Jurors:
Martin Balsam
John Fiedler
Lee J. Cobb
E.G. Marshall
Jack Klugman
Edward Binns
Jack Warden
Henry Fonda
Joseph Sweeney
Ed Begley
George Voskovec
Robert Webber
12 jurors deliberate on the guilt or innocence of a young Spanish-American man accused of murdering his father. As the moments tick by, the discussion becomes an expose of each individual man's thoughts, feelings, prejudices, and secrets.
This is Fonda at his best, backed up with excellent support from all 11 of his fellow jurors. Lee J. Cobb is also a standout.
Crackling script by Reginald Rose, with superb direction by Sidney Lumet. Full of memorable moments and great dialogue and character development; this is one of the greatest courtroom dramas this reviewer has ever seen.
Unlikely, but it is possible.
12 Angry Men is directed by Sidney Lumet and adapted from a teleplay of the same name by Reginald Rose. The cast is headed by Henry Fonda and Lee J. Cobb. The film tells the story of a jury made up of 12 men as they deliberate the guilt or innocence of a defendant on the basis of reasonable doubt. Except for two short scenes at the beginning and end of the film, it's filmed entirely on one set, that of the jury deliberation room.
Sweaty, gritty, claustrophobic - all words that sit snugly in the context of Lumet's excellently crafted deconstruction of 12 men trying to arrive at one verdict in the case of a Puerto Rican youth on trial for the murder of his father. The evidence appears overwhelming, there's witnesses, a murder weapon and motive, the boy is surely on his way to the electric chair. 11 of the men are convinced he's guilty, only one man stands alone, Henry Fonda's juror number 8, who refuses to turn in a vote of guilty until the evidence and facts are discussed at length. As the others rail against him and tempers get frayed, juror number 8 prompts the others to examine their own prejudices and commitment to justice.
A lesson in tight direction and editing, and with performances to match, 12 Angry Men is quite simply not to be missed by those seeking to venture into classic cinema. 9/10
Adam Sandler with another funny animated movie.. I dont even like animated movies, but his are good cause there very funny.
Oh. This was... **super** underwhelming. Like I mean, I was prepared to appreciate it less than the majority of audiences, I often don't love kids' media, and I'm not really a fan of Adam Sandler, but I didn't think that I wouldn't find any appeal in it **at all**. This is just one I genuinely do not see what people are talking about when they give it a favourable review.
_Final rating:★½: - Boring/disappointing. Avoid where possible._
The idea is clearly an evolution of what Shrek meant.
Other than that, the script and dialogues are not so brilliant. It was boring for a big deal of the time and there were too many things going on and too fast.
You can recognize Genndy Tartakovsky's style in the movie but I've liked other of his works much more than this.
Just about everyone I’d spoken to about this film recommended it to me.
I watched this film with the original Korean-language soundtrack, with English subtitles.
Oh Dae-su (Chi Min-sik) is a bit of a flirt (whether he is a womaniser is not made clear) with a wife and young child, who has turned two years old on the day we start the film. Dae-su is in a prison waiting room having insulted a woman he was flirting with. A friend comes and eventually gets him out, but while he’s making a call to his wife to explain he will be home soon, he is kidnapped.
Incarcerated in a small room, with only a TV for company, he is fed and looked after, but not allowed his freedom. He unsuccessfully attempts suicide several times. He keeps himself fit by doing exercise programmes he sees on TV and he starts to dig his way out with chopsticks. He sees a TV report that shows he’s been framed for the murder of his wife. Fifteen years later, without a word of explanation, he is released.
The rest of the film follows his attempts to find out why he was imprisoned, who did it, and where his daughter is.
The film is frenetic, highly charged, and very emotional on several levels. It is also bloody in places, but Dae-su’s obsession for seeking revenge on whomsoever imprisoned him and on finding out where his daughter is drives this film along. There are psychological aspects to the film as well, and the film does eventually resolve itself – it is not one of those open-ended “I wonder who did it” type films. Follow the film through and you will get all the answers.
I would recommend it, but I wouldn’t call it light entertainment.
This is definitely one of the films to see before you die. It's seat-squirmingly unsettling, shocking and very violent.
It's a journey into a truly disturbed mind; a mind, which - like yours will be - is unable to cope with what it discovers.
This film is brilliantly twisted. It has a thread of the most wonderful, blackest humour running through it, a sense of complete disorientation and enough plot twists and turns to sustain your interest.
Not one of the best revenge thrillers I've seen - simply THE best!
