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thedullwoodexperiment

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Tag Archives: Ana de Armas

Blade Runner 2049 (2017)

07 Saturday Oct 2017

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Ana de Armas, Denis Villeneuve, Drama, Harrison Ford, Jared Leto, Replicants, Review, Ryan Gosling, Sci-fi, Sequel, Thriller

D: Denis Villeneuve / 163m

Cast: Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Jared Leto, Robin Wright, Mackenzie Davis, Hiam Abbass, Carla Juri, Lennie James, Barkhad Abdi, Dave Bautista, Edward James Olmos

Perhaps the most anticipated sequel of 2017, Blade Runner 2049 is finally with us, having been in development – in one form or another – since 1999. It’s a fascinating movie to watch, built as it is on the legacy of its predecessor, and it’s received a lot of praise from critics and fans alike. But it’s not entirely successful in the goals it’s set itself, and despite some terrific performances, Villeneuve’s inspired direction, and sterling efforts from all concerned with the movie’s look and design, the movie struggles at times to maintain proper focus and to make more of its story elements than it actually does. The style is tremendous, then, but the story it supports isn’t as well worked out as it initially looks. Partly this is to do with decisions made at the pre-production stages, and partly to do with a script – by returning scribe Hampton Fancher, and Michael Green – that rarely tries to flesh out its themes or tease out the inherent subtleties within them. This is being touted as intelligent sci-fi and a worthy successor to its predecessor (and on the whole, it is), but in reality it’s a movie that looks amazing, but can’t make its mind up about the story it wants to tell.

It seems straightforward enough. Modern replicants are now being used as blade runners, and are tasked with tracking down and eliminating any remaining Nexus-8 models that are still out there. K (Gosling) is one such replicant, and he’s generally regarded as good at his job. But then what should be a simple “retirement” throws up an unexpected development in the form of buried human remains. But the truth is stranger still: the bones are those of a female replicant who has given birth, something that was, and is still, regarded as impossible, due to it not being a part of their bio-engineering. K’s superior, Lieutenant Joshi (Wright), fearing such information would be catastrophic if it were made public, orders K to destroy all evidence relating to the case, and locate and kill the child. K visits replicant manufacturer Nyander Wallace (Leto), who identifies the remains as those of Rachael, a replicant who thirty years before, had an affair with a blade runner called Deckard (Ford). Wallace, who can’t manufacture replicants fast enough to match the demand for them both on Earth and on the Off-Worlds, instructs his enforcer, Luv (Hoeks), to follow K and locate the child before it can be “retired”.

And so the stage is set for a race against time in the search for the child (now clearly an adult but referred to as a child throughout). Except Fancher and Green’s script isn’t too concerned about this, and despite the amount of time it’s taken to set it all up. Instead we’re treated to extended passages concerning K’s relationship with a hologram called Joi (de Armas), evidence that K might be the child everyone (including himself) is seeking, meditations on the nature of memory and its veracity, an encounter with what could charitably called the Popular Replicant’s Front of Judea, and further oblique references to Joshi’s insistence that social upheaval will be the result of the child’s existence being made public. Some of this is interesting on a superficial, let’s-not-think-about-this-too-closely level, but that’s also why it remains at a superficial level. The idea that there’ll be a breakdown in the way that replicants are treated comes only from Lieutenant Joshi, but as there doesn’t seem to be anyone that she reports to (she and K could be the only two people in the blade runner department; we never see anyone else), this can only be looked on as her assumption, or her prejudice. But as neither idea is addressed or delved into, the viewer is left with the understanding that if she hadn’t raised it conveniently as an issue, then the movie would struggle to provide audiences with a strong plot.

