For as many films as the Alien franchise has managed to spawn, only Ridley Scott’s original film has maintained where it was at its very best. That’s not to say James Cameron’s Aliens isn’t fantastic in its own right, but it sets up what’s brought the franchise down as more films had come along: the whole universe ended up becoming far too big for its own good and thus it began to progress far too much like a video game. Now with Ridley Scott’s prequels coming along, we have Prometheus only being as broad as ever and adding to this problem even with my own enjoyment of it, so that’s where my skepticism for Alien: Covenant had rose higher. But I wasn’t merely disappointed with Alien: Covenant, I was so frustrated with what it wanted to be, even to that point it managed to leave a rather bitter taste in my own mouth by the time it was over, because of what it wanted to be all at once, and overall, how little I ended up caring for the final product.
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Probably a “not for me” case that we’re coming to look at here because there was so much about Going Places that seemed almost appealing to me in some way, yet I found so little coming out. This sexy comedy-drama by Bertrand Blier has a lot to say, but I can’t help but feel like whatever it was that Going Places had intended for only ended up getting lost. And I’m not going to deny that there were moment during Going Places that have ever had me waiting for something more, but then there was another point to where I was wondering why all of that joy only had made a really sudden stop – the last thing I would have wanted a film with this sort of premise to do. I still kept hope for where Going Places would head with its stance on the actions of its characters and how it defines them but then came the point I just decided it was completely not for me after all.
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Zach Braff’s presence, let alone involvement in anything is enough to turn me away from watching something. The thought of a Zach Braff-directed remake of the 1979 comedy of the same name was already set to put me off no matter who would have been cast, and add the fact that Theodore Melfi of St. Vincent and Hidden Figures would be writing the screenplay, I’d only have imagined that the most it can possibly be is a harmless comedy that’ll come and go. It caught me by surprise that this was also the first time Zach Braff had ever done something that didn’t leave me feeling any sort of anger or annoyance given the bad taste his quirk in Garden State and Wish I Was Here had left in my mouth – but at the same time it was also the most I could even have expected Going in Style to be. Something that’d come and go without any real impact.
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I don’t carry any sort of nostalgia for the Power Rangers series since I never watched it much when I was a kid but I always recognized its impact during its run. Initially I was skeptical of a new film because of my lack of connection to the series and the generic approach for the marketing but I was made even more skeptical with the notion that we had a superhero who was on the spectrum alongside one who is a lesbian according to reports which contrast what one would remember of the original series. Coming out of Power Rangers, my thoughts could never have been any more mixed rather than what my low expectations would have foreseen. What’s to be said is that it was far better than what first impression may have presented although I’m still unsure how I really feel in the end.
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Yves Saint Laurent is a fascinating figure to study when looking into fashion history, yet the thought of a biopic about him running for two and a half hours always seemed like an intimidating one to myself. On one end it could have worked effectively as a psychological case study of what happens to his mind as a result of the newfound influence he had acquired, on another end it could have been an overlong display of pretty colour while offering so little refreshing on Yves Saint Laurent himself. Unfortunately, Bertrand Bonello’s biopic finds itself in the latter, a film whose potential is lost inside of its own bloated length in spire of pretty visuals which never come off as a surprise given its subject. Nevertheless this experience proves itself rewarding to some extent.
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Garth Davis’s Lion feels like a debut film, not exactly on the count that it is in fact one such but since all he was known for prior was directing episodes of Top of the Lake together with a few television commercials, something quick were only set to come forward. With Lion he takes a powerful true story and the sort of mood it carries all throughout is not a particularly assuring one. On one hand you have what already is what you can recognize as material that could easily be so compelling and heartbreaking then suddenly said mood is gone creating a frustratingly disjointed product. Every awards season there’s a film with this sort of feeling that comes out, pertaining to how it seems only around to garner awards: Lion is arguably the biggest case scenario for 2016.
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I think I find myself enjoying Yorgos Lanthimos more in theory rather than in storytelling. The first time I saw Dogtooth I remember having been so shaken by its satire to the point that I ended up feeling guilty about myself for having found it so darkly funny and I found Alps to be one that echoes that same sort of dryness although not with the same impact. Something about The Lobster just hits me in that manner but I can’t put my finger on it, because I just find myself at odds with how I end up feeling about the final effect it leaves behind. At times brilliant and other times maybe a tad too weird for its own sake, it’s easy to see why one would be put off. On first watch I remember having found myself extremely impressed but on a second watch, said effect seems to have faded.
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There’s a certain Robert Zemeckis that I really miss seeing and it was the Robert Zemeckis that seemed he knew how to bring a good time for audiences when he made films like Back to the Future and a childhood favourite, Who Framed Roger Rabbit. There was a period afterwards where he just seemed to pander to a more serious crowd and while he hasn’t churned up anything nearly as vomit-inducing as Forrest Gump it seems afterwards he just toned down and aimed for a more serious approach that carried so little joy. If it hadn’t been clearer with his 21st century work, then it comes clear once again with Allied. Zemeckis continues an ongoing streak of disappointment.
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I’ve always grown up a big fan of Disney but Big Hero 6 was, much like Frozen, a title amongst their recent catalogue I was never compelled to rush out to see in theaters on its first day. There was an idea that came by to which I was vaguely interested in the product, for the fact it was based on a Marvel comic at least had a clear calling for subversion because of the fact that the times are being overpopulated with superhero films (especially the Marvel Cinematic Universe, whose films have gone amidst a pattern that has only grown tedious). It was clear that Pixar has managed to turn such rules around on their own knees when The Incredibles had come out ten years prior, and now with an actual Marvel source, where did Big Hero 6 end up landing? It was only in part what I feared it would be. In some sense a subversion and another, the same old superhero film I’m tired of.
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Pablo Larraín’s latest film, a biopic about Jacqueline Kennedy from the days after JFK’s death, is one of the year’s most frustrating films, one in the sense it feels far too much like an obscured portrait of its own subject. On one hand there’s a technically impressive feat that’s allowing itself to shine all the way through but somehow it seems that Pablo Larraín’s handling of the subject is just so alienating where it should be intriguing. My assumption was that if it were the point to get a grasp on what Jacqueline Kennedy was like after JFK’s death, it was one among many factors to why Jackie never finds itself working as well as it should. Rather instead, it just feels so empty and never moves out of the single spot it remains within.
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