Reviews

Style-less direction and a SYFY-ish production look keep this from being anything other than a run-of-the-mill viewing experience.

True Blood meets Romero meets the History Channel is the best way I can describe it.

Didn't know what to expect but its quite entertaining and it looks/sounds amazing.

With their main series now on the decline and most of the original cast gone, a second series that has shifted 180 degrees from its original concept and also losing viewers, the producers obviously thought that they could milk yet another series out of the Dead universe, this time aimed at a younger generation.

The fact that it is boring, poorly written and cast, just shows their contempt for their fans. The word that best describes the producers? Hubris.

I don't know if there will ever be any Rick Grimes movies -- and frankly its been so long now that I couldn't care less any more -- but maybe it is time for Kirkman and company to retire the franchise and try for a reboot sometime in the 2030s.

There are so many series with the same virus/end of the world theme streaming these days, I was hesitant at first to start watching but this is so well written, shot and acted that I'm so glad I did,

With new episodes dropping weekly instead of all at once, the fate of these characters becomes even more suspenseful and involving.

Four episodes in and I have to stop and ask myself: Haven't I tortured myself enough already?

I thoroughly enjoyed the British series but this it ain't. Other than Rainn Wilson, I couldn't care less about the fate of anyone in the cast. I'm always up for comedic violence (The Boys does it brilliantly) but the extreme violence here is neither funny or clever. Especially violence toward children. Inexcusable.

Considering what we are going through at the moment, myself and family included, the decision to release this series at this moment in time is simply wrong-headed and tone deaf -- akin to releasing "The Towering Inferno" three days after 9/11. Who at Amazon thought this was a good idea?

Watch it if you want. I managed to get through four episodes. Maybe you will decided to catch all eight. I wish I had stopped after one.

A 50+ male reviewer here and I had I great time from start to finish.

Terrific looking, wonderfully acted, awesome score, energetically directed.

Who cares if its historically correct? I mean, honestly, its not like Sherlock Holmes is a real person anyway. And so what if it has a contemporary feminist message? One hundred plus years of Hollywood movies catering to the male point of view -- don't women deserve a little something?

Just sit back, watch, laugh, smile.

I know absolutely nothing about English football and care little about sports in general. But here I am hooked on a comedy about both. Thankfully, this half-hour series, although set in those worlds, is about something else entirely.

I won't spoil what is in the secret sauce. That is something that you'll have to discover on your own as the story unfolds. What I will say is that Jason Sudeikis is perfection as the American fish-out-water and he plays his part to perfections. And while you won't be falling out of your chair in laughter, you have to be made of stone not to come away from each episode with a big smile on your face. And really, is there anything better than that?

Very enjoyable, (as much as I hate to use the term) quirky, indie film about art, artistic growth and expression. Jenny Slate is the fish-out-of-water as she travels from Brooklyn to Norway, finding her "voice" along the way.

Not much dramatic tension or big moments but that's okay. Lovely to look at and listen to and any chance to spend time with Slate is worth it.

Discovered this film by accident -- was totally unaware of the series it is meant to spoof or its predecessor by the same actor/director team (also responsible for The Artist).

Laugh out loud funny take on 60s spy movies really captures the look of the era -- great split screen visuals and color -- with a soundtrack that will have you heading to ITunes. As for the humour -- if you are easily disturbed by sexism, racism, antisemitism, homophobia and misogyny then this is probably not the film for you even if all of the jokes are self-aware of their inappropriateness and everyone gets skewed equally.

Terrific contemporary mystery will keep you guessing right up until the very end while entertaining the viewer with great visuals and a superb score. An ensemble cast led by Lambert Wilson gives it their all as the plot twists and turns, mostly set in the underground bunker of a (unseen) Russian billionaire.

As noted in other reviews, if you're a bibliophile then be prepared to add this to your list of favourites.

Imagine every Adult Swim series ever made, rolled into one (before there was Adult Swim). Outrageous plots, characters, costumes, sets, special effects and Adolph Hitler. Could you ask for more?

What gives with all of the negative reviews -- most of which appeared within minutes of the show dropping? There is no way the reviewers could have seen all 9 episodes. Maybe they just want to complain that this is not a transcript of the novel but rather a loosely-based adaptation.

Great production design, sound, music make this a terrific viewing experience whether you agree with the story choices or not. Excellent cast - Alden Ehrenreich is always a pleasure to watch as John the Savage, a far cry from Hobie in Hail, Caesar. Even though I know the story (at least Huxley's version), I found myself having to keep binging episodes to find out what happens next. I'm glad I did.

If you have high hopes for this adaptation of the graphic novels, you are surely going to be disappointed.

