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  #371  
Old 11-03-2012, 09:52 PM
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It's about time I post a review in this thread. I watch films often enough, and I enjoy most of them. Well, mainly because if I hear a film's shit from most people, I'll not watch it but still. I like films, and I like criticising them if they're shit. Call me cynical, but to quote the great Karl Pilkington; "a good moan keeps you alive" or something along those lines. And that's right, I just called Karl Pilkington great, sue me. Oh yeah, there'll be spoilers, probably. Now then, time for my first review:

Jarhead


I won't comment on plots in my reviews, because you can just look that shit up. Ignore that you can just look up actual critic's reviews though because... well, you're here now and you've read this much. So, onwards. Now then.

Jarhead isn't a bad film, despite my friends insisting it is, it isn't. Now, the question is, just how good it is and the answer is quite good. Not great, but good. And worth watching. My one big criticism of this film, and it's not really a criticism, just an observation. Is that I couldn't help but feel this was a modern-day Full Metal Jacket. Maybe it's because of the short time span between my viewing of the films and that they both stand out for being war films not based so much on combat. But, I'm confident enough to say that others that have seen both films will agree with me to an extent, at least. The two films are similar. Now, saying that, Jarhead isn't as good as Full Metal Jacket. Full Metal Jacket is the second best war film I've seen, while Jarhead isn't involved in my top three. I admire Jarhead's alternate approach to the average war film, it's about the lack of action in war whereas most war films tend to be opposite this. It's a risky move, making a film like this, at least I think. Most people that watch war films would expect some action. Jarhead's amount of action is minimal. For me, this alternate approach came off successfully. Jamie Foxx and Jake Gyllenhaal's performances were good. Jamie Foxx's character's attitude showed as did the impatience and jar-headedness of Jake Gyllenhaal's (people who've watched Jarhead will understand just what I mean by "jar-headedness"... I think), actually most of the cast were good. That squishy-faced retard had me believing he had problems and Fergus had me believing he was a bit of a shitbag. By shitbag, I mean scaredy-pants. You'll have to pardon my non-existent use of the actor's names as I do not know them, and care not enough to look them up right now. Anyway; Jarhead is a good film that has an interesting take on wartime and just how it affects those that take part. Even if they don't actually do anything of significance. The direction/editing was fine, the acting was solid and the story, while it may irk the average action/war film-viewer, is consistent, unique and a little bit thought-provoking. So here's a rating;

6/10

So there you go, that was thrilling, wasn't it? Actually don't answer that. I know it was. I'll probably type up another soon.
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  #372  
Old 11-11-2012, 04:14 PM
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The Paperboy (2012)


In the 1960’s, Ward Jansen (Matthew McConaughey) and Yardley Acheman (David Oyelowo) travel to Moat County, Florida. Ward is an investigative reporter and Yardley is his trusted colleague. Together, both men try to solve the case of Hillary Van Wetter (John Cusack), a death row inmate accused of murdering a prestigious local sheriff.

Ward’s younger brother, Jack (Zac Efron) is a paperboy. Jack tags along for the investigation, and Charlotte Bless (Nicole Kidman) lends a helping hand. After sharing a strange and trusted pen pal relationship, Charlotte developed an obsession for Hillary, but Charlotte’s presence could ruin the investaigtion. Meanwhile, Jack seeks advice from his maid and best friend, Anita (Macy Gray), as he struggles to control feelings of anger for his dad’s new girlfriend, and constant urges for Charlotte.

I have mixed feelings for director Lee Daniels’ work. I enjoyed Precious. It’s an emotional drama, and Daniels’ dark and gritty style provided the perfect touch. But Shadowboxer was an enormous clusterfuck (story wise and directing style). Unfortunately, you won’t see Precious Lee Daniels here. Instead, you’ll see Shadowboxer Lee Daniels. Daniels is unfocused, and his work behind the camera doesn’t help this film at all.

