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JxSxPx

About me

I'm Jason. I'm a film, literary and pop culture enthusiast. Got a soft spot and deep love for animation, comics and nerdy things that go in tandem with them.

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Recent reviews

All reviews - Movies (470) - TV Shows (43) - Books (3) - Music (118)

21 Grams

Posted : 4 days, 10 hours ago on 15 April 2014 09:36 (A review of 21 Grams)

There’s a lot to admire in 21 Grams, Naomi Watts and Benicio Del Toro give heart-wrenching performances, the cinematography is gorgeous, the script feels emotionally honest even when it strains credibility with its coincidences, yet I cannot get behind it’s unconventional structure. I’ve said it before, but I think a story really needs to have a bigger reason for being non-linear than “just because” and 21 Grams falls into the “just because” camp.

This is problematic because I feel like if it had played it straight through the entire effect would have hit you harder. I don’t mind flashbacks or flashforwards, but when a film begins at the end, jumps to the middle, then to a little before the end, then circles back to the beginning, it gets a little grating. This editing choice keeps us at arm’s length from a story that wants us to feel that every choice has a strong impact at a later point, so it confuses me why they threw it together in such a way.

And aside from a few story beats that feel contrived, Sean Penn’s character is little more than a walking/talking plot device, that’s about it when it comes to constructive criticism regarding the film. Everything else works for me.

To try and explain the story really involves me trying to weave three separate story threads together. Penn’s doesn’t always work for me, but Del Toro and Watts, the film’s MVP as far as I’m concerned, work magic with the material. Watts plays a recovering drug addict, now married and with two daughters, who loses all three of them in a car accident. As she tries to pick the pieces of her life back together she relapses and begins making a series of bad decision, this is highly understandable and we feel for her. Yet her character displays a core of strength, an iron will to survive and move on from this catastrophe, which we hope she’ll rediscover and utilize to pull herself back together and let the healing process begin. Watts is an insanely underrated and talented actress – was there a better performance in 2001 than her work in Mulholland Drive? Her Oscar nomination for this was deserved, and a bit shocking. Watts isn’t exactly an actress to go for the big obvious emotion, frequently preferring to quietly play a scene and let her intensity build from there.

Del Toro plays a former convict turned fundamentalist Christian, Melissa Leo plays his wife with a very low bullshit tolerance. She grateful that he’s reached a point of sobriety, but is questionable about his “cure,” openly suspecting a transference of his addictions. But hey, at least this one doesn’t end with him missing and on a multiple day bender. It’s hard to discuss how good of work they do without spoiling how his story interconnects with Penn and Watts, but Del Toro finds the core of truth in this man. And Leo is always a welcome presence in my home, able to slip so easily into whatever character she is playing at that moment with no big effort being shown.

21 Grams tells a haunting and deeply sensitive story the long way around, but there’s a lot of admire on the route. At its core, this is an old-fashioned melodrama with implausible connections, but its earnest in detailing how people struggle to survive a trauma. The non-linear structure allows us to live in these moments fully, but diminishes the overall impact of them. Sometimes doing something in the tightly structured plot diagram manner is the better choice to get the full force of your work out there.

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American Gigolo

Posted : 4 days, 10 hours ago on 15 April 2014 09:35 (A review of American Gigolo)

American Gigolo is all slick surfaces and neon glossed artificiality. Midway through there’s a murder-mystery thrown in, I don’t really know why, and frankly I don’t care. I think this film is all pretty on the outside, with nothing much going on beneath the surfaces. Of course, what else should one expect from producer Jerry Bruckheimer but a series of glossy images masquerading at something else?

It’s a shame that the film feels so limp, it emerges out the gate as something sexy and interesting, here is a lonely man who provides thrills for a rich female clientele. Richard Gere preens and pouts marvelously in the role. He’s incredibly handsome here, and he gives a great movie star performance, yet Paul Schrader’s script never truly gives him the opportunity to dig deep. Gere mostly just stands around in various states of (un)dress in Armani or drives down the PCH to Blondie’s classic song “Call Me.” Strange to think that this material feels so incomplete in Schrader’s hands, the man wrote Taxi Driver and Raging Bull.

