david salazar movie review
Director Rawson Marshall Thurber deserves a tremendous amount of credit for keeping the film running at a steady pace for its duration. There is no single dead beat or gratuitous attempts at humor during the entire movie and it will surely thrill those who give it a try. "We're the Millers" is destined to be the surprise hit of the summer thanks to a terrific combination of cast, script, and direction.
"I have a dumb sense of humor" utters Zach Galifianakis' Alan during "The Hangover Part 3." Sadly, that statement might be the best way to describe the final installment in the raunchy franchise.
"Before Snowfall" is a riveting coming-of-age journey that informs as it rivets with strong balance that few other films achieve. The two lead performances carry the film wondrously in a tale of two lost souls filling the voids of their respective loneliness.
While the immigrant story is familiar to many viewers from other similar portrayals, it provides a refreshing angle that has not been given much attention in modern-day cinema. Unfortunately, the larger context and storyline of the film gets little dramatic attention and ultimately hinders the quality of the work.
Returning to the question that started this critique; is "The Host" good enough for those who care little for Stephenie Meyer's work? The resounding answer is NO. The tremendous talent of Ronan gets wasted behind a vague premise and false stakes. For those hoping for a silver lining, here it is: "The Host" is better than the "Twilight" movies. But is that really saying much?
Those expecting a non-stop, in-your-face thriller will be pleased by the ride, but could leave the theater questioning what the whole point of it was. For those with more patience, the film will surely require multiple viewing to explore its endless secrets.
Even if the film feels uneven and unbalanced at times, there is no denying Cianfrance's ambition and innovation or his cast and crew's strong deliveries.
Ultimately, "Rubberneck" is an intriguing character study molded into a suspense thriller that sustains the audience's attention for its duration. Unfortunately, the film threatens to alienate its audience as it wears on without ever truly winning it back. A late attempt to redeem Paul makes the film feel formulaic and cliché despite its best intentions.
Gangster Squad" ultimately offers up some thrills and will likely appeal to those who enjoy intense violence and the occasional joke. For those looking for an articulate character study or top end crime drama, this film will likely prove unsatisfying and tiresome.
Ultimately, the film purports the Christian ideal that despite all the suffering of the individual througout his life, he or she is due better later on. The film is lengthy, but Hooper manages to provide an emotional punch at every turn to keep the audience vested in the massive story. The film is filled with a long list of tragedies that bring significance to its title, but not one of them feels unimportant or overlooked. Hooper deftly maintains a strong sense of intimacy with every character and it is this sense of unity and attention to detail that makes "Les Misérables" a rousing and cathartic experience that is not easily forgotten.
"Zero Dark Thirty's" early awards buzz is certainly not without merit as Bigelow conjures up an immersive, exciting portrayal of one of the most significant historical achievements in recent US history. Jessica Chastain's brilliant performance keeps the film together on an emotional level while Bigelow's methodic pacing enables her to orchestrate one of the most exhilarating films of the year.
Despite an endless number of battles and the arrival and departure of numerous characters, there is a feeling that nothing actually happened by the end of The Hobbit. The film revolves around Thorin's acceptance of Bilbo, but that focal point is lost in the mishmash of distracting subplots and uninteresting battles. The film is a clear setup for the next two pictures and in the grand scheme could wind up fitting within the framework of a trilogy. But as a standalone film and in the context of its legacy, The Hobbit: An Unexpected Journey is overlong, uneven, and ultimately disappointing.
Despite some top notch performances, Django ultimately feels like a fruitless experiment. All of the Tarantino trademarks are present (and that alone will make fans happy), but they become quite tiresome after endless repetitions and ultimately make for an empty experience.
One of the great pleasures of Life of Pi is that it never indicates any philosophical pretenses from outset. It simply opens up a number of ambiguous questions that it sets out to answer. In the process, the film, notable for its simplicity, transcends into a wondrous examination of the human soul and existence, leaving one inquisitive long after the experience has come to an end. It is easily one of the most astounding films of the year as it portrays one of the few instances in which mainstream entertainment can also create a satisfying experience for the intellectual crowd.
Unlike Dominik's last endeavor (Jesse James), Killing Them Softly moves at a relentless pace that matches the plot's violent nature. His stylistic experiments do not always work, but the tremendous veteran cast nearly nullifies these complaints and elevatess the film.