I’m sure that all of you can always spot a film with good acting, superb plot and great cinematography easily but when it comes to a thriller that possesses all those above quality, it would be such a rarity. OldBoy here, second installment from The Vengeance Trilogy directed by Park Chan-wook (Sympathy for Mr. Vengeance, OldBoy, Sympathy for Lady Vengeance) really have them all, good story, powerful acting and the most horrifying and clever end twist if not genius. In fact no matter how many times you see this, the twist would still be awesome. The theme of revenge here is taken to the next level, to its supremacy for it’s really carefully-planned. OldBoy has a mind-bending assortment of drama, thriller, romance and beautifully spiced up with sadistic plot, shocking elements, ultra violence and clever psychological twist. Imagine yourself captured, locked in a room for 15 years, not knowing why and who did it and when you finally escaped and thought it’s all over, you were wrong and here’s the punching line, the direct punch to your stomach. Min-sik Choi as Oh Dae su really acted well, he really got us carried away by dragging us into the mystery that surrounds his life, into the depression he’s been feeling and into the deep well of his curiosity. Once again, OldBoy is a way too remarkable, when “revenge” isn’t merely knife-chopping or gun-battling. Enough said.
Annihilation is a thrilling Sci-Fi mind bender that will have you thinking throughout the entire film. There was not a second that I was not constantly reformulating my theories about what was causing the anomaly and what was going to happen next, which is a great experience for a film. I really enjoyed how the movie took a more realistic approach based on science. The team gathered of multiple field experts to investigate this event was reminiscent of The Arrival and was fascinating. I found that there were certain plot points that were a little far-fetched, i.e. Lena being added to the team and being given classified shortly after arriving to the military base. There were certain scenes that had so much tension and were done with some pretty interesting creatures that had me on the edge of my seat. The acting was all fine, no performance really stood out as excellent. Overall, this film was a captivating adventure with a third act that will have you questioning the entirety of the film.
**Verdict:** _Great_
It helps to have an open mind and just let yourself go with the flow of the story ... most plot elements align about half-way through the film. Meanwhile just lean back and enjoy the outstanding visual effects, cinematography and sound design. And it has a few very disturbing/creepy scenes that may be tough for some.
In and of itself, the history of Annihilation is not bad.
It has a lot of pictures and camera settings. The individual scenes are told leisurely and you take time for each individual setting. It is also noticeable that the figure drawings of every actress, carries a secret that is gradually revealed. This also makes it a bit more exciting for the narrative strand. Alex Garland also understands how to set the special effects to the perfect scene. The effects are very colorful and you can also notice how he is charging the tension. The creatures are very beautiful, although you know that in the next scene you can't trust the beauty. The meaning of life is also a message from Garland. Where we come from and where we go. Unfortunately, Garland sometimes delays the story too much and then waits in vain until Garland comes to the point. Also the actresses are very well selected and you notice that each of the women have a heavy backpack to wear.
Conclusion: A quiet and lengthy film about the existence and fate of different women bring mood, but a bit more action you would have already given the movie!
Critics are by and large on board with _Annihilation_. Audiences however have been more split. Even the people I know personally are coming out strongly either for or against it. Normally, those are the kind of movies that I find myself feeling in the middle about. You know, the movies that people say "You either love it or you hate it, there is no middle ground!"? Yeah, those are the sort of thing I almost always end up giving a five or six out of ten. But with this one? I fall very, very firmly on the side in favour of _Annihilation_. I did **love** it.
Aesthetics is a big part of that, I'm not gonna lie. I'm also digging the chimeric creature design I've seen on Netflix so far this year (in both this and _The Ritual_). But the philosophical stuff is what really does it for me. Annihilation approaches its context in a completely original way, and I for one feel richer for having seen it.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
What does it look like to inferior human beings when an advanced alien race begins terraforming our planet right out from under us? This. This is what it looks like. 6/10.
Watchable with some good messages and some good lines although the grumpy teenager became a bit tiresome. I felt it was rather a missed opportunity given the large source material available. Or maybe there wasn't enough to Wednesday's character to extend beyond being gloomy for 8 episodes. A good level of humanity given most characters aren't human.
The show takes viewers on a journey into the mind of Wednesday Addams, exploring her eerie and supernatural world as she grows into her own. The writing is sharp and witty, with a cast of endearing and frightening characters that will keep you on the edge of your seat. The special effects and production design are top-notch, fully immersing viewers into Wednesday's spooky and fantastical world. Overall, I highly recommend Wednesday for fans of the macabre and those looking for a fresh and exciting take on the Addams Family franchise. Don't miss out on this standout series stunning Gleaming Aura!"
One of those hard to endure type fantasy shows. Unnecessary and often predictably silly dialogues, bizarre character relations and motivations, shallow plot. On the bright side the show does get bearable with time plus some great cello music selection.
Wednesday's plot focuses on it's surface between the balance of power between normal everyday people (Like you and I), and (I don't know a better way to put it) cryptid kids; Wednesday (played by Jenna Ortega) is part of the latter (obviously). As the plot thickens, we find out that power struggle between the groups has been ingrained in everyone for generations. You may even say it's been institutionalized since the community's inception.
