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.
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.
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.
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.
David Milch had a monumental task at hand. How do you go about wrapping up three seasons of television in the space of a single movie?
If this is indeed the land of the free, it has to be such for everyone, not just those we agree with and pray next to on Sundays.
The humor in the script is great and provides a plethora of laugh out loud moments, especially given the wonderful (and unexpected?) chemistry of Rogen and Theron.
Even the coolest moments cannot save this terrible script.
The film is as vibrant and alive as one would imagine a paradise would be, and it bursts free in ways its characters have only previously dreamt of doing.