> "Come on, he's one guy, and he's French."
Ocean's series goes global and I love it. The scenery, the music, the stellar cast... they did it again. I would say while this is about heists again, it doesn't focus on it as much, but I am cool with that because the storytelling, twists and cast are just so good.

Yikes, but this is not a patch on "Ocean's 11" (2001). Though many of the same cast have re-assembled, the story is lacking in just about everything that made the first one good. Somehow, "Benedict" (Andy Garcia), whom they royally fleeced last time, has tracked them all down and wants his cash back, or else! The gang realise that are about $100m short, so devise a cunning new robbery to make up the shortfall. Thing is, after their usual meticulous planing and execution, they discover that someone has beaten them to it. Same next time, and the next - who is this genius? Well, it turns out to be a rather confident French fellow "Toulour" (Vincent Cassel) who basically offers them duel. The theft of a Fabergé egg from Paris. He wins, they the are toast; they win and he will pay off "Benedict". All of this thievery has not gone unnoticed by Europol, however, and soon they have their own agent "Lahiri" (Catherine Zeta-Jones) on the case too. Problems here for me are - the story, though quite quirky, is poorly executed and there are just far too many people involved in the plot and sub-plots that after a while just become a bit dull. There's quite a fun scene with Julia Roberts as herself with Bruce Willis, but otherwise this is just an overlong sequel that really just smacked of people making more money at the expense of the style, characterisation and charm of the first in the series. As you'd expect, the production standards are great - the film looks really good, but the rest of it is just a bit underwhelming.

No it's not good. I guess a lot of people like it, a lot of people hate it... and I fall into the hate it camp.
The problem is the plot, as so many others have no doubt pointed out. It makes sense on the surface level... and is so absolutely surface that when they try to add a twist or two it come across as an insult to the viewers.
It is one of those films where the entire responsibility is left on the writers, the plot just doesn't work for an Ocean's movie. The twists don't work. They tried to re-capture the magic of the first one, and, although the 3rd was able to do it well enough, 12 fell flat.
So, watch it to be a completionist and then forget it was ever made.

Good watch, could watch again, and can recommend, at least for fans of heist movies.
This is a refreshing twist on heist movies, actually a combination of twists: payback revenge and criminal vs criminal. This qualifies alternative motive to the crimes and because of the high stakes of competing thieves, we certainly get a complex heist.
The problem with this movie is that Benedict's move against them is the most interesting part, but is relegated to the beginning of the movie. Most of the thief vs thief action is obscured to hide information from the audience, causing the movie to explain and even re-explain things that have, are, or will happen in the movie which, honestly, just pads the run time without making the movie more entertaining.
Without a doubt, the movie is still good, but not nearly as good as the first in the series.

Convoluted Cack!
Ocean's 11 was a slick movie, ultra cool and up there with the best as regards superior remakes. Ocean's Twelve is a waste, a film coasting on star appeal, a picture desperately trying to cram as much into its screenplay for fear of failing.
The plot shoots off in a number of directions, yet incredibly it still wastes most of the cast who have all been held over from Ocean's 11. This time Catherine Zeta-Jones joins in for some weighty dressage and Vincent Cassel is along as some sort of break-dancing Raffles dude. There's the odd in-joke that works, while the by-ply between the principal players (Clooney/Pitt/Damon) holds a modicum of entertainment value. However, once the dust settles on the myriad of schemes and scrapes, you are left with a sequel of a remake that is almost everything the other film was not. Boo. 4/10

Those scenes at the end... they really went for it!
'Sausage Party' is as dumb a film as you'll find, it's purely nonsensical and extremely crass at times - pretty stereotypical too. Even with that being true, it does have some amusing gags in there; it got a few laughs out of me. It's uneasy, yet somewhat refreshing, to see an animated film be so raunchy. They do take it too far though, especially at the conclusion.
Seth Rogen is the lead as Frank, he is exactly what you'd expect from a Rogen character; drugs et al. There are a number of other well-known names, from James Franco to Salma Hayek to Jonah Hill to Kristen Wiig. I can't say any of them stand out in my memory, admittedly. Animation-wise I found it fine.
I commend them for going the full distance with this, but that probably harms the film in the long run. Adult animated films definitely have an open market and it would be cool to see it rise, but this film takes it too far into the lewd territory for my own liking - I didn't hate it though.

