Scott Carpenter

Really intriguing premise, awesome filming with plenty of rich scenery, but falls flat with the simple rushed script. A bit formulaic and predictable-I don't think they spent enough on the writing team. I feel like the target audience is conservatives and people who love Hallmark movies but want something edgier. I hate when my spouse turns it on because it means I'll get pulled into finishing the episode, but have to endure a bunch of basic overplayed tropes and weak storytelling along the way.

Good rainy day flick. Jon Hamm is awkward as Fletch. He's too good looking to play a slob, and too slobby to be desirable. Ayden Mayeri steals every scene she's in, which is hard considering she's mostly sharing the screen with Roy Wood Jr.

It's ...fine. Apparently Arnold can't stop making films as if we're still living in 1995. I couldn't get past the first episode, so maybe it gets better later. It's not just Arnold with the wooden acting. And I know it's the first episode, but it felt like they were rushing through a lot of details. To me, a mark of bad writing is when, instead of saying "Hey, man, it's been a minute", they say "Hey NAME my oldest childhood friend! I haven't seen you since we accomplished THAT TASK together. Let's make passive aggressive comments about the disagreement that drove us apart." I saw a fair bit of that...

I've seen better films on Mystery Science Theater. There's little-to-nothing about this that makes it a M. Night Shayamalan film. The premise is absurdly thin, there are no twists, no surprises, no real tension, and no real resolution at the end. I only finished it because of the sunk cost fallacy. I expect some people will come for the LGBTQ messaging, but frankly - I thought it was an embarrassment. If I was a lonely and repressed emo kid then I might appreciated the messaging, but as an adult, it's almost cringey.

I was worried this would ruined by token "woke" overtures, but it's not. Instead, it's a brilliantly creative adaptation, executed with careful and heartfelt character development. While it exceeded my expectations-and I did enjoy it, Jude Law, Jim Gaffigan, and Alan Tudyk are all miscast, and their characters end up a bit undercooked. Jim looks the part, but he never fully becomes the Smee I'm expecting. Jude and Alan should have switched roles. For staters, Alan's face was made by God himself to play Hook, while Jude is better at patriarchal roles. Would definitely recommend- esp. if you run out of other things to watch, you'll enjoy it.

Awesome, awesome movie. Ultimately it's a feel good story that isn't overly sweet. Will Smith is many things, and in this case he's a brilliant actor. Also all of the supporting cast does an equally outstanding job bringing this story to life, esp. Ben Foster and Steven Ogg.

Phenomenal filmwork-you could watch this with the sound turned off and still enjoy it almost as much. The storytelling is profoundly well done. The actors give outstanding performances. Hard not to binge.

Unbelievably riveting, uncomplicated, FUN. I kept expecting some B or C grade story that dragged on for too long, banking on Idris to carry it through the box office. I was wrong. It deftly avoids schlock, subpar performances(the young actors are REALLY good), forced set-ups, or a meandering plot. The film is a masterclass in efficient storytelling. All the elements are put in place with complete naturalness, without wasting time or suspense. This continues right up to the climax where we're finally asked to offer the film a slight pass on credulity-SPOILER ALERT; we're expected to believe a character's injuries from a mauling are no worse then having wrestled a large dog. But it's not a big ask as you'll be rooting for it anyway. Ironically, the bullet accuracy in this film is more realistic than most other thrillers.

It's as if Micheal Bay maked a Hallmark movie. Visually rich, emotionally charged, shallow as a spatula. Mindless stupid fun. Almost a shot for shot remake of the original. Pretty people playing with fancy toys, with just enough contrived tension to tell a story.

Farrell, Turturro, and Dano, stand out by showing the range of their abilities. Kravitz has a line about old privileged white men that feels forced and out of place. Pattinson's hair can't fall naturally across his face. There's nothing clever about this Batman. The characters are very one dimensional and underdeveloped, the cinematography is equally monochromatic, the Bat-tech is barely, mildly impressive(this Batmobile is pathetic), and the run-time is writing checks the story can't cash- I didn't identify a single shocking plot twist-somehow even the revelation of Catwoman's father felt underwhelming. The end seemed to drag out forever and build into nothing. This version of Batman appears to be a made for TV special written by a goth kid who is stuck in the '90s. The whole thing seemed pointlessly and aimlessly, dark and brooding.