This is one of those rare instances where I feel like [Dallas Buyers Club] is one of those movies that, do not just live up to the hype, but also exceed it, making Vallée’s based-on-fact stunner one of the best films I’ll watch this, or in any other, year.
Ender’s Game looks incredible, and the cast does their collective best, but the bad taste left in my mouth after it came to an end was unavoidably loathsome.
It’s hard to imagine a movie will look into this heart of American darkness with more meticulous an eye anytime soon, McQueen latching onto Northup’s story refusing to allow it to lapse into melodrama or treacle. His filmmaking acumen is beyond reproach, the technical aspects never overshadowing the human story every piece augmenting the next allowing the story to bloom and blossom as it likely wouldn’t have otherwise.
The Counselor (2013) doesn’t go down easy, and it certainly isn’t uplifting, but that doesn’t make it any less great, the film a pointed reminder that greed isn’t pretty and the even the smallest of missteps can have the bloodiest of consequences.
All is Lost is a triumph, no more, and certainly no less, and my gut feeling is that viewers who take up the challenge to see it in a theatre will likely feel the same.
You get what you pay for as it pertains to Big Ass Spider!, and to my mind this is a very good thing indeed. If you’re headed to the box office chances are you have preconceived ideas of what it is you want, the title of the film not exactly shrouding things in any sort of mystery. It is, after all, claiming to be a movie about a big ass spider, meaning that if it doesn’t have one you are likely to come away angrily disappointed.
The woe of director Carlo Carlei’s and screenwriter Julian Fellowes’ adaptation of William Shakespeare’s timeless and immortal tragic love story Romeo & Juliet (2013) is just how banal and unbearably schmaltzy it is. They have taken the Bard’s iconic play and transformed it into something overbearing and unbearable, smothering the text, the performances and the drama into layer upon layer of bombast and melodrama making the movie version itself close to unwatchable.
Gravity (2013) is as big a wow as anything I’m likely to see throughout the remainder of this year. It is doubtful, from a cinematic esthetic at any rate, that there will be anything else released in 2013 that I can even compare it to.
Don Jon is still a fairly strong debut, showcasing directorial chops that could serve Gordon-Levitt well if he chooses to step behind the camera again. The film is a moderately challenging character study of a man battling demons he didn’t realize were tearing his life apart, and while the lessons he learns are hardly earthshattering that doesn’t make them any less potent or worthy of additional contemplation.