WTF? It was like Seth Rogen r***ed the shit out of Dreamworks animation. Seriously, WTF?!

I got yelled at in the theater for snoring around the 70 minute mark. I didn't know I snored until Sausage Party. All I really saw were the intro scenes and an orgy at the end. The theater had more comfortable seating than I'm used to, and I just want to say I'm truly sorry to anyone around me that I disturbed

**An uprising to liberate it the supermarket.**
How many R rated animated films have you seen? This is not a hentai, but the Hollywood's rare animated-adult-comedy. Most of the big names are here, especially the young generation. The film took me by a surprise. I did not know when it was made and what its genre, but the posters made me very curious the with double meaning punchlines. It was a silly story, something like a parody of Pixar's 'Toy Story', but a very enjoyable film as it is a rare product.
If you check the last two decade's records, the animation films tore apart the live-action films in the box office clash. It is shocking, but the fact that animations make good revenue. This film is a trend setter in animation genre that targets the adult audience. Like Hollywood found its counterpart from the Japanese hentai. It just cost only $20 million to make and the production quality was not very standard, but acceptable. Hope there will be more like this in the future, but I would seek a sequel for this.
Seth Rogen was the main man behind this film. The rest of the cast too was good. Nothing but theirs voice lending made all the difference, especially you would know who were who, while a watch, that kind of familiar it was. The story of supermarket products from all the categories who fight for their freedom.
I really enjoyed, it was short too, as well as a fast narration with some good adult jokes. There are a couple of negatives about it, like the first one was there's no innovation in it, like it is very familiar, but a different kind of comedy. And the next one was all the characters, I mean the supermarket products are American. So if you are a non-American, nearly 90 per cent you won't get what those items are. The adults should watch this, because I don't know when you will get another one like this in the future. So I definitely favour it.
_7/10_

If you've watched the red band trailer, you've seen everything worthwhile that _Sausage Party_ has to offer.
_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

Christian Bale has always been prepared to go the extra mile for his art, but I am not sure it was worth it for this rather lengthy and messy crime caper. He portrays con-man "Irving" who works a series of scams with his glamorous British partner "Sydney" (Amy Adams). They are quite successful, until - that is - they fall foul of aspiring FBI investigator "DiMaso" (Bradley Cooper) who decides he can use their skills to infiltrate the murky world the Mafia. Add to this potentially toxic scenario the politically savvy and aptly named "Polito" (Jeremy Renner) and the omni-presence of "Rosalyn" (Jennifer Lawrence) who just happens to be the wife of "Irving" and who is none too pleased about her husband's antics with his new colleague. What ensues here now is a clunkily thrown together series of escapades that all hang on certain aspects of the story and characterisations that just don't really work. The attempts at humour miss much more than they hit; the faux-gangster plot falls flat and lacks grit or plausibility and Adams' British accent (and therefore her identity) is all over the place - I doubt it would convince even Dick van Dyke let along the FBI! The attempts at building an intricate domino-style plot where it could all come a-tumbling down at any time are too contrived, and that jeopardy presents it's self once too often and with ever diminishing effect as the story rather lurches along to it's almost slap-stick denouement. Though it features an A-list cast, there is not much chemistry on display for us here and the whole thing just takes far, far, too long to get up any head of steam. It does look good, and the soundtrack offers an enjoyably eclectic mix of songs, but I just wasn't sold on the very wordy suckering and scheming, sorry.

A very well acted, directed, filmed movie telling an interesting story about terrible terrible people. I didn't like and couldn't root for anyone which /almost/ made me hate the film, but it was so well done and the story was interesting...so 4 stars.

American Hustle is has a heavy dose of Scorsese circa 1970s with the violence replaced more by black humour.
Christian Bale, Amy Adams, Jennifer Lawrence, Jeremy Renner and Bradley Cooper all deliver excellent performances. Robert De Niro makes a cameo and reminds the audience why he was at one time the best screen actor in the world.
This is a black comedy-drama set in the late 1970's based on the true life Abscam scandal. FBI agents and con artists joined up to frame politicians for taking bribes.
Bale plays a pot bellied hustler with bad hair. Amy Adams is his partner in crime who passes off as an English Aristocrat. Both have struck it rich in a scam where they dupe arrangement fees for loans that never come to fruition.
Cooper is the ambitious FBI agent with a big ego who has the the mafia in his sights and wants to reel in a big catch but he might be out of his depth.
Jeremy Renner is the charismatic Mayor of New Jersey. A man with a big heart who wants to get things done and Bale feels guilty about getting him involved in the sting operation.
Director David O Russell gets great performances from his cast but the film feels flabby which blunts the story and the humour feels stretched at times.