It seems like the perfect subject matter for Schrader to explore, yet the execution isn’t what one would hope for. The ambivalence with which his character is explored doesn’t create much of a vested interest in the outcome of the murder-mystery. Neither does the romance with the married politician’s wife (Lauren Hutton). These two elements feel half-baked, and take up most of the running time as the film progresses. Why would a woman with everything to lose throw it all away for Gere’s gigolo? That question never gets a satisfactory explanation or reasoning is given, this has a lot to do with Hutton not being entirely up to the task of convincingly portraying this woman. But man, American Gigolo has plenty of style to burn through.

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Hustle & Flow

Posted : 4 days, 10 hours ago on 15 April 2014 09:35 (A review of Hustle & Flow)

It owes much to the 70s black underground cinema. The cinema that produced films like Foxy Brown or Shaft, Hustle & Flow is the spiritual child to the Blaxploitation genre. And beyond that, it’s a tale of the liberating power of music, a grassroots story of a man taking every intense feeling he has in his life and filtering into one song. It’s a shame that this came out in 2005, an incredibly competitive year for Best Actor (with a seemingly preordained win for the late Philip Seymour Hoffman, and featuring such stiff competition as Heath Ledger and Joaquin Phoenix), because Terrence Howard’s lead role is an intense, complicated portrait of a man struggling with his own nature.

Howard plays DJay, a Memphis pimp, frequently sweating, haunted and tired around the eyes, slouching, but with a burning desire to rise above it. Writer/director Craig Brewer gives Howard a stylized dialog to play with, but these monologues contain a kind of street poetry to them. This a deeply conflicted and complicated man, one with an innate intelligence and creativity, one who could possibly run a business or be a great success if he had access to greater opportunity. It’s easy to simplify someone as a “pimp” or “drug dealer” and forget that they’re a person, or that these weren’t their chosen professions but possibly the only ones readily available to them. Hustle & Flow humanizes its subject, and reveals an antihero of depth. Howard’s performance takes what was already on the page and blasts it into orbit. In another year it would be easy to see him making a clean sweep come awards season, he’s just that good.

Hustle & Flow is a great first two acts, and a problematic third. After getting us to care about this man’s plight, to root for him to try and succeed, and witnessing Taraji P. Henson’s character find a strength and relevance through the music (a minor miracle of acting is to watch the way her face illuminates from within when she hears herself played back for the first time), we’re thrown into an ultra-violent ending that feels slightly sour to everything else. Hustle & Flow is at its best when it focuses in on the redemptive power of art, and proves that amongst the human condition there is one defining emotion that unites us all: hope.

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Hard Eight

Posted : 4 days, 10 hours ago on 15 April 2014 09:35 (A review of Hard Eight)

I don’t think there’s a single movie from Paul Thomas Anderson that I haven’t enjoyed or admired in some way. Granted, Hard Eight is a bit more formulaic than the more mysterious The Master or freewheeling Boogie Nights, but it does the crime story very well. The piece that makes the entire film work and operates at a higher level is the lead performance of Philip Baker Hall as an enigmatic Las Vegas gangster. Hall ensures that even some of the more awkward performances (I’m looking at you Paltrow) or routine story beats eventually find their footing. If no other reason, Hall’s performance is more than enough to warrant a viewing of Hard Eight.

Hard Eight is a fairly intimate story about a not too bright man, John (John C. Reilly), who gets stranded in Las Vegas. Sydney (Hall) finds him, takes pity upon him, and teaches him a few card counting tricks in order to grift large sums of money from the casinos. Flash forward a few years; John is now Sydney’s partner, but their friendship gets tested once a dim-bulb waitress (Gwyneth Paltrow) who moonlights as a hooker gets them involved in a heap of trouble. Throw in Samuel L. Jackson as a lurking threat to the trio’s precarious friendships and safety, and you’ve got a bang up crime thriller. And for the most part, it wildly succeeds.