Out of this, there’s still the confusing issue of whether or not replicants having children is a good or a bad thing. With nothing to suggest that it’s a bad thing – even though the viewer is asked to go along with this idea on faith alone – the fact that Wallace wants to crack this particular genetic anomaly in order to beef up his workforce in the off-world colonies (which would be a benefit for everyone), doesn’t seem such a bad idea at all. But the script insists that he has to behave badly in order to solve this issue  and move forward (actually Luv behaves badly, and deliberately so, while Wallace is confined to the sidelines for much of the movie). As a result, tension and discord amongst the characters is encouraged instead of any détente, and once K finds Deckard hiding out amid the ruins of Las Vegas, the movie remembers it’s also a thriller as well as a romantic drama (K and Joi), and it ramps up the action accordingly.

From this it could be assumed that Blade Runner 2049 is a movie that doesn’t make a lot of sense when you look at it closely – and this is true. Fancher and Green’s script doesn’t always delve as deeply as it could do, particularly as replicants are still being treated as slave labour, a situation that should resonate but which is soundly ignored. But fortunately, the movie has Villeneuve as its director, and if he’s not able to smooth overt the cracks in the plot successfully, what he is able to do is make this sequel one of the most visually impressive movies of the last five/ten/fifteen (delete as applicable) years. Along with DoP Roger Deakins, Villeneuve has created a world that has devolved even further in the last thirty years, and which is alternately breathtaking and disconcerting. Dennis Gassner’s production design should be singled out for praise as well, as he makes every last aspect of 2049 life feel immediate and yet compromised, as if everyone is living in a world that’s becoming more and more withdrawn from their day-to-day reality. Large areas surrounding Los Angeles are now wastelands to varying degrees, and there’s still that perpetual rain to remind you of how bad things have remained, and the movie widens its horizons appropriately as it tells its bigger, broader story.

There are good performances throughout, with Gosling proving a good choice as K, his initially blank features slowly giving way to pained resignation mixed with profound hope as to his possibly being “the child”. It’s another outsider-looking-in portrayal, the kind of role that Gosling is so good at playing, and here he doesn’t disappoint. Ford is terrific as well, reconnecting with a role that he hasn’t played in thirty-five years but which he infuses with a grizzled intensity, and a great deal of sympathy. It’s good to see him embracing a part in a way that, Han Solo aside, he hasn’t done for quite some time. There’s great support from the likes of de Armas (in a role that is intended to make K’s replicant nature more human, but which remains surplus to requirements, no matter how hard the screenplay tries), and Hoeks as the movie’s resident replicant psycho. Leto wears odd contact lenses that contribute to his character’s blindness, and aims for urbane but still bizarro villain and largely succeeds thanks to his decision to underplay the role, while Wright, ultimately, is given too little to do other than repeat dire warnings about the child etc. etc.

A sequel to Blade Runner (1982) may have been on a lot of people’s wish lists over the years, but now that it’s here, there’s something of a temptation to praise it for what it does do – look astounding on too many occasions to count, have a score that complements Vangelis’ original score while being its own thing, create several worlds in one – instead of admitting that what it doesn’t do harms it too often (and on a couple of occasions, irreparably). Yes, it’s an incredible movie visually, and the makers should be congratulated, and awarded, for their efforts, but the script isn’t as convincing as it could have been. Still a movie to watch on the biggest screen possible (though not in 3D, which doesn’t add anything to the experience), and one to discuss for some time to come, this is one sequel that could have been bolder in its approach, and more complex in its ruminations.

Rating: 7/10 – though hugely effective for long stretches, Blade Runner 2049 does get bogged down in too many needless secondary plot lines during its middle section, but rallies to provide an exciting action sequence that rounds things off satisfactorily (even if it’s a long time coming); with many scenes that could have been trimmed or excised altogether, this is still a triumph for Villeneuve and his two male leads, and serves as another example of a movie that strives to be different from the rest of its multiplex brethren, even if it’s not fully successful.

