Alcoholic cop John Rourke finds a trail of corruption after a gunman opens fire on a police conference.
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Nathan M (mx) wrote: I'm sure there's something about this movie that I'm missing, but this one just felt like a less interesting, more pretentious version of Linklater's Before series. Binoche is great as always, but I just really couldn't connect with most of what was going on. I'm clearly in the minority here, so maybe I should watch it again sometime.
Paul C (au) wrote: Cringing moments but an OK bit of comedy. As usual Alan Tudyk has the best scenes.
Robert H (au) wrote: This low budget scifi flick has some good things going for it with decent set pieces and CG work but the lame love story just doesn't work and the cheap hockey gear costumes bring the production down to made in my garage levels... which works if the film is made in a garage. Nothing is truly explained properly and the film ends up being a jumbled mess after awhile as we wash rince repeat to what would have been a heart warming ending... if the rest of the film had accomplished what it set out to do.
Jeff B (fr) wrote: A family portrait both melancholic and anarchic, the meticulous brushstrokes on display in writer-director Wes Anderson's Royal Tenenbaums present an auteur at the top of his game and the most entertaining and heartfelt filmic example yet of that old cinema chestnut: having one dysfunctional family under one roof for one last time. As a film reviewer, there's always a deep-seeded debate within one's psyche to concede that a particular filmmaker has made a better film than your personal favorite. For example, Quentin Tarantino's Jackie Brown still makes an astounding personal connection that this reviewer can only partly explain, the sometimes comedic '70s throwback caper having become this critic's go-to QT flick...even though Pulp Fiction and Inglourious Basterds remain, from top to bottom, more powerful, better directed, and better written notches on the writer-director's CV. Also, Steven Soderbergh won over the consensus of critics with Sex Lies and Videotape, won over the consensus of the Academy with Traffic, and won over the consensus of filmgoers with Ocean Eleven, but super slick and sexy slice of noir Out of Sight is the only Soderbergh film to chart on this reviewer's Top 10 list. The same dilemma rears its head with Anderson. Sure, he has made smarter comedies (the coming-of-age riotous-of-passage Rushmore), all-around better films (the decades-spanning sometime dramedy The Grand Budapest Hotel), more ambitious star-studded experiments (the stop motion-animated adult cartoon The Fantastic Mr. Fox), and even a more depressive family coming together (tear-soaked road comedy Darjeeling Limited), but notice that his Royal effort proves to be a convergence of all of these oft-kilter tropes and it all works so brilliantly. Everything - from the screenplay, set design, casting, soundtrack, and locations - serve as an integral cog in the world-building wheel of this fantastic and, at the time, funereal story about the undying bonds of family. Even beset with terminal cynicism and sarcasm, the idiosyncrasy-filled miscreants falling from the Tenenbaum family tree ultimately don't fail each other despite overwhelming odds and inklings. In this R-rated comedy, an estranged family of former child prodigies reunites when their father announces he is terminally ill.TBS's Conan produced a spoof of Anderson's work that presents a Star Wars audition reel as if it had been written and directed by the man himself. Han Solo becomes a card-carrying member of an eccentric club who makes precocious-sounding lists with bullet points like "Kill Greedo" and rides along in the sidecar of a motorcycle driven by Chewbacca--all soundtracked by Barouche string-plucking that sounds right out of Mark Mothersbaugh's (W.A.'s longtime composer) playbook. It nails Anderson's quirky trademarks perfectly. Ironically, The Royal Tenenbaums - though it boasts many of the same Andersonian tropes as its predecessor, Rushmore - didn't make the auteur parody-worthy at the time. No, that honor fell on the follow-up, the oftentimes surrealistic but always indulgent The Life Aquatic starring Steve Zissou. Before Life Aquatic, all of the writer-director's films worked so well because, even though they immersed you in his very eccentric world, they always kept one foot in reality. Though very watchable, Life Aquatic keeps its head in the clouds (or under the sea, in this case) and never once attempts to get a reality check. On the other hand, Tenenbaums maintains this balance exceptionally well. Sure, it's hard to relate to the prodigies in question on the exterior of things (having an affair with an adopted sister seems bonkers), but their inner turmoil hits home again and again (the need to be loved and fear of exclusion drove the couple to it). Letter-perfect casting, of course, is the crucial element. From the titular Royal (Tenebaums rivals even The French Connection so far as Gene Hackman's best performance) to an old stand-by in a supporting role (Bill Murray as a cuckolded doctor gives a deadpan masterclass). The synergy that Anderson created here was so in-synch that it took 13 years to equal this triumph so far as world-building to complete perfection. Anderson's personal best, The Grand Budapest Hotel actually dealt with royalty. The Tenenbaums, however, remains purely Royal despite no claims on aristocracy. Bottom line: Family Valued
Ariba Z (us) wrote: it was interesting...
Yogesh R (mx) wrote: Exciting political thriller produced by Lord Puttnam, with Byrne as a reporter who exposes a Profumo-like scandal only to come to suspect that he's been set up. Denholm Elliott is, as always, marvelous in a supporting role, while Bill Paterson, Robbie Coltrane, and Fulton Mackay ("Local Hero") turn up in small parts.This is a provocative film that asks us to consider what kind of things governments are willing to cover up and how far they will go if they are not subject to oversight.In an old SNL Weekend Update sketch, Tina Fey remarked, "It's amazing what scientists can do when NO ONE MAKES THEM STOP!" On a more serious note, it's amazing (and disturbing) what politicians can do when no one makes them stop.
Private U (ru) wrote: 2006:07:21 @ Palace IFC, HK
Andrew D (it) wrote: One of my all-time favs, Dog Day Afternoon is an important mark on film history, and proves the power of what a filmmaker can truly convey through their storytelling. Well-acted, well-written, well-directed, well... It's amazing. Absolutely amazing.
Ryan C (au) wrote: "Los Olvidados" is a brutal watch - it's a realist representation of a world of adolescent cruelty where chaos and immorality reign supreme. The film begins with the character "Jaibo" escaping from jail to join his gang of prepubescent miscreants, including the main character Pedro, who terrorize and rob the underprivileged, even a blind man. It's a classic portrayal of rebellion and youth mentality: life and society exist to exploit and the gang takes advantage of that, but Bunuel carries it with such close impassiveness that it really becomes affecting right off the bat. After establishing the setting, the movie quickly shifts to the character contrasts between Jaibo and Pedro when Jaibo accidentally kills the person he thinks was responsible for landing him in jail and Pedro witnesses the killing. Jaibo is an opposing force to society, a libertine who acts on desire without conscious and is unable to parse justice. Pedro, however quickly becomes haunted by the guilt of the murder (with a delicious taste of Bunuel's surrealism) and is caught between the worlds of society and Jaibo. Bunuel uses this space well, showing the way that society fights against youth and youth against society in a never-ending war. In this world of despair, no man stands perfect - the blind man is revealed to be a pervert and it appears that the parents in the film have all but abandoned their children from indifference. Institutes to correct this problem are even shown to fail. What we are left with is a broken society.In a world this hopeless, criticism stands king and Bunuel has never been one to shy away from the throne. Even though "Los Olvidados" might not be his crowning achievement, it certainly stands as a great achievement.
Tori S (es) wrote: Very similar to "The Accused" with Jody Foster.. but I thought the twists with the DNA testing were riveting.
Carole T (br) wrote: I really enjoyed this...it's heartfelt and endearing with some great humour mixed in. A quirky little gem!
Kiel C (mx) wrote: It's good but I never liked the final 30 minutes. The sequel is better. Pretend they solved the murder with the shootout at the pimps house then move on to the next film.