Reilly is believable as a half-bright loser drifting across Nevada looking for a sense of purpose and a father figure. There’s a certain empathy that Reilly brings to his roles, a likeability that makes us want to root for him to get his head straight and stop making dumb choices. And Jackson can play a man who goes from friendly to menacing in his sleep. It’s really only Paltrow who slightly falters. On the surface level, she does a fine job. But Paltrow isn’t very believable as a low-class girl lacking in street smarts, her features are too elegant, her eyes project an intelligence that belies the character’s motivations. But she does do a great job playing against her good girl image here, even if the effort doesn’t add up to a completely realized performance.

Yet it’s Hall that keeps you entranced throughout. Hard Eight doesn’t have the sweeping ambition to create filmic monuments to towering egos and watch them fall, instead it wants to quietly observe a sad, compelling man go about fixing a messy situation. And Hall nails every single moment and facet of his character. It’s great to see a long-working character actor like him be given a chance to shine in the spotlight. When Hard Eight zeroes in Hall’s work and ignores trying to craft a conventional plot (which is really unnecessary as the film has crafted interesting characters saying great dialog), it plays out like a melancholic torch ballad, one that we could easily imagine Sydney listening to while smoking his cigarettes and sipping his drinks, thinking about the mistakes of the past, and wondering if there’s any way he can atone. Anderson is a great observer of human behavior, and here’s where his legend begins.

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Baby Boom

Posted : 1 week, 4 days ago on 9 April 2014 02:56 (A review of Baby Boom)

Nancy Meyers is a bit of a pain in the ass. I want to respect her because she’s one of the few name brand female writer/director/producer’s in the game, but she creates such odious stories around insular overly privileged women without a person of color or truly feminist thought rolling around in her films. What’s astounding is how easily she repackages stereotypes about females into her films, take for instance Baby Boom’s insistence that a woman cannot be fulfilled by a marriage and a high-profile career, she needs to throw it all away for a simpler life with a man’s man and a baby.

But dammit if I didn’t laugh a few times thanks to Diane Keaton’s flighty comic sensibilities. The “dragon lady”/high-powered bitch persona at the beginning is a little hard to swallow. Yet Keaton manages to make sense of the character by playing up the more career obsessed and emotionally frigid aspects, this helps to make her eventual slip into neurosis more palpable and easier to accept. Here is a woman entombed within her affluence and career that trying to raise a child is like trying to complete manual labor.

Yet these stretches offer only a few laughs, and mostly play against the innate intelligence of these characters. You’d think these people would have enough street smarts to know that feeding a newborn child a messy pasta dish was a bad idea, yet there is a scene where they do just that. Too often Meyers’s films feel like over-bloated sitcoms, and dreadfully routine ones. Oh look, the big city woman just needed to get back in touch with the real things in life to discover true happiness. As if focusing on work wasn’t fulfilling to some people, the film then goes on to loudly proclaim that small town Americana is somehow inherently more authentic than any other place. It’s a tired idea, one that feels as antiquated as the idea that all small town residents as folksy types with homespun knowledge to be doled out at just the right time. If you’re a fan of Keaton, like I am, she makes this thing somewhat watchable, otherwise it plays out like a CBS-level sitcom that is inexplicably popular despite not being very insightful, witty, charming, funny, or original. But boy howdy, it sure does pluck those tired old strings with verve.

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Woman Times Seven

Posted : 1 week, 4 days ago on 9 April 2014 02:56 (A review of Woman Times Seven)

I know I watched this, but I can’t really remember much about it. Which is such a shame because it stars Shirley MacLaine, features Peter Sellers, Michael Caine, Alan Arkin, Rossano Brazzi, and directed by Vittorio de Sica. Yet nothing much about it retains in the memory like de Sica’s other anthology sex comedy Yesterday, Today & Tomorrow. Maybe the difference there was that it had Sophia Loren riffing on the long-suffering housewife, bored rich girl, and earthy hooker personas that her filmography was made from? Or maybe the material was just stronger and her talents more attuned to the witty sex farce that was going on? Yeah, that seems more like it.

