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.
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.
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.
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.
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.
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.
Not exact matches
Nevertheless the one thing that separates this from
other films of similar
ilk is that we actually learn to love George.
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.
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.
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.
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.
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.
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).
The subject matter is darker than
other similar
films of its
ilk, dealing with gang rapes, strangulation and kinky sexual acts that seem placed in the
film in ways that titillate rather than educate.
Where this
film lacks in comparison to his
other earlier
films of a similar
ilk is it is missing that gut punch moment, that moment that forces you to make a judgment on the character (a really good example
of this is Jason Patric «s nausea - inducing takedown
of Catherine Keener «s character in Your Friends and Neighbors).
There is the element
of power and control which appears in
other fantasy
films of this
ilk, but also a question
of the ethics
of its use.
I do think kids will enjoy this, and parents will probably be more engaged with the
film than some
of the
other recent releases
of a similar
ilk in the past year, but this is not a knockout by any means, not even close.