Cusack and Kidman deliver the best performances. Cusack is spot on, as the deranged scumbag, and Kidman really nails the trashy side of Charlotte’s character. But towards the end, Kidman showcases some believable vulnerability. McConaughey is solid as Ward, and Zac Efron is OKAY as Jack. I’ll give Efron credit for a strong effort, but as far as the quality of his performance goes, he couldn’t measure up to his fellow cast members. Plus, Efron’s efforts are overshadowed by a series of random and unnecessary shots of Jack in his underwear, and Efron’s most memorable scene involves Kidman peeing on Jack in an attempt to cure jellyfish wounds.

The Paperboy showed signs of promise at first, but the overload of sub-plots created too much confusion. Is this supposed to be a murder mystery? A love story? A film about racism? The story quickly devolves into a jumbled mess. Here’s a quick rundown of The Paperboy’s messy story:

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-Ward and Yardley are trying to solve a murder mystery

-Jack is in love with Charlotte. Although, Charlotte’s a grown woman with serious issues, and Jack is a teenager, so the relationship can’t work for obvious reasons. But Jack continues to pursue the love of his life anyway.

-Ward has been living a secret lifestyle as a homosexual, and Jack tries to comprehend this shocking revelation.

-During a fight, Jack calls Yardley a “nigger,” and Jack’s racist outburst puts a strain on his relationship with Anita.

-Charlotte wants a sexual relationship with Hillary, but she changes her mind, when Hillary shows his aggressive/psychotic side. Charlotte tries to leave Hillary, but Hillary murders her.

-Jack can’t get over Charlotte, and with Ward’s help, they try to rescue Charlotte. Eventually, the brothers discover Charlotte’s murder. Jack is devastated, and when he tries to protect his brother, Ward is murdered by Hillary.

-Oh, and they never reveal the culprit, who killed the local sheriff.

Trying to understand the true nature of this film almost gave me a headache, and The Paperboy’s erratic story is beyond irritating.


The cast deserves praise, and this film features some genuinely disturbing moments (the brutal aftermath of a rape, murder, etc.), but I can’t give The Paperboy a positive score. The Paperboy was too melodramatic for my taste, and the convoluted screenplay causes too many annoying shifts between the excessive storylines.


Rating: 3/10
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  #373  
Old 11-13-2012, 10:20 PM
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Fun Size (2012)



On Halloween night, Wren (Victoria Justice) and her friend, April (Jane Levy) are invited to a costume party. The party is hosted by Aaron Riley (Thomas McDonell). Aaron is the most popular guy at school, he’s targeting Wren for his next girlfriend, and April sees an easy opportunity to cement her legacy as a popular high school queen. But before Wren and April join Aaron’s party, Wren must take her younger brother, Albert (Jackson Nicoll) trick-or-treating. Albert is a whacky problem child, and he ditches Wren and April during a trip through a haunted house.

Wren struggles to find Albert before her mother, Joy (Chelsea Handler) returns home. April is more concerned with her social status at school, but she reluctantly joins Wren on her search mission, and with the help of two nerds/outcasts named Roosevelt (Thomas Mann) and Peng (Osric Chau), Wren tries to find Albert and avoid a long-term punishment.

Director Josh Schwartz’s style is simplistic, but his directing doesn’t hurt this film at all, so I don’t have any complaints.

The cast if full of stereotypes. Wren is the typical good girl, who’s conflicted between doing the right thing, and becoming the most popular girl in school. April is the narcissistic airhead. Roosevelt and Peng are the shy nerds, who try to lend a helping hand. And of course, they just had to throw in the VERY predictable confrontation with two high school jocks/bullies, where a shot from a musket destroys a piece of fried chicken, as Roosevelt and Peng stand up for themselves and find their courage.

In the grand scheme of things, Albert is the only unique character. He’s a bizarre and out of control problem child, and Nicoll provides a few good laughs. Plus, you can always count on Chelsea Handler. She’s a perfect fit for Joy, and Handler delivers an entertaining performance, as the widowed mother, who’s stuck in a mid-life crisis phase.