The degree of difficulty involved in playing one role successfully only increases when you have a limited amount of time to do it before starting all over again. Seven roles in one film is nearly impossible, unless you’re Peter Sellers. MacLaine hadn’t quite developed beyond her dippy, kooky persona yet, still green in effectively playing dramatic roles and too broad for finely done farce. The result is seven performances only half-formed, so the result just begins to be staring at MacLaine in various parts of France wearing different wigs and trying out a few accents. Many of these segments feel overly long at 14-16 minutes in length, which is yet another problem. It’s not all doom and gloom, a few jokes land, a couple of the segments have their moments, it’s fun guessing who will show up next. But it’s not a complete collection, and was clearly designed to be seen as an acting tour de force. Shame it didn’t turn out to be one.

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It

Posted : 1 week, 4 days ago on 9 April 2014 02:56 (A review of It)

“My god, THAT is a star!”

Clara Bow had enough energy to provide electricity to a medium sized city, and, yes, she had “It.” While It had a studio generated publicity campaign to generate a new conversation about what makes or breaks a star, it’s not hard to see why Bow was chosen as the beneficiary of this campaign. She deserved to be dubbed Hollywood’s first It Girl. She was a potent combination of sex goddess, a wanton flapper with her red hair peeking around head wraps barely containing the party-seeking curls she had. The other part of her was a comedic working girl with a heart of gold, the blueprint that she laid out can be seen in later day starlets like Jean Harlow and Betty Boop’s animated antics.

Her hypnotic and wildly likable presence make It far better than the story it tells. It’s pretty routine stuff: low class girl falls in love with high-class boy, misunderstanding ensue, and they eventually wind up together. What is quite refreshing about this whole thing is that while her character may have upwardly mobile romantic aspirations, she refuses to compromise her dignity in the process. When her suitor tries to steal a kiss on a date without her consent, she smacks him one yet is clearly overjoyed that he has showed an interest when detailing the night’s events to her girlfriend.

The plot lacks the nuance and finesse of other great comedies of the silent era like anything from Buster Keaton, Harold Lloyd, and Charles Chaplin during the same era, but that doesn’t matter. It’s clear from the first scene that this is a star vehicle through and through. And Clara Bow’s vivacity and tenacity is ageless. Maybe you’ll find yourself thinking that the same thing I did while watching the exuberant It: “My god, THAT is a star!”

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The Deep Blue Sea

Posted : 2 weeks, 4 days ago on 1 April 2014 09:01 (A review of The Deep Blue Sea)

It’s interesting to watch the 2011 version of Terence Rattigan’s play after having recently watched the 1955 one. Anatole Litvak’s version lacked a personal touch and much insight into Hester’s character, but it contains a great performance from Vivien Leigh. It’s compulsively watchable, but makes an odd decision to film such a quiet, intimate story with widescreen and Technicolor panache. Terence Davies made a film that’s equally as great, but also lacking in a few of the same eras. Maybe the problem lies in the material?

Why exactly does Hester throw out her high society marriage to run off with a RAF? The sarcastic answer I want to give is because the RAF is played by Tom Hiddleston, and wouldn’t you runaway with him if you had the chance? But the truth of that matter is never justifiably resolved, nor is the neurosis at the heart of Hester’s character. This film also operates in flashbacks, but they’re not as cleanly presented here. I typically have an aversion to non-linear film-making unless there’s a damn good reason for it. The Deep Blue Sea comes up with a pretty good one: these are Hester’s memories, which she’s trying to sort out, examine, and move on from. So it makes a certain emotional sense to have these memories be a little blurred and jumbled at the beginning before becoming more orderly as time goes on.

