One year after outwitting the FBI and winning the public’s adulation with their mind-bending spectacles, the Four Horsemen resurface only to find themselves face to face with a new enemy who enlists them to pull off their most dangerous heist yet. (Letterboxd)
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).
An FBI agent and an Interpol detective track a team of illusionists who pull off bank heists during their performances and reward their audiences with the money. (Letterboxd)
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.
In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree. (IMDb)
Too long? Nah, could’ve used another hour-I mean, that’s how long I spent googling the Zodiac afterwards anyways. It’s that sort of mystery–complex, endless, with countless players and procedures to dissect, and the film with its excellent technique, turns, and script (the time jumps feel natural; the third-act lens shift to Graysmith works well; Avery’s arc feels like it’s cut short though) captures it all with a remarkable sense of cohesion (a couple loose threads along the way) and momentum.
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.
The Avengers and their allies must be willing to sacrifice all in an attempt to defeat the powerful Thanos before his blitz of devastation and ruin puts an end to the universe. (IMDb)
Thanos’ villain still felt a little familiar with his twisted “for the greater good” motive, but he remained an intimidating presence-a good match for the huge cast of heroes which is balanced remarkably well throughout and contributes to plenty of amazing moments both of comedy (see Thor meeting the Guardians) and action (see the Titan attack; Thor’s arrival in Wakanda). With all the superpowers going around some snags in the plot arise but its massive stakes and solid execution overwhelm them.
Thor is imprisoned on the planet Sakaar, and must race against time to return to Asgard and stop Ragnarök, the destruction of his world, which is at the hands of the powerful and ruthless villain Hela. (IMDb)
Thor is released from his cheesy-golden-Viking realm (“Asgard is not a place, it’s a people”) to super fun results: Hemsworth oozes goofy charm (“No, I won. Easily”) and serves as a solid lead for the fast-paced script. An eclectic supporting cast (the amiable Kiwi Korg and goofy Grandmaster are comedy gold-blum), fun cameos, a suitably intimidating villain, and just the right amount of trope subversions (see the opening scene) amidst the serious moments (see Loki’s final catch) fill it out.
When their relationship turns sour, a couple undergoes a procedure to have each other erased from their memories. But it is only through the process of loss that they discover what they had to begin with. (IMDb)
With Winslet and Carrey’s top-notch turns, the authentic dialogue, the beautiful soundtrack, and the exquisitely intimate camerawork, this would already be an amazing romance film even before the sci-fi twist (which perhaps has a hole or two) injects it not only with juicy story subversions (see Patrick’s role; the deja vu post-erasure) and dramatic intrigue (see Mary’s side-plot) but also heart-wrenching tragedy and oddball comedy. Brilliant editing through Joel’s memories ties it all together.
A girl makes a wish on her thirteenth birthday, and wakes up the next day as a thirty-year-old woman. (IMDb)
Garner and Ruffalo are both pretty adorable and genuine in their roles, which is in the end what keeps you engaged in what is only a so-so story: There are a few fun moments (see the Thriller dance) but any of the significant and/or meaningful plot points (see Matt’s speech on his wedding day; Jenna coming home to her parents) are kind of butchered by the dues ex machina–which still could have salvaged what had been built up if it hadn’t promptly and unrealistically jumped 17 years ahead again.
When Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it’s up to Earth’s Mightiest Heroes to stop the villainous Ultron from enacting his terrible plans. (IMDb)
Another healthy dose of enormous and entertaining action make this a fun film to watch in spite of its mostly lazy writing (see Wanda and Pietro’s weak antagonist motivations–and Ultron’s, for that matter–and correspondingly cheap turn; the half-baked Hawkeye development; the far-fetched and only vaguely explained bad guy antics), with the aid of one well-timed bit of self-awareness: “The city’s flying, we’re fighting an army of robots, and I have a bow and arrow. None of this makes sense.”
Earth’s mightiest heroes must come together and learn to fight as a team if they are to stop the mischievous Loki and his alien army from enslaving humanity. (IMDb)
After a scattered first act, the film picks up as the Avengers gather; clashing egos (along with the welcome addition of Ruffalo’s mellow Banner) and growing feelings of distrust keep the dream-team motif grounded (though the Thor-Iron Man fight with Loki watching was dumb) while a jaw-dropping final action sequence (deftly managing to give each hero their shining moments) brings it to its apex of feel-good entertainment. A tantalizing epilogue and perfect after-credits scene end things well.