Clay Stablein

This movie checked all my boxes.

I saw this when it came out and found it okay. I've never been a big Tim Burton fan. I appreciate the visuals better today. There's a magic to it I didn't appreciate then as I do now.

I thought this movie was really well done. It certainly brought to life what it would be like in a civil war of this sort. Types of depravity that will go beyond display. The loss of daily life in peace replaced by tumult, chaos, death, dismemberment, and fear. A very difficult time on a difficult topic of our times. I appreciated how the movie depicted our reporters' journey. There are scary stops along the way. There are conflicting emotions. The scenes they inevitably came across wanted to film and capture the moment. The bravery involved and the absurdity of war are all captured in this film.

My 2 stars isn't very fair. Because well, the daughter was having her holding the horn experience her cosmic love tearful, joyful, expansive cosmic experience. The author's decided to have her father (or caregiver or whoever the hell paul rudd is to her,) kill it. So I exited the streaming service and was greatly disappointed that I had to do so.

I felt the movie was going along nicely, really developing the plot around the 2020 pandemic, and the differences between a sheriff and a mayor, and the small town issues when a governor of the State of New Mexico tells his little mayor puppets to shut down their towns. The choice of actors to portray these roles was well done, and I thought that one actress portraying Joaquin's wife with her conspiracy-laden mother was good. The movie was going around really well. Developing the plot, showing the skirmishes, showing the arguments, showing the differences in worldviews, those who are compliant, and those who rejected masking and social distancing orders from the state and the air. And then it all went to shit. And although the movie after it went to shit was pretty good, that one moment when Joaquin Phoenix sharpshoots the mayor ruined the film for me, and yeah, it was interesting enough, watching the chaos ensue after that, but so unnecessary, so plot-dissolving, so useless. Meaningless and not in the... Oh my God, I'm getting the tone of the film with the meaninglessness, the nihilism, or anything like that. No. It just needed to be handled with not a comedic touch, but with a dramatic touch that stayed well within the lines of the everyday crazy of the pandemic. You did not need to have a murder. In fact, that just smacks of the inability of the writer-director to understand the crazy of the pandemic in and of itself and how crazy it can make people, so perfectly done until that clock point that causes them to go off the rails.

While I have not yet viewed this film in its entirety, nor have I experienced "The Godfather," the segments I have observed consistently evoke a profound sense of realism. The genuine emotion, the depiction of avarice, and the overall authenticity are deeply affecting. The film's nostalgic quality resonates strongly. The narrative's portrayal of these characters' lives is particularly compelling. Joe Pesci's Oscar-nominated performance, and the subsequent repercussions of his character's actions, are readily apparent. Furthermore, I find Ray Liotta's performance equally captivating. The scene with Elaine Brocchio pointing the gun at Ray Liotta is as stunning as it is expected. She is out of her mind with jealousy and rage at her husband's betrayal. The jail scene is something right out of mobster heaven. The way she's waiting for him at the end of his jail time is iconic. The violence and the return to the ways of a mobster after all that, to have the nerve and the chutzpah to continue as if the risks are all worth it. I wonder what it's like to get that much charge out of running drugs and beating up on others?

There is something fatally flawed with this movie. But most likely, you won't care. There is no plot to speak of, or the plot is in service of Tom Cruise and his goals. He sets himself up as if he is the only movie star making movies for the public, which is untrue. There's no villain to speak of, and yet Esai Morales does a great job. I really like him in this film. I think you'll know what I mean when you see it—that everybody is in service of the narrative. The film is entirely narrative driven and then physical set pieces. However, I disagree with Roger Ebert's review that the first third of the film isn't good. I think it's the best third of the film. I think it's classic Mission: Impossible humor, action, and surprise. The review of the previous Mission: Impossible films filled in some holes I was certainly unaware of. The set pieces are the second and third thirds; the second third is the submarine set piece, and the third third is the airplane set piece. The film's weaknesses begin, especially with the series of events leading to the submarine scenes. For decent to riveting storytelling, I wouldn't mind suspending disbelief. However, this one isn't even well done. There are a few themes in the submarine set piece worth watching. The filmmaking is remarkable, but the storytelling is silly. Again, it's hard to criticize this film. There's nothing really wrong with the submarine scene. Actually, I remember a scene in the descent to the submarine that was awesome. The weakness is that the two physical set pieces are contrived. They do not organically or realistically exist within the film's plot and the normal development of a situation of mystery, intrigue, or suspense—the suspense that a good action film delivers. How Tom and his team arrive at the location of the sub is realistic enough. But how Tom manages to survive is eye-rollingly nonsensical and impossible. Not in a *Mission: Impossible* way, though. In a silly, "why'd you ask me to suspend disbelief?" way. I am now watching the film outside of it, not immersed. And yet, there's an ending here that is nothing short of riveting. It happens in the blink of an eye, but it's worth the whole film. I would watch the whole film again just to see this one hundred milliseconds. You'll know exactly what I mean when you see it.

This is a unique and compelling vampire film; certain scenes are truly unforgettable. The film's structure lacked cohesion. Improvements could have been made to the script, particularly in developing the characters and their backstories. A younger depiction of the characters, showcasing their pasts, might have been more effective. The vampires' presence felt somewhat arbitrary. The intended contrast between voodoo and vampirism was underdeveloped. However, Sammy's character was exceptionally well-portrayed, and Michael B. Jordan delivered a superb performance. The film's music was outstanding; I intend to acquire the soundtrack.

This interpretation of *Willy Wonka and the Chocolate Factory* is unsatisfactory. Furthermore, Depp's portrayal of Wonka lacked depth and engagement; his vocal performance was unusual and disruptive. Despite considerable effort to appreciate the film, I remain unimpressed and, frankly, disappointed. Wonka's responses to the children were immature and spiteful. I experienced nothing but disdain for the character. Depp's performance was subpar and, as widely noted, unsettling; not in a charming way, but genuinely objectionable. The musical numbers failed to resonate with me. Even the tunnel sequence was underwhelming. Currently viewing the Mike TV scene, I acknowledge the clever allusion to *2001: A Space Odyssey*. Wonka's statement, "That's unexpected and weird," upon learning that Charlie declines the chocolatier apprenticeship due to his family's exclusion, aptly encapsulates the film's overall shortcomings.

She is a highly skilled former competitive ice skater and now a highly accomplished gourmet chef, a fact she keeps from her husband. He would be a stay-at-home dad, were it not for one significant factor: her terminal cancer diagnosis. The film's nonlinear narrative structure, reminiscent of a character's fragmented memories before death, is deeply affecting and will undoubtedly evoke a strong emotional response from viewers. The acting is superb, the casting impeccable, and the direction masterful.