Yet it’s in trying to draw a clear reasoning behind Hester’s breakdown that this film slightly stumbles from being sublimely great. It sometimes spells out its themes too grandly, or takes easy shorthand when a quiet moment would have done much better. But perhaps there just isn’t as much to Hester as I originally thought. She seems to be in love with love, wrapped up in the idealism of a hopeless romantic without having to face the realities of making something work. Maybe Davies, clearly a romantic given some of his unnecessarily arty framing of the lovers in the early parts of the film, just couldn’t smooth over the rough patches of the script?

No matter though, just like Leigh before her, Weisz steps up the challenge of trying to make sense of this woman and delivers a finely textured performance. When the writing announces itself too grandly, she uses to delicate features to look like a slowly cracking china doll. This is a role that could easily be given over to hysterics, lots of awards show clip worthy moments of her crying and breaking down while loudly pronouncing the sorrow of her fate, but Weisz is a smart enough actress to know that would not be in service of her character. Maybe modulating her performance to such a low-key is what kept her sidelined in the 2011 Best Actress race? She was definitely deserving of consideration, even if the film makes awkward choices around her central performance.

As for the men in the life, Hiddleston seems an odd choice to play a man who is worried about coming across as intellectually inferior and emotionally unavailable. His high-cheek boned good looks seem right at home as a loquacious wit or a member of the bourgeoisie. No matter, while he doesn’t entirely look the part, he plays it to great strength, nailing scenes of drunken emotional stupor or callously lacking in empathy, yet still giving us glimpses of the passionate man who made Hester throw everything away. And Simon Russell Beale plays the jilted husband with quiet pride and wounded dignity. It’s clear from several scenes that he cannot connect emotionally with others due to the abuse thrown at him by his mother, but that he does truly love Hester, even if that means letting her go. Beale follows Weisz lead and does it all with subtlety and grace.

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Rosencrantz & Guildenstern Are Dead

Posted : 2 weeks, 4 days ago on 1 April 2014 09:01 (A review of Rosencrantz & Guildenstern Are Dead)

Sometimes a certain piece should just be left as whatever medium it was originally intended to be. Rosencratz & Guildenstern Are Dead is witty and takes a familiar subject matter from an acute angle, but it doesn’t make for a great feature film. It’s so obviously indentured to the stage, so dependent upon audience interaction and knowledge of Hamlet to thrive, that something is missing from the film version. It needs the visual tension of these two minimally important characters standing around while the important parts of Hamlet occur around them with little of Shakespeare’s dialog or situations being immediately obvious to them.

Or maybe it’s just that Tom Stoppard, great writer, is not that great of a director. The palette is bland, the pacing is off, but his actors are uniformly excellent. Tim Roth and Gary Oldman really can’t do any wrong, and they both equip themselves quite well to the comedic notes of the script. I’m used to the idea of Roth and Oldman as obsessives or villains that to see them play dim witted and gentile characters is almost transgressive. But they are an absolute joy to watch. Stoppard’s extended dialog or verbal back-and-forth volleying isn’t easy to master, but they both display a great affinity for the rhythm and cadence with it. Iain Glen makes for an incredibly handsome and melancholic Hamlet, while Richard Dreyfuss as the Player, the leader of a troupe of actors. He seems to be some kind of fourth-wall breaking character as he tips off the two main characters to their eventual fate while also making sure it happens, he’s a character made up of pure energy and Dreyfuss tries valiantly to steal the movie away. As an acting showcase, it’s dynamite. But like a lot of other film adaptations of great stage plays, something just didn’t quite transfer from stage to screen.

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Topsy-Turvy

Posted : 2 weeks, 4 days ago on 1 April 2014 09:01 (A review of Topsy-Turvy)

Mike Leigh’s Topsy-Turvy is a film love drunk for musical theater, more specifically, the musical theater of Gilbert & Sullivan. Perhaps a bit too in love with them, since it details in the creation of The Mikado from the beginning to the very end, never once glossing over even the tiniest bits of the creative process. This wouldn’t be so bad if we had walked away with a clearer portrait of the numerous characters or locations. It’s a three hour journey from the first flush of an idea to the eventual opening night, but it’s all details and no real narrative.