People can read into this however they want; what really matters is if it works or not. Given that the kids are literally werewolves, sirens, medusas and other cryptid creatures of lore, it is my opinion if you feel this dynamic is only in place to make you feel fragile, than you need to (in the words of my grandfather) 'get a tougher skin'. Honestly, it's a TV show, are you that wounded?
As these kids are in fact literally and physically outcasts to our society, their struggles being so and trying to fit in work in this story. I believe because Wednesday isn't physically a cryptid people expected something else. She's always been, along with her whole family obviously not normal and thus outcasts like the rest.
What I really enjoyed about this is the dynamic between Jenna and the un-talking member of the Adams' family, Thing (physically played by **Victor Dorobantu**). The actor wears a green suite except for his hand and contorts his way through every scene. The result is a way more realistic human hand running around than any CGI could have ever done. I also love the duplicity between Wednesday and her trying-to-be / would-be warewolf roommate, Endid (joyfully played by **Emma Myers**). There are honestly quite a few very likeable supporting characters that make the gloom and doom (that I love) from the main character and balance it into something even more plateable.
If your nostalgic for the kooky family, the show has plenty of fan service that isn't too blatant (at least not for everything all the time). You get the finger snaps, you get Christina Ricci (for those 90's kids fans), and you get a pretty accurate Adams Family as compared to the original source material.
I believe the plots mystery will keep people engaged enough (it's no Knives Out or Glass Onion), but combine that with the strength of the characters and you get a really great TV show worth re-watching; which is personally one of the highest praise I can put on a TV series. Highly recommended!
Wednesday Mary Sue Addams, I counted at least 10 things she's perfect at. If not for the woke ideology being pushed, this could be a very good tv series. Steer clear.
Not as good as the other one. I didn't like the whole switching characters. If they would have left that part out, it would have been way better.
When it comes to constructing a successful sequel, sometimes it’s best not to mess with a proven formula. Such is the case with “Jumanji: The Next Level,” an energetic, rollicking, ridiculously amusing part two to the much-loved 2017 reboot (and surprise hit), “Jumanji: Welcome to the Jungle.” The storyline is nearly identical, but with a few twists thrown in for added amusement.
Now in college, buddies Spencer (Alex Wolff), Martha (Morgan Turner), Fridge (Ser’Darius Blain), and Bethany (Madison Iseman) are home for the holidays and can’t wait to see each other again. Spencer has been feeling a little depressed lately and, longing to feel that unbridled bravery again, decides to jump back into the game. It quickly becomes a rescue mission and the others must follow to get him out. But this time, the game has changed. Not only are the levels more challenging, the gang has unexpectedly picked up a couple of extra players — Spencer’s Grandpa Eddie (Danny DeVito) and his longtime friend Milo (Danny Glover).
The film was made for fans of the reboot, and it’s nearly impossible to be disappointed this second time around. It’s a fun reunion with likeable characters that you love spending time with. There are appropriate and enjoyable callback references to previous movie and, something that is rarely true of sequels, the quality stands up to it as well.
When the story adds a fun twist that mixes things up a bit, it allows the actors to really chew the scenery. All of the characters are out of whack, with only Martha going back into the game as her original character, the dance-fighting man-killer known as Ruby Roundhouse (Karen Gillan). Fridge is now the overweight cartographer Professor Shelly Oberon (Jack Black), and Grandpa Eddie has taken over as the hunky and fearless Dr. Smolder Bravestone (Dwayne Johnson). Zoologist Mouse Finbar (Kevin Hart) is now Milo, while Spencer re-enters the story as a brand new character (and one of the film’s best surprises).
It’s a given that Black will bring guaranteed laughs, but Hart and Johnson have very funny comedic timing and they play off each other so well. Their banter is consistently hilarious, especially when they are channeling their elderly avatar inhabitants. DeVito and his cantankerous shtick is a huge upgrade, as he delivers some of the biggest chortles in his all-too-brief supporting role.
There are plenty of exciting action sequences that complement the fast-paced fantasy adventure. The sense of real peril serves the film well, because it ramps up the emotional factor. So does the idea that friendship can foster a family, and by the end, this one will tug on your heartstrings.
The film gets right to the good stuff without a long or boring setup, and the story is roughly the same as its predecessor. There’s not much new plot-wise, but who cares when a movie is this much of a wild, entertaining ride?
The Movie Was So Cool! I Want To Watch The Again And Again!
The film is punchy, landing some great jokes that will make you laugh out loud, with an entertaining, slightly predictable story. It wasn’t as good as the first 'Jumanji', but it is a great quality sequel and is full of family fun!