Good

**A good film, with great actors at the highest level, a little different from other action films and that deserves to be revisited these days.**
If there's one thing that can be a good pastime, it's an action movie, with ingenious and fearless thieves and police willing to do anything to arrest them. That's what this movie is, basically, and although we've seen many movies with this recipe, neither does it become tiresome, nor do the movies become boring or less interesting.
Michael Mann is today a director with solid action credits, thanks in part to this film, but also to “The Insider” and “Collateral”. Before this film, he had shown extraordinary competence in directing “Last of the Mohicans”, a film that I consider an example for harmonizing creative freedom, absolute historical rigor and a great respect for the source material. In this film, Mann does not disappoint and once again gives us solid, consistent, committed and creative direction.
For the cast, several great actors with given evidence were called. Of course, it's not possible for everyone to have the same degree of protagonism, but I think that each one of them had the time and material necessary to do a very well done job. Al Pacino and Robert De Niro clearly stand out from the crowd. In addition to having the central characters of the plot, they are both incredibly intense, charismatic, explosive. It's worth watching this duel of the titans. Pacino is the most unlikable and difficult to like because he is constantly on the verge of a nervous breakdown. De Niro is kinder and more human, so it's not hard to root for him. In addition to them, we have the excellent work of Val Kilmer and Jon Voight, and a well accomplished performance of Tom Sizemore. The film also features appearances by Danny Trejo (almost playing himself) and a teenager named Natalie Portman, among many other well-known names.
Despite everything, this film has little action, many will say. And really, the priority that was given here is the development of the characters and each of their stories, so that the action is more concentrated in some specific sequences like the anthological sequence of the robbery and shooting in the middle of the street. I liked that, and I liked that this movie tried to be different in a positive way. My only criticism is the slow and tiresome pace that the film assumes most of the time. With a slightly faster pace thanks to some surgical cuts, the film would become lighter.
Filmed in Los Angeles, in the city itself (I can only imagine what a logistical nightmare it must have been!), the film couldn't have better sets and costumes, striving for total realism. The special effects work very well, the cinematography is wonderful, and the film is visually very elegant and mature.

“Heat” directed by Michael Mann is a crime epic based on the exploits of real life criminal Neil McCauley. Although mostly fictional, with the events and character having real life basis, Mann is able to elevate this crime drama above other films in a similar genre.
Robert De Niro plays Neil McCauley, a knowledgable experienced criminal who’s skill set includes playing cat and mouse with the police. After a robbery ends in a street gunfight McCauley and his gang manage to evade the police. Lieutenant Vincent Hanna ( Al Pacino ) determined to catch the criminals, skilfully assesses the crime scene and immediately “ Heat” begins to draw parallels between the two lead characters.
Filmed entirely on location “Heat” is a gripping, tension filled viewing experience that has the viewer uncertain who to route for throughout the entire proceedings.

**Heat earns its way onto top 25 lists for heist films and 90s action, but its faults keep it low in the rankings.**
Heat gets so many things right. The stellar cast continues to surprise me with all the different names and faces I recognize when I watch it. The action is exceptional, especially considering this film is over 25 years old. The shoot-out in the middle of the movie is riveting, raw, and powerfully hard-hitting. The story made it impossible to guess exactly how it would turn out - was the cop going to get his man, or was the mastermind thief going to get away? Heat belongs on best heist and action movie lists but not nearly as high as many lists rank it. Heat carries some annoying faults. The ending of the film is abrupt and unsatisfying. The runtime is at least 45 minutes too long. The biggest frustration was Al Pacino’s performance. He was so over the top that his character felt like he was in the wrong movie. Every other action delivered genuine and serious performances while Pacino was screaming about women’s butts. What? Heat is a good film, but these low points keep it from being great.

