This writer is not usually a fan
of films of this ilk, but thankfully TWO NIGHT STAND is harmless and actually rather charming.
Not exact matches
I am not much
of an aficionado
of these
films, as I have grown weary
of the entire «follow your heart» mantra
of so many
of their
ilk.
It's a commercial movie rather than an art
film, but a great deal less compromised than most
of its
ilk.
This is also down to a strong set
of performers and while it's rare to see an all - female ensemble in a
film of this
ilk, Garland has little time for gender, imagining a future where such distinctions don't warrant recognition.
While I can certainly agree with both
films not falling squarely in line with the zombies, slashers, and extreme gore features that proudly wave their horror flags, Get Out and The Shape
of Water do exist in the peripherals
of genre, both featuring monsters
of very different
ilk.
As in so many
films of its
ilk, we observe as the improbable wads
of cash are amassed and then, at the point where things just get a little too loco, everything goes to shit.
Given that conformity is the scourge
of the «Divergent» series and much
of its young - adult
ilk, it's a shame that the
films, including the new «Insurgent,» do so little to stray from well - worn YA paths.
It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one
of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future
films of its
ilk; that's a hell
of an accomplishment, to say the least.
Though the
film isn't great enough to stop what you're doing and buy, it's more enjoyable than many
of its
ilk.
Thematically, this is family friendly stuff,
of the Ron Howard Apollo 13
ilk, and the
film's visual power, featuring the work
of Scott's returning DoP Dariusz Wolski, makes this 3D space epic seem superbly outfitted.
And what mostly sets this
film apart from its
ilk proves to be the uncommon intelligence
of the overall approach.
It delivers exactly the sort
of cinema experience that it promises to deliver with more integrity and a little more substance than many other
films of its
ilk.
In order for more actors
of color to be nominated they need to be featured in more
films overall
of this
ilk.
As an episode
of «Twilight Zone» or any one
of its
ilk, this would have made for a fascinating shorter
film, and would not have suffered from the heavy padding and flaccid side stories that bog all momentum down to a crawl.
Kosinski's leisurely pacing, often setting up a hangout environment similar to those in the more laidback work
of Hawks and Richard Linklater, gives Only the Brave a raw authenticity that's often overshadowed by melodramatic flourishes or superhuman heroics in other
films of its
ilk.
Along with its Rambo pedigree, Homefront definitely feels like a
film that would have been par for the course as a release in the 1980s, when Stallone himself, along with Arnie, Chuck Norris, Van Damme, and the rest
of the Expendables
ilk, would all make
films with this very basic formula.
Not that the
film doesn't revel in cheesiness, but compared to other
films of its
ilk, it manages to at least avoid drowning in the cheese.
Twitch's Kwenton Bellette recommended to «See Berberian Sound Studio immediately; I have not been this excited for a mind - bending puzzle
film of this
ilk since Mulholland Drive, an absolutely dark treat for the unchallenged mind and a terrifying technical achievement.»
Like the comics
of its
ilk, the
film never seems to be going much
of anywhere or doing anything, but by the end
of the
film we understand why.
Although we've seen many
films of similar
ilk in science fiction, from Sphere to Event Horizon, the writers are well aware
of audience expectations, putting enough fog and mirrors in the mix so that we are never exactly sure.
Good performances by the main actors does make it a cut above most horror
films if its
ilk (though Joe Anderson's German accent is far from authentic), and there is a very effective creep factor involved in the choice
of antagonist, a wildly growing, mimicking plant that can grab, infest and devour its victims in the most grisly and stomach churning ways possible.
It's hard to think
of many other
films of this
ilk with characters, dialogue and detail this complex, which is probably why it gets exponentially better on every viewing.
Nevertheless the one thing that separates this from other
films of similar
ilk is that we actually learn to love George.
It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one
of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future
films of its
ilk; that's a hell
of an accomplishment, to say the -LSB-...]
Even if the characters don't always seem anything more than puppets at the hands
of a storyteller, the bits
of human insight underneath provides more than enough food for thought than most
films of this
ilk allow, and even some moments
of bittersweet, and even comical, irony.
Ramsay's
film comes fascinatingly close to being a one - note genre exercise, albeit one that's perhaps a tad more ambitious than most
of its
ilk.
