A lot of thought and planning went into the production and editing and it shows.
All in Crime
Chad Stahelski & David Leitch’s JOHN WICK
If your weakness is revenge porn this is the movie for you!
David Ayer's END OF WATCH
I have no idea how realistic END OF WATCH is but it’s easily the best cop movie I seen in many years.
Alexa Gajic's “TECHNOTISE: EDIT & I”
Edit herself is an interesting mix of naïveté, intelligence, raw energy, and stubbornness. Why she hangs out with the losers she does is never fully explained but, taken together, they make up a very entertaining ride that has some of the most interesting technology animation this side of WALL•E.
Wong Kar-Wai's FALLEN ANGELS
One thought that popped into my mind at first about Fallen Angels was “style over substance.” That’s simplistic. Yes, there’s a ton of style here. There is also a lot of substance. It’s just that the substance is not the feel-good or warm-and-fuzzy type; at times things get really dark. How the movie is photographed supports that. But it’s a movie well worth watching.
Kang Woo-suk's MOSS
This is the review I posted on Netflix after watching this streamed Korean mystery/thriller:
Debra Granik's WINTER'S BONE
The Ozark back country depicted in this film is one that Facebook and Twitter have ignored. Or maybe it’s the other way around.
Monthon Arayangkoon's THE VICTIM
This Thai ghost story/crime thriller is convoluted, intense — and scary.
Daniel Barber's HARRY BROWN
In my book, Michael Caine can do no wrong — this vigilante movie is another example.
Takashi Shimizu's REINCARNATION
This is one creepy movie!
Na Hong-Jin’s “THE CHASER”
Following the success of Silence of the Lambs, movie and TV audiences have been treated to many pale imitations, most of which have failed to excite or provide any serious dramatic interest
Steven Spielberg's CATCH ME IF YOU CAN
“Oh yeah, this is what the credits for an Otto Preminger comedy would look like!”
Tony Scott's “THE TAKING OF PELHAM 123”
This is an enjoyable Summer action vehicle that’s held together by Scott’s taught action direction, witty dialog, and effective performances by Washington, Travolta, and Gandolfini.
Alex Proyas' “DARK CITY”
This is what I wrote in my blog when, once upon a time in Indiana, I found myself working late at night with the TV turned on:
Steven Spielberg's MINORITY REPORT
This movie expands upon the dazzling realistic-future-world special effects of Spielberg’s A.I. but wastes astonishing technical and artistic virtuosity on a hackneyed, uninvolving murder mystery.
Halfway through I thought about stopping but I’ve decided to give this movie another chance after reading the Netflix reviews.
Fritz Lang's THE BIG HEAT
Forget the happy view of post-WWII America as fresh faced kids running around green lawns in mass produced split level suburbs fed by newly minted commuter highways and GI Bill educations. Metropolis director's Fitz Lang's 1953 film The Big Heat is a reminder of a darker time when brave film makers occasionally veered into crime, sex, and darkness, barely skittering around a Film Production Code that enforced moral views that did not include crime, sex, and darkness.
Frank Miller, Quentin Tarantino, and Robert Rodriguez's "SIN CITY"
It was the dame’s earrings … They kept jangling in my mind, like tolling Easter bells out of some giant, hollow, cavernous cathedral … dark, inky shadows … except for those damn earrings… like golden beacons in a monochrome Dark City …