Milius took time for characterisation and inserted action when it was needed, a formula that is more often than not reversed
in films of this type.
Certainly it's brought out the worst in terms of the puerile writing, confused plotting, shockingly off - note performances and storytelling that lacks either of the two necessary ingredients
for films of this type, pop or gravitas.
Where a lot
of films of this type feel like a comedy sketch drawn out long past being funny, «Talladega Nights» keeps working all the way up the end without dropping its ironic and absurdist tone, and ends up being not just a good comedy but a fairly satisfying sports film as well, neither of which is that easy to do.
As familiar as the coming - of - age comedy may seem, «Lady Bird» is filled with so many charming surprises and brilliant performances, most
other films of its type feel even more mundane by comparison.
While such earlier
films of the type as We're Not Married and O.Henry's Full House, both from 1952, and which I wrote about in US # 34 and US # 40, respectively, tells each story successively, Allen intercuts between all four.
Fargeat subverts the male gaze throughout the film, transforming Jen from a nubile sex object to a hard - bitten angel of vengeance, making Revenge more empowering than
cruder films of this type.
This is because «Get Out,» which gets its title because one of its black characters shouts this out a few times, is the most
exciting film of its type in many years.
He's clearly a master at the film - as - novel, a genre of film that doesn't get made much because it's oh so hard to do correctly (Marcel Carné's Children of Paradise is my
favorite film of this type).
Flanagan's horror is full - blooded once it does take hold, but Before I Wake's story elevates it above
other films of this type.
In the end, as in
most films of this type, the DEA triumphs in its land war against the peasants, and Statham can get back to his life.
Whereas there is often a tendency
in films of this type to stylize its violence and present the prisoners as cocky performers (a la Refn and this year's Dom Hemingway), Starred Up is a bracingly realistic portrait of incarceration.
But it deserves much more vital praise than that - it deserves the highest praise of
any film of its type: It is important.
The color is rich too, especially for
a film of its type.
Since the budget here was considerably lower than most
films of this type, Ross draws outside the lines by making this story in the absurd world of Panem seem taken from the very reality shows that they hold so dear.
The acting is rather good for
a film of this type and while completely manipulative, as you'd expect, it still deals up some rather good drama and emotion.
But
a film of this type must do more, and this is where Transcendence — a love story buried in a Science Fiction tale — ultimately fails.
Where most
films of this type would be in a rush to pay lip service to that before getting right to the plot, Coogler patiently takes us on a guided tour of T'Challa's home as he prepares to rule it.