While the concept is anything new (Highlander, etc), there is definitely a decent story to tell but instead they decided to just do it by-the-numbers and add in a lot of p.c. for relevance. Maybe the producers should have hired a director who was more a fan of the genre than one intent on being profound.

Charlize Theron gives it her all as do the rest of the immortals, with Kiki Layne (who was great in Beale Street) somewhat less convincing as an action hero. The bad guys are sufficiently evil and Chiwetel Ejiofor again wastes his talent for a fat paycheck.

Everyone seems to have issues with the music -- I agree -- but what does it matter when the film itself is mediocre in the first place.

Sometimes a movie comes along that despite an obvious and heavy-handed script, still manages to be a journey worth taking. One has to be made of stone not to be moved by this somewhat fictionalized account of the quest to honor fallen Vietnam-era soldier William Pitzenbarger. A great cast of Hollywood vets give their all, including Peter Fonda in his last performance.

I can't say why I waited until now to re-watch this comedy classic. Could be because I still remember every line, every visual joke, every character as vividly now as I did when I first saw it.

Back in 1978 while attending UCLA I happened to walk past the National Theatre in Westwood one afternoon and noticed a sign in the box office window: "Theatre closed tonight for private screening." Returning later that evening with my roommate, we managed to sneak in with the crowd, without a clue what we would be watching. We had a hint that it might be something musical since we wound up seated behind Bette Midler and her boyfriend, an unknown Peter Reigert (Boone).

From the opening shot of Faber College's "Knowledge Is Good" to the closing credits, I had never / have never laughed so much in my life. As most of the audience, I am sure. A truly unforgettable experience and an unforgettable film.

Love him or hate him, Mel Gibson always gives 100% in whatever he does.

And he is the only reason to watch this typical Emmett/Furla time-wasting action picture. Here, subbing for Bruce Willis who usually is the nominal "star" of these poorly-written & directed tax write-offs, Mel does his best as an ex-NYC cop trying to stop a group of bad guys robbing a run-down apartment block during a hurricane.

Whatever talent indy director Michael Polish one showed is now depleted as he puts his cast -- most of them looking like they're sleepwalking except for an earnest performance by Stephanie Cayo -- through the requisite 90 minutes of low budget thrills.

The question that needs to be asked is: With every other person in Los Angeles writing screenplays, why can't EF Films find something worth the time and effort? Why waste talented people on such schlock?

It isn't often that I get to spend time with characters that I care about, in stories that both move me and make me laugh, set in places that I have never visited before but wish, when the lights come up, that I had more time to spend there.

I never read the book. I happened upon this by accident and decided to give it a few minutes and see if it was worth watching later when I came home from dinner with friends. I never got to that dinner.

There is one thing it seems you can always go to the bank on: if the credits say AN EMMETT/FURLA PRODUCTION then you know its crap, that a mostly has-been star has just gotten paid 80% of the budget to appear in a couple of scenes while a couple of second or third tier actors carry the film. And Willis is the worst offender, making two or three of these every year.

Another home invasion "thriller" and unless you've never seen one of these before, you can spare yourself 90 minutes because there's nothing new here. I mean, really, who read this script and thought "Wow, we have to make this!'?

By the numbers. The actors try (I suppose) to keep their dignity -- although the fish lips on one of the actresses is rather annoying. Dull direction. At least its a short film.

Most contemporary submarine-themed films tend to be overly dark and psychological. Not so much here. Just an old-fashioned war film featuring equally good acting, script, camerawork and music.

The original Belgian-language version doesn't seem to be available with subtitles but the dubbing here is passable, not at all distracting.

If you're into this sort of thing, just grab some popcorn and enjoy a really good show.

You know that if Gordon-Levitt is going to assume a role, it just has to involve a great script and first-class production. This does not disappoint.

If you think there is little new that anyone can bring to a plane/terrorist/hijack story -- you are dead wrong. Gut-wretchingly tense and terrifying from the start and doesn't let up.

An incredible example of independent filmmaking -- cinematography, sound, music, effects put most studio efforts to shame.

Yes, its long but I never once lost interest. The script, performances and direction kept me glued to my screen throughout.

It isn't often that I get blown away by something I've never heard about prior to discovering it on Amazon or Netflix -- I think the last time was "Predestination" and before that, "Los Ultimos Dias" -- funny that those films and this one were all written and directed by two brothers.

I don't know why it took me so long to find this movie. Best non-arthouse Spanish film I've seen since Los Ultimos Dias (both with music by Fernando Velazquez).

Better to go in knowing nothing and you will be highly rewarded.

Bravo.