To win a bet, an eccentric British inventor beside his Chinese valet and an aspiring French artist, embarks on a trip full of adventures and dangers around the world in exactly eighty days. (IMDb)
It’s pretty goofy–in a cringe-y way sometimes (the plot and the green screens are pretty hard to take seriously), but mostly it’s just a lot of fun, with humour that comes often and is often quite clever (see the accidental artwork arising from the altercation) and an adventure that brings with it plenty of cool kung fu action and bumbling side characters. It wasn’t at the forefront obviously, but there were hints of good character development for Coogan’s progressive yet uptight scientist too.
A woman, accidentally caught in a dark deal, turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic. (IMDb)
Terribly heavy-handed, from its pointless visual metaphors (the pursuing bad guy is the cheetah, Lucy is the antelope, wow, nice one) to Freeman’s excruciating presentation (yes let’s hear “cerebral capacity” said one more time, thanks) to its bad plot exposition (see Lucy mind-reading and saying what we already see). All of this said, it’s got a good action-thriller pace, and the extremes it goes to with its concept in the end are actually pretty compelling (if still presented in a cheesy way).
Dave is deaf, and Wally is blind. They witness a murder, but it was Dave who was looking at her, and Wally who was listening. (IMDb)
The premise is one that could be completely butchered if handled the wrong way, but fortunately, Pryor and Wilder have good comedic timing and chemistry together and even add some welcome sensitivity and humanity to their respective characters (see their bench convos). Unfortunately, not every scene lands, and the dud gags get more frequent as time goes on (gotta love that casual sexism..). The plot is pretty poorly written too, especially in the gong show of a final showdown and resolve.
Based on the absurd but true 1973 bank heist and hostage crisis in Stockholm that was documented in the New Yorker as the origins of the ‘Stockholm Syndrome’. (IMDb)
Strikes a great balance between high-stakes hostage thrills and quirky character comedy, led by Hawke’s notable turn as the volatile and eccentric “(just call me) The Outlaw”, who clashes with straight-laced cops and forms an odd bond with his captors (see the excellent Dylan-backed montage of pear-eating in the vault). A barely-there epilogue makes you wish more time was spent on his background and motivations though, as well as on the event’s aftermath for Rapace’s enigmatic Bianca.
When Prince Fabious’s bride is kidnapped, he goes on a quest to rescue her… accompanied by his lazy useless brother Thadeous. (IMDb)
I suppose there’s some humour to be found in throwing crude content and expletives into the typically haughty dialogue and setting of a medieval period piece, but it’s done to such a (literally) gross extent here it wears very thin very quickly, and when even the (bland and suspense-less) main plot is misogynist and centered on sex, the whole film just feels like the adventure fan-fiction of a snickering 15-year old who plays Age of Empires and has porn mags stashed under his mattress.
After the Vietnam war, a team of scientists explore an uncharted island in the Pacific, venturing into the domain of the mighty Kong, and must fight to escape a primal Eden. (IMDb)
Nails that classic adventure movie-feel with its anticipation-building, crew-collecting first act, the dual-jungle trip suspense of the second, and awesome monster action that culminates in a wild third act. The cool aesthetic with its clever scene cuts, slow motion, and classic rock soundtrack only ups the fun factor. The characters are one-note but they’re all you need for this kind of romp (though the surprisingly touching end credits with Reilly’s hilarious Marlow adds a nice bonus arc).
7.5/10 (Really Good)
After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos’ actions and restore order to the universe. (IMDb)
From the devastating opening scene to the goosebump-inducing climactic action sequence, the scope and spectacle here will blow you away. Rich with humour (Thor and Ant-Man are highlights but even stoic Cap hass his moments), emotion, and inside references, it brings the MCU to a remarkable climax and resolve. After the blockbuster-high wears off some issues emerge (the main plot concept is severely underexplained; some characters are–understandably–neglected), but it remains a monumental film.