While it’s interesting as an conceit to jump around between Gilbert & Sullivan banging around the piano coming up with melodies and lyrics then jumping to rehearsals before finally transforming into the opening night version, it doesn’t really give much weight to any place or occurrence. I loved Topsy-Turvy for its grand ambition, but I’m just not sure how successful it was in the long run. Having said that, I would rather watch a film overstuffed with ideas, beautiful costumes, gorgeous art direction and production design, lovely cinematography, and grand scale artistic ambition than one that does even half of those things exceptionally well for a more bland end product.

That’s not to say Topsy-Turvy is a noble failure, far from it, it does too many things too well to be considered a failure in any sense of the word. I just think that it lacks shape and clarity. Films about the artistic process are hard to pull off, especially when it comes to writers. It’s terribly hard to make people hunched over scribbling away at something terribly cinematic. But Leigh is blessed with a very talented ensemble of actors. Jim Broadbent and Allan Corduner play William S. Gilbert and Arthur Sullivan, respectively. They make quick work of forming a believable bond in the early scenes so that we can imagine that they’ve been working together as artistic partners for a long time before this hiccup. Kevin McKidd, Martin Savage, Dorothy Atkinson, Shirley Henderson, and, especially, Timothy Spall make for a great acting company. Spall in particular has a scene towards the end in which he gets to register disappointment and heartbreaking on the inside while keeping a cool exterior that is pretty magnificent. But I walked away feeling the most for Lesley Manville’s long-suffering wife, the woman who must live with genius and put up with its inconsistencies of mood and affection. She gives a quiet, carefully modulated performance that slowly lets out all of the hurt that’s been boiling over the years.

I wanted to love Topsy-Turvy more than I did, but I still greatly enjoyed it. Maybe it’s because it so joyfully expresses its love for its subject matter in every frame, in every scene. So what if its heedless in structure and lacks strong characters, by and large, there’s a tremendous amount of love and respect in this film. And that counts for a lot.

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Rated 19 games

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Riffraff
 Riffraff 5/10
3 days, 6 hours ago
JxSxPx posted a review of 21 Grams

21 Grams

“There’s a lot to admire in 21 Grams, Naomi Watts and Benicio Del Toro give heart-wrenching performances, the cinematography is gorgeous, the script feels emotionally honest even when it strains credibility with its coincidences, yet I cannot get behind it’s unconventional structure. I’ve said ” read more

4 days, 10 hours ago
JxSxPx posted a review of American Gigolo

American Gigolo

“American Gigolo is all slick surfaces and neon glossed artificiality. Midway through there’s a murder-mystery thrown in, I don’t really know why, and frankly I don’t care. I think this film is all pretty on the outside, with nothing much going on beneath the surfaces. Of course, what else shou” read more

4 days, 10 hours ago
JxSxPx posted a review of Hustle & Flow

Hustle & Flow

“It owes much to the 70s black underground cinema. The cinema that produced films like Foxy Brown or Shaft, Hustle & Flow is the spiritual child to the Blaxploitation genre. And beyond that, it’s a tale of the liberating power of music, a grassroots story of a man taking every intense feeling he ha” read more

4 days, 10 hours ago
JxSxPx posted a review of Hard Eight

Hard Eight

“I don’t think there’s a single movie from Paul Thomas Anderson that I haven’t enjoyed or admired in some way. Granted, Hard Eight is a bit more formulaic than the more mysterious The Master or freewheeling Boogie Nights, but it does the crime story very well. The piece that makes the entire fi” read more

4 days, 10 hours ago
Reckless
 Reckless 5/10
6 days, 6 hours ago
JxSxPx posted a review of Baby Boom

Baby Boom

“Nancy Meyers is a bit of a pain in the ass. I want to respect her because she’s one of the few name brand female writer/director/producer’s in the game, but she creates such odious stories around insular overly privileged women without a person of color or truly feminist thought rolling around i” read more

1 week, 4 days ago
JxSxPx posted a review of Woman Times Seven

Woman Times Seven

“I know I watched this, but I can’t really remember much about it. Which is such a shame because it stars Shirley MacLaine, features Peter Sellers, Michael Caine, Alan Arkin, Rossano Brazzi, and directed by Vittorio de Sica. Yet nothing much about it retains in the memory like de Sica’s other ant” read more

1 week, 4 days ago
JxSxPx posted a review of It

It

““My god, THAT is a star!”