Johnny Knoxville’s character is different, but he’s beyond annoying. Jürgen (Knoxville) is supposed to be the main antagonist. Basically, he’s a douchebag loser, who dresses up as Dog The Bounty Hunter for Halloween, but Knoxville couldn’t pull any laughs out of me.

The opening scene sets the tone for this film. Wren is taking a shower, and Albert sneaks into the bathroom to take a dump. “Oh, it’s going to be one of those comedies.” It’s the first thought that went through my head, and Fun Size’s wackiness doesn’t end here. This style of humor is juvenile, some of the gags are kind of corny (i.e. a burning bag of dogshit mixed with firecrackers), and Fun Size sends too many mixed messages. It’s a PG-13 film, but the story constantly strays into PG territory. They threw in the word “bitch” one time, and there’s a scene, where April forces Peng to grab one of her breasts after a dare. Also, April and Peng wake up together on the same couch after Aaron’s party, implying they had sex the night before. The validation for the PG-13 side of this film felt SO forced. Were they trying to maintain the atmosphere of a PG kiddy film? Or were they trying to create an edgy PG-13 teen comedy?

You can see the tender, feel-good ending coming from a mile away, and the story is formulaic. But despite all my complaints, I didn’t hate this film. Fun Size has its moments, and I laughed a few times. Oh, and don’t expect any spooky or frightening scares. Fun Size isn’t a horror film. Halloween is just a backdrop for the story, that’s it.

Rating: 5/10
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Old 11-18-2012, 06:52 PM
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End Of Watch (2012)


Brian Taylor (Jake Gyllenhal) and Mike Zavala (Michael Pena) are two police officers working for the Los Angeles Police Department. Patrolling the streets of South Central LA is a risky job, but Brian tries to lighten the mood by filming daily activities for a project. Brian and Mike are trusted partners and best friends, and both men are looking forward to enjoying the new experiences in their lives. Mike and his wife, Gabby (Natalie Martinez) are expecting their first child, and Brian prepares to marry his new girlfriend, Janet (Anna Kendrick). But Brian and Mike run into some trouble, when they cross paths with a deadly Mexican drug cartel.

Director David Ayer’s rough documentary style provides strong feelings of realism for this film. Ayer’s style is natural, intense, and Endo Of Watch features some exciting action sequences.

Jake Gyllenhal and Micahel Pena share some excellent chemistry throughout this film, and both men delivered very good performances. Natalie Martinez is believable as the supportive wife, and Anna Kendrick provides an enjoyable performance. And for what it’s worth, seeing America Ferrera portray a hard ass, no-nonsense cop felt kind of weird (sorry, can’t stop thinking about Ugly Betty). Plus, David Harbour is hilarious as the disgruntled veteran.

End Of Watch is an exciting and brutal action drama. The violence is pretty graphic and bloody, and End Of Watch packs a powerful punch with a suspenseful and pulse-pounding finale. It’s definitely one of the better mainstream cop dramas I’ve seen over the years. A strong cast combined with David Ayer’s directing and writing help End Of Watch standout, and the shocking surprise at the end was a nice touch, because the “tragic deaths” stuff would’ve been too melodramatic and corny.

Rating: 9/10

Sinister (2012)



Ellison Oswalt (Ethan Hawke) is a struggling and desperate true-crime novelist. He’s searching for some much needed inspiration, so he moves his family to a small and quiet town. The new house has a disturbing history: the previous tenants were brutally murdered by an unknown suspect. Ellison ignores a warning from the local sheriff, and his wife, Tracey (Juliet Rylance) isn’t aware of the crucial details surrounding the murders.

During a routine trip to the attic, Ellison finds a box with a film projector and various reels of Super 8 footage. Each reel contains footage of brutal and horrifying murders. The murders are carefully planed out, and Ellison is clearly terrified after watching each reel. Ellison has found the big break he was looking for, and with the help of Deputy So-And-So (James Ransone), Ellison digs deeper into the series of suspiciously related murders.