Partly I'm disappointed in myself for taking so long to watch _Heat_ because it's such a massive influence on one of the best movies ever (_The Dark Knight_), and one my favourite video games ever (_Payday: The Heist_).
Mostly though, I'm disappointed in myself for taking so long to watch _Heat_ because I've denied myself for so long the privilege of having seen such a great fucking crime movie.
_Final rating:★★★★ - An all round good movie with a little something extra._

You don't live with me, you live among the remains of dead people.
Heat is written and directed by Michael Mann. It stars Robert DeNiro, Al Pacino, Val Kilmer, Jon Voight, Tom Sizemore, Diane Venora, Ashley Judd, Amy Brennerman and Danny Trejo. Music is scored by Elliot Goldenthal and cinematography by Dante Spinoti.
Big time thief Neil McCauley (DeNiro) is after one last major score before he retires, but hot on his tail is Vincent Hannah (Pacino), a cop equally and methodically as driven as he is himself.
In the build up to Heat's release, much was made of it being the first on screen pairing of DeNiro and Pacino. A mouthwatering prospect for sure, it proved to be worth the wait and unfolds as a lesson in restrained acting with two modern greats affording each other the respect that was due. What we didn't realise in the build up to the film's release, was that it would prove to be one of the greatest cops and robbers movies of all time, brought to us by an auteur director whose kink for realism and commitment to research stands him out from much of the modern directing pack.
Rarely does a film come together as one, where all the cogs of the engine are in tune, but Heat is one such picture. From cast performances to visual aesthetics, to screenplay and actual substance of story, Heat is as meticulous as it is thrilling. There are a myriad of characters brilliantly stitched together in one de-glamorised City of Angels, as plot develops, and each character and their crumbling relationships come under inspection, we are witnessing a coarse viewpoint of human nature, where people's lives are ended or defined by their choices. Everywhere you look, here, there are folk cracking under the strain of being exposed to high end crime, dreams, hopes and happiness are unlikely to be achieved, and this is on both sides of the law.
For Heat, Mann fuses the tonal and visual ticks of Manhunter with that of the adrenalin rushes from Last of the Mohicans, with the former gorgeously born out by Spinoti's pin sharp photography, the latter thrillingly realised by Mann's skill at action set pieces. Once again word of mouth about the key heist and shoot out in the film led to high expectation, and again there is no disappointment. L.A. becomes a battle ground, rapid gunfire punctures the air, cars swerve and crash, bodies fall, visually and aurally it drags you to the edge of your seat, an extended action sequence fit to sit with the best of them. The kicker as well is that because Mann has been so detailed in his characterisations, we care about what happens to all parties, we understand motives and means. Which in a film with such a huge support cast is quite an achievement.
There is enough in Heat to fill out a dozen other cops and robbers films, fans of neo-noir and crime films in general are spoilt supreme here. It's not rocket science really, put a group of great actors together, give them an intelligent script to work from and let them be guided by a director who will not sit still, and you get a great film. Heat, the ultimate predator and prey movie, where from beginning to end it refuses to be lazy or cop out, and energy and thought seeps from every frame. 10/10

Good, funny, dated.
If you can deal with a bit of cringe and some dated humour it's a good movie. I wouldn't consider it a "top movie" but it is _very_ funny if you just want something silly to watch casually.

Really good watch, would watch again, and can recommend.
I've watched this movie several times, but had a couple different reactions: sometimes I agree this is overhyped, other times I'm completely in line with why it was overhyped. You mood might be a factor in your movie watching, it's all I'm saying.
Overall, this is decently funny in dialogue, delivery, and writing. The movie is full of cringe humor and ridiculous circumstance, it's essentially designed so the characters have a good story to tell later on, and it definitely meets the criteria. The big problem is that it's a high school, "let's get laid adventure" starring 2 idiots and their idiot friend. I've never seen 2 guys work so hard to prevent themselves from their actual goal.
When you look a little closer too, it's really two movies wrapped around each other. "McLovin" could have been its own movie, but neither story really has enough meat too it. "These high schoolers tried to get alcohol to impress girls for this party." is the whole movie, but it's so much more fun of an experience than that.
You're not going to get a rich and fulfilling story, though they try to make it into a life lesson in a traditional "coming of age" style, but it's a pretty funny movie, if a little over the top.