Clara Bow had enough energy to provide electricity to a medium sized city, and, yes, she had “It.” While It had a studio generated publicity campaign to generate a new conversation about what makes or breaks a star, it’s not hard to see why Bow was chose” read more

1 week, 4 days ago
JxSxPx posted a review of The Deep Blue Sea

The Deep Blue Sea

“It’s interesting to watch the 2011 version of Terence Rattigan’s play after having recently watched the 1955 one. Anatole Litvak’s version lacked a personal touch and much insight into Hester’s character, but it contains a great performance from Vivien Leigh. It’s compulsively watchable, b” read more

2 weeks, 4 days ago

Rosencrantz & Guildenstern Are Dead

“Sometimes a certain piece should just be left as whatever medium it was originally intended to be. Rosencratz & Guildenstern Are Dead is witty and takes a familiar subject matter from an acute angle, but it doesn’t make for a great feature film. It’s so obviously indentured to the stage, so depe” read more

2 weeks, 4 days ago
JxSxPx posted a review of Topsy-Turvy

Topsy-Turvy

“Mike Leigh’s Topsy-Turvy is a film love drunk for musical theater, more specifically, the musical theater of Gilbert & Sullivan. Perhaps a bit too in love with them, since it details in the creation of The Mikado from the beginning to the very end, never once glossing over even the tiniest bits of” read more

2 weeks, 4 days ago
JxSxPx posted a review of Quills

Quills

“Wildly entertaining wouldn’t be the first words that pop into my mind concerning a film about the Marquis de Sade. Disturbed, borderline pornographic, nihilistic, hedonism, and anarchy – these words seem to fit de Sade much better. Yet, here we are with Quills featuring a never better Geoffrey R” read more

2 weeks, 4 days ago
JxSxPx added 2 items to their collection
The Truman Show

have watched

8/10

21 Grams

6/10


2 weeks, 5 days ago
2 weeks, 6 days ago
JxSxPx added 2 items to their collection
Young Mr. Lincoln

have watched

7/10

The Grand Budapest Hotel

10/10


3 weeks ago
The Dead
 The Dead 10/10
3 weeks, 1 day ago
JxSxPx posted a review of Warrior

Warrior

“It’s not the punches and kicks that weigh so hard upon us in Warrior, it’s being stuck in a lose-lose situation in which you’re rooting for both of the characters to succeed and to win the fight, and praying that some outcome will allow for that to happen. Sure, Warrior leans heavily upon clic” read more

3 weeks, 2 days ago
JxSxPx posted a review of An American Crime

An American Crime

“Here is a film that started off as something deeply disturbing, a comment on mob-mentality and how when allowed the opportunity to let our darkest impulses run wild we shall we do so with alarming glee, and ends up leaving a distasteful feeling within us for a different reason entirely. Inspired by ” read more

3 weeks, 2 days ago
JxSxPx posted a review of Ordinary People

Ordinary People

“I still don’t think that Ordinary People deserved a few of its Oscar wins over Raging Bull, but it’s easy to see why this film was so beloved by voters. It’s not as boundary pushing as Scorsese’s character portrait, but it tells a simple, yet devastating, story of a well-to-do family disinte” read more

3 weeks, 2 days ago
JxSxPx posted a review of Shoot Out

Shoot Out

“Sometimes being a big fan of a star means having to suffer through their lesser vehicles. It’s not that Gregory Peck can’t play a bad boy, he did well and had a lot of fun in Duel in the Sun, or that Henry Hathaway can’t make an entertaining movie, 14 Hours and Niagara prove that he can. No, t” read more