Ellison continues his research, but a series of bizarre incidents disrupt the early drafts for his new book. After a few strange nights of the film projector playing by itself, showing the one murder that happened in the new home, Ellison seeks the help of Professor Jonas (Vincent D’Onofrio). When it comes to demons and the occult, Jonas is an expert, and he explains the history of the reoccurring figure in the Super 8 reels. Bughuul (or Mr. Boogie) is an evil pagan deity, who can possess children, and force them to murder their families. And Bughuul uses films (or photos) as a gateway to the real world.

Ellisson’s son, Trevor (Michael Hall D’Addario) suffers from a severe case of night terrors, and his daughter, Ashley (Clare Foley) has a bad habit of painting on the walls. Ashley and Trevor show signs of odd behavoir after Bughuul’s first appereance, which leads Ellison to one disturbing question: Are his children Buguul’s next victims?

Scott Derrickson is the same man, who directed The Day The Earth Stood Still remake, but I’m a fan of his work on horror films. Derrickson is the only man, who directed a respectable straight-to-video Hellraiser film (Inferno), and his work for The Last Exorcism Of Emily Rose is something to admire. Sinister is loaded with some great tension, and Derrickson provides some good jump scares every now and then.

With the exception of the bloody finale, Derrickson takes a restrained approach to the gory stuff here. The restrained approach creates more terror and shock, because instead of seeing endless piles of blood and guts, Derrickson gives the audience the idea of gruesomeness, and he pulls the plug at the right moment. For example, Ellison watches a murder that involves a lawnmower. The killer quietly pushes the lawnmower across the yard, and then BAM! He or she ploughs the lawnmower across a helpless victim’s face. But Derrickson just shows the initial contact, not the bloody aftermath. This approach leaves you with that “holy shit that must’ve been brutal!” feeling.

Ethan Hawke is a convincing leading man, and the supporting cast is decent enough. I was hoping for more scenes with Vincent D’ Onofrio. You’ll only see him in a few online chat sessions with Hawke, but D’ Onofrio showed some potential, as the knowledgeable professor, who’s willing to lend a helping hand.

I can’t ignore the horror clichés (you have to expect this from mainstream horror flicks), but Sinister kicks into a frightening and chilling high gear, as the story develops. Plus, the final twists deliver some great shocking surprises. Oh, and speaking of shocking surprises, try to ignore the poster for this film, because Sinister’s feature movie poster gives away a major spoiler.

Rating: 8/10
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Old 11-20-2012, 06:11 PM
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Silent Hill Revelation 3D (2012)



Plagued by a series of violent nightmares, Sharon (Adelaide Clemens) struggles to escape the memories of Silent Hill, an alternate reality covered in darkness and ashes. In an attempt to protect their identities from the evil forces of Silent Hill, Sharon uses Heather as an alias, and her father, Christopher (Sean Bean) changes his name to Harry.

After her first day of school, Sharon barley survives attacks from Silent Hill creatures. Sharon receives an ominous warning from a private investigator, and when her father no-shows an important meeting at the mall, Sharon begins to panic. Sharon rushes home, and Vincent (Kit Harrington), a classmate from school, who shows an unusual amount of interest in Sharon, insists on playing the role of a bodyguard.

Once Sharon returns home, her father is gone, and a bloody message is written on the wall: “Come to Silent Hill.” Christopher was the victim of a kidnapping, and Sharon quickly takes possession of a mysterious amulet, that was hidden for protection by her father. With Vincent’s help, Sharon must return to Silent Hill with the amulet to save her father, and stop Alessa (Erin Pitt) and Claudia Wolf (Carrie-Anne Moss), two evil forces with different agendas and motivations.