Superbad is one of the classic comedies which left a great effect on R-RATED COMEDY genre, Greg Mottola as a film-maker became a name on the industry with this break-through. I really recommend this movie and a very forceful recommendation if you are a teenage-introvert.

**Magnificent, it is a love declaration for Paris.**
With this film, Woody Allen makes, in the background, a love declaration for Paris, a city he already knows very well and for which he seems to feel a great affection. In addition to the beauty of the city, especially in the opening sequence, the script revisits the history and importance of the French city, as a meeting point for artists and writers.
The film begins very well, introducing us to an American engaged couple who came to Paris on their father's business trip. From the start they seem a bit strange: she is quite frivolous and seems to feel that she is doing him a huge favor by marrying him, and it is perfectly obvious that her parents do not approve of the match; in turn, the young man is an aspiring writer who has grown tired of making Hollywood screenplays and wants to dedicate himself to writing and stay in Paris, ideas seen with disdain by the bride. However, everything will change when, after a disagreement, he walks back to the hotel and ends up having a meeting with a series of famous artists and writers from Paris in the 1920s: Scott Fitzgerald, Ernest Hemingway, Picasso, Dali, Buñuel, Gertrude Stein and others. That is, the film starts from a basic romantic comedy situation and creates a story where time travel ends up happening in a way that seems like the character is just dreaming, or in an illusion.
Owen Wilson was impeccable in the lead role and gives us one of his best serious performances, which is no small feat. He is credible and convincing. Equally pleasant and sympathetic is Marion Cotillard, who gave life to the “soul mate” of Wilson's character, a dreamer and idealist who would rather live on a page of the past. In addition to being smart and sensitive, she is beautiful and attractive. Kathy Bates, Tom Hiddleston, Alisson Pill, Corey Stoll and Marcial Di Fonzo have given life to a series of artists and writers, each of whom played their part with aplomb and care. Rachel McAdams is good at her tiresome and irritating character.
Technically, the film is flawless. The cinematography is exquisite, has ideal light and color, sharpness and depth. The city scenes are magnificent, and it's very easy to see the movie and want it all to be real. The sets are very good, and the same can be said for the choice of filming locations, made with care and method. Comedy is very present in the film and has elements with a certain quality, being in the dialogues and puns that it thrives. The entire film has a very good rhythm, which does not tire the audience or allow us to lose sight of it. Finally, a word of appreciation for the jazz soundtrack.

Really nice movie, done with a great delicacy.
Worth watching to get in love with Paris but it is also a great story of self knowledge and evolution.

The first time I watched Lost in Translation, many years ago, I really liked it. I am partial to quiet movies, which feature a good ensemble cast, wit and good dialogue. Often, as with this movie, the story is told simply from start to finish without complex bounces back and forth with flashbacks, or made complicated with multiple perspectives. And in fact, I bought a used copy of Lost in Translation on DVD.
After all this time I finally watched it again recently. I still like the movie. I love watching Bill Murray and he gives a fine restrained performance of an actor past his prime and riding on name recognition. Scarlett Johansson does great also. They are witty and display a subtle sense of humor.
Still, I did not like it as much as I remember from before; something seemed lacking. Then I watched the Behind the Scenes extra video. You know, The Making of... and I realized I likedjust as much as I did the movie itself. It made me think that maybe the movie was too laid back. When Scarlett’s character Charlotte spoke to her husband, they were quiet and civil, when she spoke to Bill Murray as Bob, they were quiet and civil, and when Bob spoke to his wife on the phone back home they were quiet and civil, even when she was clearly getting irritated. Perhaps the film would have benefited from a little passion, a little more intensity here and there.
I am glad I watched it a second time, but I don’t expect I will hold onto the DVD for a future viewing.

Lost in Translation is one of my all-time favorite movies. The film grabbed me when I first saw it in the theater (unusual for back then, but my cineplex got this one in) and since I've watched it dozens of times. Bill Murray and Scarlet Johansson are both great and Sofia Coppola's direction taking in the sights and sounds of Tokyo (a city I've always been curious about and wanted to visit) was amazing.