But especially given that, according to my friends who are its fans, Scott Pilgrim the comic is a story that tries to combat much
of the misogyny that underlies Scott Pilgrim the
film and other works
of its
ilk, it's a shame that this is the best Edgar Wright could come up with — a
film that uses flashing lights and bright colors to distract its viewers from the unpleasantness at its core.
But much like Babe or even the Shiloh
films, a decently made
film of this
ilk will surprise grown - ups in how successfully they can transfix their target audience.
Every brief tale compels attention with sinister storytelling, the occasional wicked bit
of humor and great performances, but it's the look
of the
film that sets it far above the others
of its
ilk.
Most
films of its
ilk would establish the third wheel character
of the current husband as a lout deserving
of a break - up, and while Ira is certainly a cad, Simon wisely never paints the character in a negative light, creating some interesting conflicts in the dynamic
of the newly reunited partners in crime.
There's a sense
of glee even when things are pretty dire on the battlefront, and that's better than sullen or dreary as sometimes befalls
films of this
ilk.
Just as other
films of its
ilk (The Phantom, The Shadow), the updating
of the material involves keeping the core
of what makes the Green Hornet the Green Hornet, while stuffing it into a modern - day action and comedy style.
But while many people may think that the action scene has moved on to other parts (mostly Thailand and South Korea, plus a mini-boom
of excellent American direct - to - video
films like «Universal Soldier: Day
of Reckoning» and its
ilk), there's still a lot to offer from the once reigning king
of cinematic punches and gunshots.
And something else that Halloween does that too few
films of its
ilk have managed is to leave us all uncomfortably questioning the thin filament intervening fact and fiction, tangibility and nightmare, as well as the texture and verisimilitude
of evil.
The less you know, the better, but suffice it to say that you'll be thrilled and entertained like few
films of this
ilk are able to pull off.
Originally titled Townies, this is a
film where all
of the themes are in some way, shape or form recycled from comedies
of an Apatow
ilk.
While the ingredients are there for this game to be a memorable one, I'm afraid this latest
film about Turing fails its own test, feeling robotic and wooden, and free from the humanity and complexity that great
films of this
ilk can bring to audiences.
It's similar to a lot
of other
films of different
ilk, and many may find some striking similarities with Point Break in particular, and that's dipping pretty deep in the bad action movie barrel for inspiration.
If you want to see a
film of the same
ilk but with more realistic characters, a smarter script and powerful impact, check out Mother & Child (2009).
Although it is a short 85 minutes, it is padded much more than other
films of its
ilk, with scenes that are either needless or carry on way too long.
Say what you will the R - rated superhero flick — like for instance that it falls in line with many
of the same familiar tropes it purports to mock — but the gleefully violent and «adult» - oriented box office smash opened the flood gates for more
of its R - rated
ilk, showing studios through the ever influential power
of green (not Green Lantern mind you), that audiences were more than receptive to «mature» content in their superhero
films.
I'm a big fan
of American
films of the»80s and I wanted it to be part
of that
ilk.
«Homecoming» works by allowing itself to become an actual genre
film, the first
of its
ilk to recognize that superhero movies might be more interesting if they were also something else.
Judging from past
films of this
ilk and what we're expecting from the trailer, it seems that this is a nonstop adrenaline rush
of intensity and nail biting.
It's also a derivative one, adding nothing to the «madness»
ilk of genre
films that we have haven't seen done better in movies like Repulsion, The Shining and Black Swan.
Standing in the shadows
of other supernatural horror
films of this
ilk, «Winchester» is a creaky misfire with little going for it beyond window dressing.
Like most
films of its
ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming about it, underscored by its genuine love
of music and affinity for musicians.
While the idea
of casters and whatnot might be the angle that the
film hopes gives Beautiful Creatures an advantage to its similar
ilk, it's not.
The remainder
of the
film jumps back and forth redundantly between increasingly shouty debates
of this
ilk and ever more questionable missions, as Graver and Alejandro are revealed to have an almost God - like grasp on affairs and the cost
of fighting drugs is hammered home again and again.
I'm not as hard on the
film as Fine is (and I certainly don't share his hostile feelings towards «Wendy and Lucy» and some others
of its
ilk).