Director Michael J. Bassett brings a dark and eerie style to Silent Hill: Revelation 3D. Bassett creates the essential desolate and haunting atmosphere, the gory violence is pretty gruesome and brutal, and Bassett provides some incredible 3D effects. The 3D pulled a few awe-inspired, but Revelation is very boring. I struggled to stay awake during this film, because you won‘t see any true jump scares here and Bassett fails to deliver any real tension or suspense.

Overall, the acting is mediocre. Sean Bean had the potential to deliver a high quality performance, but his character doesn’t receive enough screen time here. Adelaide Clemens is a decent leading lady. Carrie-Ann Moss is a dull antagonist, Kit Harrington’s inept performance doesn’t help the Vincent character, and Malcolm McDowell’s (Leonard Wolf) over the top and ridiculous cameo is painful to watch.

Apparently, Revelation is based on Silent Hill 3 the video game. Truth be told, I haven’t been much of a gamer over the years, and I’ve only played one Silent Hill game in the past. It was for the PSP (I can’t remember the title), and this game just bored the ever loving shit out of me. After two weeks of trying, I finally gave up, and traded it in for some store credit at Gamestop.

If I had the knowledge of the game, I might have had a better chance at understanding the story. But I never played the game, so when it comes to the story, I was completely lost throughout this film. Who’s supposed to be the primary antagonist? Claudia Wolf? Alessa? Or is it the big creepy guy with the pyramid shaped head?

Also, at the beginning, Sharon receives a warning from Alessa during a dream sequence: “Don’t come to Silent Hill, you can’t defeat me.” This is paraphrased, because I can’t remember Alessa’s exact warning word for word. Anyway, Sharon is warned by her father and Alessa to stay away from Silent Hill no matter what……and then Sharon goes to Silent Hill. This might sound like a nitpicky complaint, but after receiving three life-or-death warnings (the PI also warns Sharon about Silent Hill), Sharon’s determination to go to Silent Hill becomes another obvious and routine stupid character mistake in horror films.

I didn’t think it was possible. But as far as 2012 video game movies go, Silent Hill: Revelation 3D somehow manages to be worse than Resident Evil: Retribution. The blood craving and violence obsessed horror fan inside of me wants to give this film a positive score, but I can’t. Silent Hill: Revelation 3D is loaded with bloody violence, and I couldn’t understand the logic behind the final battle, but the fight between the pyramid head guy and Claudia Wolf was fun to watch. Still, I can’t ignore the shallow characters and rigid dialogue. Plus, I‘m really not familiar with the Silent Hill video game franchise, so for me, the story was hard to follow, and undecipherable most of the time, especially towards the end. Fans of the video game will probably love this, but when it comes to Silent Hill games, I’m an outsider, and I just saw another shitty mainstream film based on a video game.

Rating: 1/10
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Old 11-21-2012, 07:22 PM
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Is there a better way for me to get over the very recent sacking of the legendary Roberto Di Matteo than writing a tediously long review on something completely irrelevant to football? I don't think there is too. Now then, it's time for my second ever film review in this thread, strap yourselves in, it's going to be even crazier than the last time I wrote one. Now, after reading some of the other reviews in this thread (I'm looking at you Mitch) I think in order to compete I'll need to make a drastic change to my rather plain-looking first review. You guessed correctly, a poster is required. Or an image of some sort.






Boom. There you have it. You know, I was going to do a title too, but I like that the way it is. Now, enough of making things sexy, it's time to give this film my review. Oh, and there'll be spoilers but no description of the plot. I know right? I'm one lazy cunt. Now, it's actually time to give this film my big fat review.

