Plot: Leyna (Amandla Stenberg) is a German bi-racial teenager. When Hitler rises to power in Germany, she gets caught between the lines: her German-ness is disputed because of the color of her skin, no matter how hard Leyna fights for her place. Lutz (George MacKay), on the other hand, is just what the nazis like: blond, German, member of the Hitler youth and son of a high-ranking SS officer (Christopher Eccleston). When the two of them meet, they are drawn to each other, but they are in the worst position to live their love.
Where Hands Touch tackles a really interesting topic that hasn’t been looked at a lot (at least in popular media): what happened with and to black Germans in World War Two? Unfortunately, the way it goes about it, is a little clumsy.
Plot: Mildred (Frances McDormand) has had enough. Her daughter was murdered and the police don’t even seem to try to solve it. So she posts three huge billboards that call attention to the fact. The billboards don’t fan the investigation so much as the emotions of the locals. They do make the life of police chief Willoughby (Woody Harrelson) more difficult, especially since his hotheaded deputy Dixon (Sam Rockwell) takes it personally.
Three Billboards tells its story very well. Unfortunately it just tells the completely wrong story, managing to perpetuate the racism it tries to stand against by centering the white perspective.
To control climate change, the world has teamed up and created a network of satellites that can control the weather itself. But when the satellites are weaponized, Max (Jim Sturgess), who is in charge of the satellite program for the US government, knows that he has to get his brother Jake (Gerard Butler) on board to help: Jake developed the program and knows it like no other, but he was discharged and replaced by Max, so he may not be entirely inclined to go up into space to fix stuff. And of course, the question remains who is weaponizing the weather in the first place.
Geostorm is really the perfect movie to get drunk to: if you, like me, don’t spend a minute really thinking about it, in fact, if you don’t take it seriously at all, you’re going to have a blast with it. I sure did.
16-year-old Heidi (Abbie Cornish) runs away from home after being caught when her mother’s boyfriend kisses her. She ends up in a small town in the mountains where she tries to connect with people. With men, that mostly means sex, though that doesn’t really end well. She finds a motherly friend in Irene (Lynette Curran) who offers her a place to stay; and she finds a job. And then she finds Joe (Sam Worthington) and kind of falls in love with him. But Joe is withdrawn and rough and is still trying to figuring out his own sexuality.
I hadn’t heard much about Somersault before seeing it, I basically bought it because Abbie Cornish is in it. What I got was an emotional, engaging and beautiful film with a wonderful ending.
Psychic John Clancy (Anthony Hopkins) used to work for the FBI a lot, but he hasn’t done so in years. But then Joe Merriweather (Jeffrey Dean Morgan), who used to work closely with John, and his partner Katherine Cowles (Abbie Cornish), who is more the sceptic about John’s abilities, knock on his door: a serial killer has been evading them and they need his help. John agrees and soon realizes that the killer can also see into the future – and much better than John himself.
I feel like Solace is one of the stupidest films I have seen in a long while. The script is atrocious, the cast is squandered, the story doesn’t make any sense and the entire thing is only bearable if you have alcohol.
OmniCorp are a robotics company who have been trying to get their robots on the ground in the USA as well. But people there don’t trust the judgement of robots. So when police officer Alex Murphy (Joel Kinnaman) is critically injured by a bomb that was attached to his car, OmniCorp jumps at the opportunity. They ask Dr. Dennett Norton (Gary Oldman), to take the parts of Alex that are still functional and build a half-human, half-robot police officer with it. But that combination isn’t easily pulled off and even after it is, there are still problems to be encountered.
There were some things that I liked about the film but in fact the most entertaining thing about it was standing around with my friends for an hour afterwards and bitching about all its failures. And there were plenty of those.
Marty (Colin Farrell) is trying to write a screenplay. He has a title – Seven Psychopaths – and a rough idea for a first psychopath. But apart from a drinking problem, he doesn’t have much else. His best friend Billy (Sam Rockwell) tries to help, but is mostly caught up with the dognapping business he runs with Hans (Christopher Walken). But when Marty’s girlfriend Kaya (Abbie Cornish) kicks him out and Billy naps the beloved Shi-Tzu of the crazy Charlie (Woody Harrelson), everything unravels pretty quickly.
The marketing for this film is completely off. And when I say completely off, they decided to take away the movie’s selling point to make it look like a pretty standard action comedy. But it’s not – instead it’s an exercise in meta – and I loved it.
Eddie (Bradley Cooper) is a struggling writer, a slob and pretty much hits rock bottom when his girlfriend Lindy (Abbie Cornish) breaks up with him. In that state, he runs into an old acquaintance who offers him a new drug that can boost his intelligence. Eddie accepts and in the brief time the pill works, he starts writing his book (finally), cleans his apartment and gets his life on track. In short, he gets completely hooked. It’s only when his supply is threatened that he notices the downsides: among other things, withdrawal can be deadly.
From start to finish, one thing dominates Limitless: its stupidity. That a movie about an intelligence increasing pill can be so dumb is, in itself, fascinating. It just isn’t terribly entertaining. There are a few good things about it, but mostly I just wanted to shake people (in front and behind the camera) for being such morons.
After the death of her mother, Baby Doll (Emily Browning) is left alone with her abusive stepfather (Gerard Plunkett) and her little sister. In an attempt to save her little sister from him, Baby Doll accidentally shoots her which is the ideal possibility for him to have her admitted to a mental hospital. There, the stepfather bribes an orderly (Oscar Isaacs) into getting Baby Doll lobotomised. The only defense Baby Doll has left is retreating into a fantasy world (and from there in yet another fantasy world) where she hatches a plan to escape.
I have pushed writing this review back and back again because I’m not in a ranting mood but this film deserves little else. Apart from the screwed up empowerment message this movie sends, it’s just not a very good film. Not even the special effects held up the end of their bargain. And that’s just sad. At least the soundtrack was cool.
Soren (Jim Sturgess) and his brother Kludd (Ryan Kwanten) are two owls almost ready to leave their nests. Inspired by their attempts to fly, they want to practice more after their parents left for the nightly hunt and promptly fall down the tree. Before they can figure out a way back up, they are snatched up by two owls who bring them to the “True Bloods”*, a group of basically Nazi Owls who abduct young owls to build an army and to harvest something they call flecks; metal flakes that seem to have a magical (and very adverse) effect on owls. While Kludd embraces the True Bloods’ ideology, Soren makes a desperate attempt to find the legendary Guardians of Ga’Hoole: warrior owls sworn to protect other owls.
The movie has a good plot and nice, if a little stereotypical characters (nothing too bad). But most of all, it’s visually absolutely stunning. Here’s a movie that’s actually worth to see in 3D.