eddie_baggins
dic 2005 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos10
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas1.8 k
Clasificación de eddie_baggins
Close to 40 years on from its initial release, it's safe to say The Naked Gun needs no introduction.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
One of 2025's most infamous box office duds that put Warner Brothers CEO David Zaslav's head firmly on the chopping block until Minecraft and Sinners arrived to save the day after Barry Levinson's mob drama followed in the footsteps of the Joker sequel and Mickey 17, The Alto Knights is a film that may've made an impact in another era but in the current climate feels stale and without voice.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
Making a name for himself with his particular brand of awkward humour that has served him well on various stand-up specials and Netflix backed series I Think You Should Leave, American comedian Tim Robinson makes the leap to leading man duties in Andrew DeYoung's feature debut that is one of the years most unique propositions.
Working alongside seasoned audience favourite Paul Rudd, Robinson here plays everyday office worker Craig, a softly spoken and floating middle-aged man who has recently been supporting his wife Tami's (a typically strong Kate Mara) cancer journey and see's huge potential with a friendship he has been striving for with his new neighbour Austin (Rudd).
It's a simplistic set-up in principle and one that's been a tried and true narrative starter in a multitude of purely comical or more dramedy centred affairs across the years but with Robinson in the lead and DuYoung committing to making sure his debut is not a cookie-cutter affair, Friendship provides an odd, unexpected, sometimes hilarious sometimes sad journey that is sure to win as many fans as it loses.
Early on in the building block stages of the film and Craig and Austin's budding relationship, Friendship provides a healthy ratio of hearty laughs and awkwardly hilarious hijinks but as we move forward from the initial half hour set-up Friendship enters into darker territory and it's likely that many willing viewers will begin to wilt as Craig's venture into the depths of desperation and poor decision making takes hold over him and the story itself.
It's undeniable that Robinson has a particular range as a performer and you can't see him ever escaping a typecast scenario he has created for himself and is likely content in but for what Friendship required he is a great choice and his back and forwards with Rudd are a real winner for the film with Rudd becoming the perfect foil for Robinson's mannerisms and antics that won't be for everyone but work for what is required here.
The film's fantastic early stretch is sadly never formed into the potential classic genre entry it might have been as things progress and narratively there's some significant gaps in pay-offs and exploration but in a climate where a lot of films of this ilk play it safe or do the bare minimum, its refreshing to watch something like Friendship that's so content being something a little bit different and non-concerned with the towing the line of expectation.
Final Say -
A must-see for any Tim Robinson fans and for anyone willing to take a strange and off-kilter journey into one man's crumbling life, Friendship isn't always an easy film to digest and is as much a drama as it is a comedic trip but it's an intriguing watch throughout and proves there's a place for Robinson in the feature film landscape.
3 1/2 fast moving pigs out of 5.
Working alongside seasoned audience favourite Paul Rudd, Robinson here plays everyday office worker Craig, a softly spoken and floating middle-aged man who has recently been supporting his wife Tami's (a typically strong Kate Mara) cancer journey and see's huge potential with a friendship he has been striving for with his new neighbour Austin (Rudd).
It's a simplistic set-up in principle and one that's been a tried and true narrative starter in a multitude of purely comical or more dramedy centred affairs across the years but with Robinson in the lead and DuYoung committing to making sure his debut is not a cookie-cutter affair, Friendship provides an odd, unexpected, sometimes hilarious sometimes sad journey that is sure to win as many fans as it loses.
Early on in the building block stages of the film and Craig and Austin's budding relationship, Friendship provides a healthy ratio of hearty laughs and awkwardly hilarious hijinks but as we move forward from the initial half hour set-up Friendship enters into darker territory and it's likely that many willing viewers will begin to wilt as Craig's venture into the depths of desperation and poor decision making takes hold over him and the story itself.
It's undeniable that Robinson has a particular range as a performer and you can't see him ever escaping a typecast scenario he has created for himself and is likely content in but for what Friendship required he is a great choice and his back and forwards with Rudd are a real winner for the film with Rudd becoming the perfect foil for Robinson's mannerisms and antics that won't be for everyone but work for what is required here.
The film's fantastic early stretch is sadly never formed into the potential classic genre entry it might have been as things progress and narratively there's some significant gaps in pay-offs and exploration but in a climate where a lot of films of this ilk play it safe or do the bare minimum, its refreshing to watch something like Friendship that's so content being something a little bit different and non-concerned with the towing the line of expectation.
Final Say -
A must-see for any Tim Robinson fans and for anyone willing to take a strange and off-kilter journey into one man's crumbling life, Friendship isn't always an easy film to digest and is as much a drama as it is a comedic trip but it's an intriguing watch throughout and proves there's a place for Robinson in the feature film landscape.
3 1/2 fast moving pigs out of 5.
Encuestas realizadas recientemente
8 en total de las encuestas realizadas
