Thus far, I have come across three different posters for 11:14, and every, single one of them paint this film as some sort of drama or thriller. I certainly expected a drama or thriller when I turned it on, but got instead an irreverent, cleverly-executed dark comedy starring a whole host of people I love to watch.
Ninja Assassin is simply blood and guts for the sake of it.
There has been a lot of controversy brewing over Kick-Ass, but this is absolutely no surprise. Like so many envelope-pushers before it, the things that make it great are invariably the things that many an average Joe can’t swallow. Whether or not you’ll come out of it glowing or disgusted is going to be a matter of your personal moral code, but I can firmly say this: The film is incredible in a way that transcends good filmmaking and makes it innovative and important.
A decently amusing film, but having finally seen the picture in its entirety, I still can’t fathom why anyone would think it’s that good.
I know what you’re thinking: You’ve never seen Beverly Hills Cop before?
If it’s handled well enough, I think sometimes it’s enough to just have eminently talented actors playing out the ordinary lives of extraordinary people.
To fully appreciate Bonnie and Clyde, I think you have to understand its importance to American cinema.
What can I possibly say about Shaft (Aside from that he’s a bad mother-)?
I have to give Stanley Kramer credit for attempting to build a film on the dichotomy of white and black social standards in the context of the 1950s, even if he makes a bit of a misstep in getting there. The Defiant Ones is both a product of its generation and transcendent of it, boldly confronting the racial ideology of the time but sadly not making much attempt to rectify it.
This is light, brainless fare, which certainly has its place in the film marketplace, but it’s never going to be anything to write home about.