Skyfall is fucking excellent. No wait, I don't think I put quite enough emphasis on that; Skyfall is fucking excellent. I've never been taken aback by a Bond film like I was when I watched this, this film was almost absolutely perfect. Now I say almost because the big twist (here's one of the spoilers I was talking about, no I won't be using spoiler tags) was, ironically, spoiled for me. That undoubtedly took something away from Skyfall as a spoiler would to any film. That spoiler being, even though I'm sure anyone who's watched this great film knows what I'm talking about, M's death. That's right, Javier Bardem or Silva, as his character's known, kills her. That moves me on to my next point, Javier Bardem rocks the shit out of things in this film. Seriously, a brilliant performance that stole the show. Silva & M's dysfunctional relationship being the reason he wanted her dead more so than Bond, which I'll assume is unusual in a Bond film (I've not seen too many). It also being the reason he offers Bond the chance to turn against her and the MI6. The chance being offered right after that eloquently delivered opening monologue that was also ever-so appropriate from Silva. Silva's actions after this summarises his character perfectly. From toying with Bond, to killing someone effortlessly, to discussing his use of a cyonide capsule showing just how scarred he was both physically and mentally from what M did to him. Or didn't do for him rather. Now I could talk all day & night about Javier Bardem's character, Silva, but I won't, I'll move on. This film makes plenty of cool references to past films, the vintage ones to be precise. That's right, I'm going to call them vintage. The Sean Connery, Roger Moore etc. etc. ones of course, not Pierce Brosnan onwards. What's great about this is that, Raimi did it seriously. It didn't come across as cheesy or camp or inappropriate or forced or out of place or anything. It fit perfectly. I don't think there's a better way to celebrate the fiftieth year anniversary of James Bond. As you'd expect from a Bond film, most of the cast was cool. Fiennes as Moneypenny was badass, experienced and bluntly honest. Dench was the same old M. Bitter, somewhat banterous and cynical. That guy (yeah, don't know the actor's name) as Q was sharp, youthful and witty. Bardem as Silva was articulate, damaged and very intelligent. Craig as Bond being what he's always been; careless, stylish, distracted and cold. Colder than Bond usually is which was another very interesting development in this film for me. The action in this film is both efficient and stylishly done, which, of course, is perfect. A great scene (not an action one just to let you know) off the top of my head was near the ending where M, Bond, and Bond's old housekeeper await Silva in Bond's childhood house, and Silva arrives in an attack helicopter of course. 'Twas beautiful, the landscape of the Scottish land (no, not a city or town, land), the image of a lonely building of the past about to be preyed upon by this flying black predator of the present. Some of the scenery in this film is magnificient. Time to summarise.

Raimi did a terrific job here. Funny enough, he also directed Jarhead, which was what I did my first review in this thread on. That's a coincidence by the way, I don't stalk the man or anything. The cast was fine, Craig and Bardem standing out of course, the editing and direction was pretty much perfect. Nice, sharp scripting and dialogoue. Skyfall is just excellently done, it's the best James Bond film I've ever viewed. Then again, I've only watched the Daniel Craig ones. Casino Royale being top class and Quantum Of Solace being meh. For me Skyfall is better than what was meant to be film of the year, The Dark Knight Rises. And I liked the Dark Knight Rises. Sorry if that offends anyone. Just my opinion. Just fact. Only joking. Shit. The word "fact" has got me thinking of Rafa Benitez which defeated the main fucking purpose of this review. Almost forgot, here's a rating.

Rating - 9/10
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Old 11-22-2012, 06:14 PM
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Horrible Bosses (2011)

It is a really funny film. Silly, but very funny. 'Ah, Toyota...' 'I don't make a lot...' The cocaine scene was hilarious, my mom and brother was cracking with laughter which does not happen very often.
Fortunately, Jennifer Aniston playes just a small role, so she could not spoil the film. If you want a good laugh, go for this one
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Old 11-24-2012, 07:06 PM
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Originally Posted by Sheriff Ben Meeker View Post
End Of Watch (2012)


Brian Taylor (Jake Gyllenhal) and Mike Zavala (Michael Pena) are two police officers working for the Los Angeles Police Department. Patrolling the streets of South Central LA is a risky job, but Brian tries to lighten the mood by filming daily activities for a project. Brian and Mike are trusted partners and best friends, and both men are looking forward to enjoying the new experiences in their lives. Mike and his wife, Gabby (Natalie Martinez) are expecting their first child, and Brian prepares to marry his new girlfriend, Janet (Anna Kendrick). But Brian and Mike run into some trouble, when they cross paths with a deadly Mexican drug cartel.