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Overdrive (2017)

15 Tuesday Aug 2017

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

Action, Ana de Armas, Antonio Negret, Car thieves, Freddie Thorp, French Riviera, Gaia Weiss, Review, Scott Eastwood, Thriller

D: Antonio Negret / 93m

Cast: Scott Eastwood, Freddie Thorp, Ana de Armas, Gaia Weiss, Simon Abkarian, Clemens Schick, Abraham Belaga, Kaaris

Every now and then – in the UK at least – a movie appears in cinemas that doesn’t seem to belong there. It will have the look and feel of a movie that should have gone direct to video, and it will have a number of second- or third-tier stars heading up the cast. It will be a generic, virtually simplistic genre piece whether it’s a horror movie, an action movie, or a comedy. And it will not attract glowing reviews or prove to be a box office success. In short, it will be the movie you go and see when you get to the cinema and the movie you really want to see has either already started, or sold out. Welcome to the world of the B-movie, the A-movie’s little brother (or second cousin if you want to be a little more dismissive). And on this occasion, welcome to the French Riviera, and a movie called Overdrive, a semi-glamorous action thriller with moments of humour that are often unintentional.

It’s a movie that borrows liberally and without embarrassment from a variety of other action movies, but in the main, viewers will spot references to the Transporter movies (which share this movie’s location), and The Fast and the Furious franchise. Is it as good as those other movies that it appropriates its DNA from? Well, that depends on the entry. Suffice it to say, it never looks in danger of overtaking even the worst of those movies (they know who they are), or giving audiences enough invention or “wow” moments to make it stand out from the crowd. A French/US co-production, the movie coasts along on a small wave of goodwill, and tells its simple tale in as convoluted a fashion as possible. One of the few things that is actually impressive about the movie? That it contains so many red herrings, false trails, and confusing twists and turns, and doesn’t trip itself up all of the time trying to keep them all up in the air.

It involves two half-brothers, Andrew and Garrett Foster (Eastwood, Thorp), who have travelled to the South of France in an effort to steal expensive, one of a kind cars and sell them on to big money collectors. They steal one such car, a 1937 Bugatti, only to learn that it’s owned by criminal bigwig Jacomo Morier (Abkarian). Facing certain death, the brothers manage to persuade Morier to make it up to him by their stealing another car, a 1962 Ferrari 250 GTO, from a “business” rival of Morier’s called Otto Klemp (Schick). Morier gives them a week to get him the car, a timescale that requires them to hire a crew of like-minded car thieves. Andrew’s girlfriend, Stephanie (de Armas), invites herself along for the ride, and just to ensure that Garrett isn’t left out, enlists the aid of her friend, Devin (Weiss), as well.

And so begins a less than complex game of bluff and double bluff that involves the step-brothers, their girlfriends, a group of anonymous drivers, two rival criminals and their gun-toting henchmen, a dozen or so classic cars, two Interpol agents on the Fosters’ trail, and Morier’s cousin, Laurent (Belaga), who may or may not be playing both sides (though it doesn’t really matter). It’s a standard heist movie, playing with misdirection as a recurring plot point, and making sure that everyone except Laurent looks well groomed and well dressed. In many ways, the look of the movie is its most important element, with Laurent Barès’ bright, sunshine-infused cinematography keeping things shiny and attractive, whether it’s the sheen glinting off the classic cars on display – they really are objects of mechanical beauty – or the sun-kissed hills and environs surrounding Marseille (where the movie takes place). Add a handful of car chases that zip and swing and gambol amid said surroundings and you have a pretty, if vacuous, movie that doesn’t have any huge ambitions, and just wants to be entertaining.

And despite all the silly plot twists and exaggerated storyline and depth-free characters and inane dialogue and desperate humour and join-the-dots direction, Overdrive is an enjoyable way to spend ninety-some minutes, partly because it really doesn’t try hard at all, and partly because it’s actually quite charming in a way that’s both undemanding and innocuous. This is the perfect movie to watch on a Saturday night with beer and pizza (if you’re a man), or Prosecco and pizza (if you’re a woman). It doesn’t require the viewer to think too much, it wears its heart on its sleeve in terms of the slightly underwhelming car chases (which are too concerned with ensuring no damage comes to the cars, especially the classic ones), and the soppy romantic interludes it foists on the characters and the audience at regular intervals. You could view it as a guilty pleasure, except that it’s not quite that bad. It’s not great, but it’s not entirely bad either.