- Lily Meek
Read Lily's full article...
https://www.maketheswitch.com.au/article/review-jumanji-the-next-level-adventure-sequel-is-serious-family-fun
So - can you be arrested for a crime that you haven't actually committed yet? I suppose that is conspiracy - but this cleverly crafted crime drama questions even the morality of that stance. Tom Cruise is a policeman in the "pre-crime" unit who uses information from three people who are able to see into the future, to arrest the spiralling crime rates by intercepting the perpetrators on the cusp of their criminality. Murderers, rapists, bank robbers - you name it, and this has a profound effect on the crime rate. All looks plain sailing until Cruise "Anderton" becomes embroiled in a potential killing of his own, and his erstwhile colleagues - not least Colin Farrell ("Witwer") and Max von Sydow ("Director Burgess') are on his trail using his own techniques against him. Steven Spielberg has concocted a plot that, though complex, is relatively easy to follow with plenty of action and thriller elements that do exactly what they are supposed to. The ending is maybe just a bit disappointing - far too tidy for my liking; but Cruise, Farrell and von Sydow combine well to generate a fair degree of menace and suspense to keep it interesting. The CGI hasn't really stood the test of time so well and I hope Bulgari (amongst others) got their money's worth - I wouldn't rush out and buy one, but I would watch the film again.
Really good movie. This is one of those movies where you really gotta pay attention to it to understand it fully. Great storyline too. I'm sure our world will eventually end up this way. Hope not though!
Works more on the strength of Spielberg than of Cruise.
_Final rating:★★★ - I personally recommend you give it a go._
Spielberg does Tech-Noir!
The year is 2054 and the murder rate in Washington is zero, the reason? Three Pre-Cognitives (each named after a literary great) whose combined abilities witness murders before they actually occur. Apparently faultless, it's then something of a surprise to Pre-Crime chief John Anderton (Tom Cruise) when the Pre-Cogs predict he is to murder a man named Leo Crow. Forced to go on the run, and haunted by a family tragedy, Anderton must evade the system he so perfectly executed himself. Can he find a flaw? Or is he actually about to commit a murder?
Everybody Runs! That was the tag line that accompanied the explosive trailer for Steven Spielberg's, Tom Cruise starrer, Minority Report. This marketing tool indicated that the great bearded one had adapted from the Phillip K Dick short story and created an action monster? He hadn't, he had in fact created something far far better than popcorn fodder.
Minority Report was the next project for Spielberg following the equally dark and intriguing AI: Artificial Intelligence, both films serving to note that Spielberg was capable of thought provoking science fiction outside of the standard crowd pleasers that many critics love to decry. In fact, it's arguable that Spielberg may have hit his creative peak with Minority Report, for the messages and crawling dystopian bleakness on show paint a picture not so much as a future far away in our lives, but of one we live in now. Big thematic points of reference dot themselves throughout the piece. Such as the changing of eye balls, or that in these post 9/11 years we yearn, and always will, to be safer.
Here in this bleached shadowy world, a world of metallic tones and visual stings (ace cinematographer Janusz Kaminski on duty), we are safe under Pre-Crime. Yet still it's a world without soul, it has no heart, it's almost as if inhuman in itself, suggesting that the World's problems are not easily vanquished by technology - a total sacrifice of the World's inhabitant's souls. Spielberg of course is well served by the supreme professionals he has at his disposal, he has also managed to garner a great performance from Tom Cruise, something that critic and fan favourite directors have not managed to do previously. Believable grief, action work as strong as ever, it is however with his ability to imbue a tortured film noir protagonist where Cruise excels the most.
Alongside Cruise and operating with great impact are Samantha Morton as Pre-Cog Agatha and Max Von Sydow, the latter adding that touch of experienced know how needed for his particularly important character. The odd casting choice appeared to be Colin Farrell as the meddling, almost vindictive Danny Witwer, but he plays well off of Cruise, this even if he veers dangerously close to comic book villainy at times (check out a holy smoke Batman scene). What action there is is first rate, from a jet back pack pursuit, to car jumping heroics, the sequences are crafted with Spielberg's deft eye for an action sequence. While the sick sticks (yes you read right) metal spiders and a brilliant Peter Stormare cameo should hopefully have you squirming and grinning in equal measure.
Which brings us to the finale, an ending that may not be a complete surprise (yet it still doesn't cop-out in context to Anderton's tragedy), but things are rounded off in true classic noir tradition, where it closes down a thinking man's tech-noir. Superb. 9/10
Loved this film. It's pitched just right at kids and adults. Such a clever script and great story both at face value and on a deeper level of breaking out of a rut and putting some sunglasses on. Great acting, great plot and great script (The Dude has some great lines). Highly recommended family film.
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