3 weeks, 3 days ago
JxSxPx posted a review of Mary, Queen of Scots

Mary, Queen of Scots

“While very much based on historical events, and a deeply fascinating story about political/sexual intrigue and power plays, Mary, Queen of Scots frequently dips into a tone of melodramatic soap opera. Historical dramas need a bit more to go along with besides opulent sets, lovely costumes, and veter” read more

3 weeks, 3 days ago
JxSxPx posted a review of The Naked City

The Naked City

“The Naked City is frequently heralded as a great film noir, but I frankly just don’t see it. It lacks much of moral quagmire that noir traffics in. Here the good guys (the cops) are straight-laced and completely heroic, while are bad guys have no ambiguity or nuance present in them. Film noir was ” read more

3 weeks, 3 days ago
Baby Boom
 Baby Boom 5/10
3 weeks, 3 days ago
JxSxPx posted a review of Her

Her

“I’m not really sure what to call Her: is it science-fiction? A drama? A romantic comedy? Some strange combination of the three? Her is a film which stares at genre titles and conventions and has a good laugh in their face. Of course, this movie sprung from the mind of Spike Jonze, that strangely s” read more

3 weeks, 3 days ago
JxSxPx posted a review of Nebraska

Nebraska

“If there’s any genre that I think is difficult to make operate effectively in film, it’s the road movie. “The journey is the destination” mantra that hovers over these films typically reduces us into episodic moments in which the loosely assembled narrative frequently threatens to come undon” read more

3 weeks, 3 days ago
JxSxPx posted a review of Captain Phillips

Captain Phillips

“Courage under fire makes for great storytelling, if it’s done properly. Captain Phillips, more often than not, does this type of story incredibly well. Inspired by true events, it gives us an everyman straining to keep a level head and turn the quickly escalating situations towards his favor. An o” read more

3 weeks, 3 days ago
4 weeks, 1 day ago

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Comments

Posted: 5 months, 3 weeks ago at Oct 26 17:23
Posted: 1 year ago at Apr 8 14:36
hi friend check out my new list .
hope you like it and thanks for your
time
http://www.listal.com/list/love-these-posters
Posted: 1 year ago at Mar 30 14:02
This might just sound schize, but thanks for re-writing my "Pocahontas" review-- saves me the trouble of figuring it all out *again* myself, a-hahahaha....
Posted: 1 year, 1 month ago at Mar 18 22:57
Thanks for participating in my lists.
Sorry, but you can't do another top, really sorry.
But thanks.
Posted: 1 year, 1 month ago at Mar 10 18:22
Thanks for taking part in my musicals list!

I also know how you feel, I found it hard to limit my choices down to 10.
Posted: 1 year, 3 months ago at Jan 19 23:47
hey friend check out my new list. hope you like it
http://www.listal.com/list/reflecting-beuty
Posted: 1 year, 3 months ago at Dec 21 16:14
Hello there! I enjoyed your review of Dracula and took myself the freedom to link it to my Universal Horror Films - Best to Worst list. Hope you're fine with that!
Posted: 1 year, 9 months ago at Jul 21 2:52
Thank u 4 your comment on the muses list. Suggestion added.
Posted: 2 years, 2 months ago at Jan 27 21:05
I'm working on a new project. Maybe you can check it out and help me. From which State are you from? and in which State are you living right now?

http://www.listal.com/list/around-usa-listals-members

(I may have asked you this already earlier, in this case, apology for the inconvenience!)
Posted: 2 years, 9 months ago at Jul 16 13:06
I'm working on a new project. Maybe you can check it out and help me. From which State are you from? and in which State are you living right now?

http://www.listal.com/list/around-usa-listals-members
Posted: 3 years, 5 months ago at Nov 18 1:19
O.O Thanks!!
Posted: 5 years, 3 months ago at Jan 12 20:17
cool reviews =]
Posted: 5 years, 5 months ago at Nov 15 17:51
Posted: 5 years, 8 months ago at Aug 12 18:48
Hey man, I see you're pretty new, I'm loving the reviews though! Great job.