Armageddon
It’s easy to be sucked in by all the glossy, nostalgic images that flash across the screen like some sort of psychological experiment, but like most of the director’s other films, most is forgettable shortly thereafter.
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It’s easy to be sucked in by all the glossy, nostalgic images that flash across the screen like some sort of psychological experiment, but like most of the director’s other films, most is forgettable shortly thereafter.
A classic Judge film: somewhat uneven but filled with interesting, albeit clueless, characters and funny set-ups.
The epitome of self indulgence.
Smith’s most mature film. Yes, it’s filled with crude dialogue, blunt descriptions of sex and an overkill of Star Wars references, but it uses these to dig deeper and make its subject matter more accessible.
The reason why Gone Baby Gone works so well is the attention to which Boston is portrayed. The urban neighbourhood is like another character in an already strong cast, one that has needs and desires just like everyone else.
It’s flashy and feels hip, but I wonder if it’s all just a smokescreen much like the one in the film’s plot.
Like in all of Smith’s films, the dialogue is wonderful and realistic, but also consistent with Smith’s other films, there are times when the momentum doesn’t hold up.
Unable to secure a good balance of character and plot, director [Mark Steven] Johnson ends up providing something that is at times exhilarating but more often tedious.