The way they turn such dead land into something so thriving over the course of eight years is truly something to see and appreciate.
Once the film really gets going, the spectacles are a sight to see. The choreography is as good as you’d imagine, with inventive fighting scenes featuring a creative new weapon that allows for some really engaging sequences.
Hold on, let me wipe the tears from my eyes so I can see the screen to write this…
Ok, now I’m good. I think.
This is a film that knows how to maximize its strengths. Dragged Across Concrete feels a bit like a Coen film with less witty dialogue and a harder edge, making it an unapologetic powerhouse and an unforgettable watch.
The biggest issue I had was that it simply couldn’t muster any real emotion.
This is an important film that may not be easy to sit through, but is essential in understanding how where we came from has shaped where we are today.
It’s a film-within-a-film (within…another film?) and a genuinely fascinating look at a very interesting man and his incredible, wild story full of highs and lows in extremes.
This is, simply put, great cinema at work, from the groundwork in its opening minutes to its iconic finale.
Above all, it’s a relentlessly enjoyable hundred minutes, with Jarmusch merging the comedy and zombie genres in his own way.
Taron Edgerton, a relative newcomer to the screen, knocks it out of the park as Sir Elton John.
This isn’t the normal movie about a singer in the lows of life and in need of a redemptive arc.
Full of grit and raw, powerful emotion, this amazingly-directed and acted thriller is pure dynamite and absolutely worth the watch!
Despite my initial zest, The Souvenir is such a plodding, disjointed affair that tries so hard to be “arty” that its message is utterly lost.
Can we truly escape our own past actions, especially when they fill us with guilt? And just how heavy can guilt weigh on our conscience?
We’ve often heard the adage that “War is Hell,” but is it truly this damn…insane?
I hope I never have to find out.