Whyyyeye must there be a second twist at the end again? It’s not a good thing if it’s unfounded and ruins all the fun that came before and NO ONE CARES ABOUT THE EYE THING. The first twist with the plane also isn’t great cuz you know it’s coming and they explain it to death. Also, is it just me or does Mark Ruffalo’s character NOT look like a Dylan? Lots of specific complaints here cuz it’s just more of the same, though that goes for the good stuff too (that card-throwing heist was pretty cool).
The end sucks, not just because the twist is nonsensical (flashbacks of the person in a hoodie “there the whole time” isn’t enough explanation), but because the dumb carousal final scene leaves behind the cool Robin Hood-esque motivations of the team for some lame secret club idea–and the cocky characters already weren’t that likeable. Magic and heists are fun though, and fortunately that makes up most of the movie, making it fully watchable when the camera isn’t making you dizzy.
For the most part, it’s an understated and masterfully crafted thriller; with gorgeous nature shots and slick guitar-led score in tow, the pre-event procedural plays out each scene to slow-burn perfection, with the uneasy aftermath adding further sweaty tension. It’s the character writing that has a few missteps; namely, the film showing’s awkward attempt at explaining their motivations when the plan was already in place, and more significantly, the extreme climax of Josh’s arc in the third act.
Follows two young boys dealing with their parents’ divorce in Brooklyn in the 1980s. (IMDb)
The anti-climactic ending feels inconsequential and insubstantial, which is frustrating because the bulk of the film is anything but: Literally every scene is loaded with subtle meaning as a fantastic script teases out all the interesting nooks and crannies of the tragic and often disturbing dynamics of the broken family under study. Superbly acted, with a great stop-and-go soundtrack that adds distinct flavours throughout the sharply edited (any longer and it would have been too painful) drama.
The zombie-apocalypse setting here is mined for a truckload of blood, guts, and morbid humour. Eisenberg’s methodical, matter-of-fact narration creates a hilarious contrast with the savage goings-on, and his shy and paranoid Columbus paired with Harrelson’s rash Tallahassee makes for a fun duo that (predictably) teams up with two street-smart sisters. The plot is weak, but combine the film’s excellent horror-comedy with a short-lived Bill Murray cameo and you still have a very enjoyable romp.
A brilliant soundtrack here takes an already well-paced screenplay and makes it buzz and burst with life, driving forward the fascinating origin story of Facebook and the good mix of corporate, legal, and personal drama that accompanies it. Thankfully, the quick-witted Eisenberg and smooth-talking Timberlake, along with the rest of the cast, are able to keep pace in this riveting and well-filmed biopic.