Director David Ayer’s rough documentary style provides strong feelings of realism for this film. Ayer’s style is natural, intense, and Endo Of Watch features some exciting action sequences.

Jake Gyllenhal and Micahel Pena share some excellent chemistry throughout this film, and both men delivered very good performances. Natalie Martinez is believable as the supportive wife, and Anna Kendrick provides an enjoyable performance. And for what it’s worth, seeing America Ferrera portray a hard ass, no-nonsense cop felt kind of weird (sorry, can’t stop thinking about Ugly Betty). Plus, David Harbour is hilarious as the disgruntled veteran.

End Of Watch is an exciting and brutal action drama. The violence is pretty graphic and bloody, and End Of Watch packs a powerful punch with a suspenseful and pulse-pounding finale. It’s definitely one of the better mainstream cop dramas I’ve seen over the years. A strong cast combined with David Ayer’s directing and writing help End Of Watch standout, and the shocking surprise at the end was a nice touch, because the “tragic deaths” stuff would’ve been too melodramatic and corny.

Rating: 9/10

Sinister (2012)



Ellison Oswalt (Ethan Hawke) is a struggling and desperate true-crime novelist. He’s searching for some much needed inspiration, so he moves his family to a small and quiet town. The new house has a disturbing history: the previous tenants were brutally murdered by an unknown suspect. Ellison ignores a warning from the local sheriff, and his wife, Tracey (Juliet Rylance) isn’t aware of the crucial details surrounding the murders.

During a routine trip to the attic, Ellison finds a box with a film projector and various reels of Super 8 footage. Each reel contains footage of brutal and horrifying murders. The murders are carefully planed out, and Ellison is clearly terrified after watching each reel. Ellison has found the big break he was looking for, and with the help of Deputy So-And-So (James Ransone), Ellison digs deeper into the series of suspiciously related murders.

Ellison continues his research, but a series of bizarre incidents disrupt the early drafts for his new book. After a few strange nights of the film projector playing by itself, showing the one murder that happened in the new home, Ellison seeks the help of Professor Jonas (Vincent D’Onofrio). When it comes to demons and the occult, Jonas is an expert, and he explains the history of the reoccurring figure in the Super 8 reels. Bughuul (or Mr. Boogie) is an evil pagan deity, who can possess children, and force them to murder their families. And Bughuul uses films (or photos) as a gateway to the real world.

Ellisson’s son, Trevor (Michael Hall D’Addario) suffers from a severe case of night terrors, and his daughter, Ashley (Clare Foley) has a bad habit of painting on the walls. Ashley and Trevor show signs of odd behavoir after Bughuul’s first appereance, which leads Ellison to one disturbing question: Are his children Buguul’s next victims?

Scott Derrickson is the same man, who directed The Day The Earth Stood Still remake, but I’m a fan of his work on horror films. Derrickson is the only man, who directed a respectable straight-to-video Hellraiser film (Inferno), and his work for The Last Exorcism Of Emily Rose is something to admire. Sinister is loaded with some great tension, and Derrickson provides some good jump scares every now and then.

With the exception of the bloody finale, Derrickson takes a restrained approach to the gory stuff here. The restrained approach creates more terror and shock, because instead of seeing endless piles of blood and guts, Derrickson gives the audience the idea of gruesomeness, and he pulls the plug at the right moment. For example, Ellison watches a murder that involves a lawnmower. The killer quietly pushes the lawnmower across the yard, and then BAM! He or she ploughs the lawnmower across a helpless victim’s face. But Derrickson just shows the initial contact, not the bloody aftermath. This approach leaves you with that “holy shit that must’ve been brutal!” feeling.

Ethan Hawke is a convincing leading man, and the supporting cast is decent enough. I was hoping for more scenes with Vincent D’ Onofrio. You’ll only see him in a few online chat sessions with Hawke, but D’ Onofrio showed some potential, as the knowledgeable professor, who’s willing to lend a helping hand.

