed them some control over what they could say the
film was really about, and what it really meant, feeding their egos and making them
feel smart and superior.