True love transcends sexual expression
RELEASED IN 2003 and written & directed by Sofia Coppola, "Lost in Translation" was a big hit in 2003-2004. It's about an aging actor, Bob Harris (Bill Murray), who's in Tokyo doing commercials for a week. His home-life is mundane and he's experiencing a bit of the mid-life crisis. He runs into an attractive 20 year-old something woman, Charlotte (Scarlett Johansson), who's in Tokyo with her photog husband (), but he's gone most of the time and takes her for granted.
This is a mature, semi-arty film and you have to be in the right mode/maturity level to appreciate it. I said "maturity level" and not "age" because some people are pretty mature at 16 while others are completely immature at 50. For me, the story, music and visuals pulled me into these characters’ temporary world for the 102-minute runtime.
The film succeeds as an amusing social commentary and a deep love story, as well as a visual/musical delight. I'll only focus on the deep love element. It's been noted that the story originated from Sofia's experience with an aging actor when she was younger, possibly Harrison Ford. Sofia is obviously Charlotte, while Charlotte's husband is Sofia's ex and Anna Faris plays the role of the other woman, which would be Cameron Diaz in real life. So there's a lot of reality in the picture.
But it's not just a cathartic piece. Sofia has some potent insights to offer on the nature of true romantic love. For one, love transcends age difference (Bob is about 35 years older than Charlotte). For another, it's possible to be married and experience romantic love for another. Not that this ever justifies adultery, it's just a fact. As the story progresses you'll see how comfortable Bob and Charlotte are with each other, how they look into each other's eyes, the windows of the soul, in a profoundly naked sense. This can happen in the flash of a moment where the two people just KNOW, or it can take place over a period of time, as is the case with Bob and Charlotte (which is a handful of days). They see the same things and speak the same language, and I don't mean English. But this presents a conundrum for Bob. Bob COULD take advantage of Charlotte because she's so lonely in a sea of people, which is one of the movie's themes; she's also inexperienced and vulnerable. Will he or won't he take advantage?
***SPOILER ALERT*** Don't read further if you haven't seen the film.
If Bob loves Charlotte so much, not to mention his wife & kids, why does he have a one-night stand with the lounge singer (Catherine Lambert)? Bob slept with her to release sexual tension that had been building up between him and Charlotte. This was a moral failure, but keep in mind he was drunk (another failure but, have pity, he was going through a mid-life crisis). While all this is obvious, it goes deeper...
Bob could have taken advantage of Charlotte if he wanted to but didn't because he genuinely loved her, which is revealed at the end. Bob could sleep with the singer because he didn't love her (not that it justifies his actions). Simply put, true love transcends sexual expression and sexual union does not equal love.
The ending is powerful and tear-inducing. No CGI, explosion or action stunt can compare. It's just an older man and a too-young woman embracing in the midst of 20 million strangers. Tears flow, kisses are given and unheard words are whispered. They could never be a couple, even if they weren't married, and they know they'll never see each other again, at least on this physical plane, but their love has been expressed and will be treasured for eternity.
GRADE: A

Ok movie Lovers. If you didn't like The Life Aquatic with Steve Zissou, then don't even bother with Lost in Translation. The jokes are dry and the dialogue is weak. At least in Life Aquatic they wore funny outfits. Being a world traveler myself I could appreciate the jet lag and overall moping around thru out the whole film. You will definatly feel lost. Although I found myself laughing out loud a few times at Bill Murray and his quips, BY NO MEANS should the average movie fans think this is a comedy. It is an independent art film and should be treated as so.

If you can ignore some plot-gaps, the sci-fi horror ‘Life’ will keep you on the edge of your seat until its very ending – accompanied by a haunting score.
7/10

**Yes, okay.**
Boring characters, wasted superstars on a meaningless script, huge Alien rip-off which didn't work, an almost Marvel-style hologram on the ISS, laughable. Everything is so bad in this movie, except for the production value. We see gorgeous floating in zero-g, a sweet looking alien and easy on the eye actors. The boring story is not as boring as it would have been if the budget was low.
Still, some major flaws in story-telling make this an average flick. The pretty alien does not look scary at all. The characters are not introduced properly. The whole plot is disjointed, we get the facts of the story served without any sense of purpose. Finally there is no immersion, life on the ISS is as alien as the creature without weaknesses, for which you will be rooting half-way through this film.
3 June 2017
I am migrating my reviews from a different site which has become simply garbage. TMDB looks awesome and I look forward to be a part of it.