I can’t ignore the horror clichés (you have to expect this from mainstream horror flicks), but Sinister kicks into a frightening and chilling high gear, as the story develops. Plus, the final twists deliver some great shocking surprises. Oh, and speaking of shocking surprises, try to ignore the poster for this film, because Sinister’s feature movie poster gives away a major spoiler.

Rating: 8/10
Dude, I was about to post mini-reviews for these two movies as they're last two I've been able to see!

I wasn't as impressed with End Of Watch as you were. Structurally speaking, what was Ayer thinking by adding ghost shots to a film that was clearly meant to be found-footage? Furthermore, the Gyllenhaal/Kendrick sidestory was pointless and there were too many instances of ineptitude on the cops' behalf. That being said, I loved Pena's performance and all of the footage taken in the streets of South Central. I'd give it a 6/10.

I couldn't agree more with you about Sinister. This was an excellent horror film with a modest yet effective amount of violence and perfectly fleshed-out characters whose actions, given their motivations and desires, were completely understandable. It dragged on a bit towards the end, but this is just a minor gripe I have with the film. I give it a 9/10.
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Old 11-25-2012, 01:07 PM
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Originally Posted by The Human Centdigle: WZ Sequence View Post
Dude, I was about to post mini-reviews for these two movies as they're last two I've been able to see!

I wasn't as impressed with End Of Watch as you were. Structurally speaking, what was Ayer thinking by adding ghost shots to a film that was clearly meant to be found-footage? Furthermore, the Gyllenhaal/Kendrick sidestory was pointless and there were too many instances of ineptitude on the cops' behalf. That being said, I loved Pena's performance and all of the footage taken in the streets of South Central. I'd give it a 6/10.

I couldn't agree more with you about Sinister. This was an excellent horror film with a modest yet effective amount of violence and perfectly fleshed-out characters whose actions, given their motivations and desires, were completely understandable. It dragged on a bit towards the end, but this is just a minor gripe I have with the film. I give it a 9/10.
What's this? A Tdigle sighting? I don't believe it!

I understand where you're coming from with the ghost shots, but I still loved Ayer's style. It felt like I was watching an uncensored and high octane episode of Cops, and the intensity really picks up at the end.

The Kendrick/Gyllenhaal relationship did kill momentum of the story at times, but you have to admit, the scene where Pena's wife gives Kendrick sex advice at the wedding party was hilarious.

As far as the ineptitude of the cops goes, I'll use the scene where David Harbour and his rookie partner get their asses handed to them by some random gang member as an example. I mean come on, you're going to throw a rookie, who's inexperienced and clearly frightened into a deadly situation?

But what really drove the rating up for me was the final moments. As I said before, the tragic deaths stuff would've been too corny, and I'm glad they decided to go with one sole survivor. The final funeral scene delivers a hard emotional gut punch and a surprise, because I seriously believed cops died in the bloody shootout at the end.

As far as Sinister goes, yeah, it was fucking incredible. I honestly didn't expect much from it, but Sinister blew me away. It's nice to see other mainstream horror films receive some much deserved praise this year. I lost all hope after the enormous shit fests known as The Devil Inside and Chernobyl Diaries, but Sinister was a nice surprise, and A Cabin In The Woods was a total mind-fuck from beginning to end. But more importantly, Paranormal Craptivity was trashed by the majority of critics this year. Hell, die hard fans of the series openly admitted Paranormal Activity 4 was the worst film in the entire franchise. Still waiting on The Collection this Friday, but the previews haven't done anything for me, and the first film was average at best.
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Old 11-28-2012, 05:18 AM
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it's kind of a funny story (2010)

This movie does a tremendous job of taking reality and comedy and mixing them together perfectly. It was easy to identify with the main characters in a very real way, but there was enough laughter that it wasn't emotionally exhausting.
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