As the step-brothers out of different mothers, Eastwood is the serious one looking to make a commitment to Stephanie and stop being a car thief, while Thorp is the happy-go-lucky thrill seeker who doesn’t need a plan (mostly). The pair have an easy-going chemistry that works well, which is more than can be said for their characters’ romantic entanglements. Eastwood and de Armas look like a couple who are still trying to work out if they like each other, while Thorp and Weiss behave like a couple who, weirdly, have never met. Abkarian and Schick are acceptable as rival villains, while Belaga is appropriately slimy as Laurent. Colombian-born Negret oversees things with the flair of someone who was included in a list of Latino Directors to Watch in 2007, and who has worked solidly in television ever since, while writers Michael Brandt and Derek Haas, who penned 2 Fast 2 Furious (2003), rehash old glories and invite viewers to play Spot the Homage nearly every eight-ten minutes. With the viewer distracted in such a way, it gives the movie a chance to make more of an impression than it has any right to.

Rating: 5/10 – already it seems we’re getting throwbacks to movies made in the late Nineties/early Noughties, and Overdrive is a prime example of a genre crying out for new ideas and then settling for the same old same old; breezy and forgettable, the movie roars through a series of minor skirmishes before settling into a predictable rhythm that culminates in a scene of vehicular slaughter that deserves a medal.

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Exposed (2016)

02 Saturday Apr 2016

Posted by dullwood68 in Movies

≈ 5 Comments

Tags

Ana de Armas, Angels, Christopher McDonald, Crime, Daughter of God, Declan Dale, Drama, Gee Malik Linton, Keanu Reeves, Lionsgate, Melody London, Mira Sorvino, Murder, Pregnancy, Review, Thriller

Exposed

aka Daughter of God; Wisdom

D: Declan Dale / 102m

Cast: Ana de Armas, Keanu Reeves, Christopher McDonald, Mira Sorvino, Big Daddy Kane, Venus Ariel, Gabriel Vargas, Melissa Linton, Michael Rispoli

Hands up anyone who’s heard of Declan Dale. Maybe you’ve seen his last movie. Well, actually, you couldn’t have because Declan Dale doesn’t exist, he’s the pseudonym of writer/director Gee Malik Linton, Exposed‘s director when it was called Daughter of God, and when it didn’t try to be two movies at the same time. Thanks to the intervention of distributor Lionsgate – who thought they were getting a gritty police drama starring Keanu Reeves – Linton’s stark, character-driven bi-lingual drama focusing on child abuse and violence towards women was emasculated, and the movie became a sluggish crime thriller instead (just watch the trailer below to see how determined Lionsgate were to make Exposed seem like an exciting, must-see thriller).

The result is astonishingly bad. In its current form, Exposed has the potential of being one of the year’s worst movies, a terrible disaster brought about, not by one of the production companies involved, but by a distributor who thought it knew better. In downplaying Isabel’s story in favour of Galban’s glum search for his partner’s killer, the less than competent folks at Lionsgate have made a potentially absorbing, surrealist drama into a muddled snoozefest that clumps along like an amputee getting used to a badly fitting prosthesis. Again, the result is astonishingly bad – really, seriously, completely, astonishingly, bad.

It’s hard to believe, but the movie’s editor, Melody London, has a great track record. She’s worked with Jim Jarmusch on movies such as Down by Law (1986) and Mystery Train (1989), and contributed greatly to the success of documentaries such as Going Upriver: The Long War of John Kerry (2004) and Apache 8 (2011). With that in mind, it’s hard to understand just how wretchedly Exposed has been stitched together, and just how deluded the “good” folks at Lionsgate were when they came to giving London their feedback on how to “improve” the movie’s chances at the box office. Because ultimately that was Lionsgate’s fear: that Linton’s original version, Daughter of God, would fail to make a dent at the box office. They were actively saying to Linton, this movie will sink without trace unless we intervene.

Exposed - scene1

Well, hubris is a wonderful thing – except when it’s unfounded. Exposed has been released in eight countries at time of writing, and while exact figures aren’t available, the movie appears to have made only $205,703 worldwide (it made just $122 in the UK, while US returns haven’t even been revealed). If anyone at Lionsgate is still trying to say they did the right thing, then any production companies planning to let them distribute their latest feature, should turn around and run as far away as possible in the opposite direction.

So just how bad is Exposed? It’s astonishingly bad (but we’ve established that). Why is it so bad? Here are just three examples (there could have been more but this review has to end at some point): Detective Galban (Reeves) is allowed to investigate the death of his partner, Cullen, even though he’s still grieving over the loss of his wife; when it becomes clear that his partner was corrupt, Galban is warned off the investigation by his boss, Lieutenant Galway (McDonald), in order to avoid Cullen’s wife, Janine (Sorvino), losing out on his pension rights; and when Janine is informed that her husband’s death isn’t going to be investigated, she’s incensed – until the next scene where she attempts to seduce Galban while also admitting that Cullen was as crooked as everyone said.

What investigation there is – Janine insists her husband’s murderer is caught – depends on photos found on a camera at the murder scene. In them, there are several Latinos, including Manuel de La Cruz (Vargas) and his sister-in-law, Isabel (de Armas). Manuel seems to be focus of Cullen’s surveillance, and when the other people in the pictures start turning up dead, the main suspect in their deaths, and Cullen’s, is local crime boss Jonathan “Black” Jones (Kane). He denies any involvement but Galban is convinced he’s guilty. All Galban really knows for sure is that the girl in the photos is probably the key to everything. But Galban is such a terrible detective that he can’t even track her down, even though it should be easy.

Exposed - scene3

Meanwhile, Isabel has problems of her own. On the night that Cullen was killed (and on the same subway platform) she has a vision: an albino man who walks on air above the tracks. With her husband away in Iraq, and living with her devout in-laws, Isabel’s faith is challenged when she begins seeing another strange being. She comes to believe that God has a plan for her, and that these beings she’s seeing are angels. But when her husband is killed and she later discovers that she’s pregnant, her in-laws disown her, despite her saying it’s a miracle (her husband was in Iraq for over a year). Ostracised, she turns her attention to a little girl, Elisa (Ariel), who appears to be suffering abuse at the hands of her father. This leads to a tragedy that reveals the reason for her pregnancy, and explains much of what happened the night that Cullen died.

In essence, there are two very different stories here, and they clash with each other at every turn. Galban’s investigation goes nowhere, partly because he’s apparently useless at his job (at one point he whinges that “nobody’s talking”), and partly because the revised storyline doesn’t know what to do with him. Reeves is a producer on the movie; one would have thought he would have more input into how the character is presented, but it’s soon obvious he either didn’t have as much clout as you’d expect, or he realised early on that, once Lionsgate got their hands on the movie, it was all over bar the crying. Either way, Reeves gives one of the most lethargic, barely involved performances of his career. For everyone who thought he’d turned his career slump around with John Wick (2014), think again. This and Knock Knock (2015) are clear indicators that John Wick was an unexpected blip on the radar.

Exposed - scene2

de Armas has the better, more developed role, and she’s very effective in an emotionally confused, gamine kind of way, but as Isabel’s story takes her to some very dark places indeed, the actress’s performance is undervalued by the arbitrary twists and turns of Lionsgate’s re-edit. There are moments when the power of Linton’s original cut is able to shine through, notably in the sequences with the angels, and later as we realise just how fragile Isabel’s grip on reality really is. But there are long stretches where her story sits there like a stalled car, and as with Galban’s story, this version of her story doesn’t always know how to move forward without looking and feeling clumsy (and which it never comes close to overcoming).

At least there is some closure to Isabel’s story, even if it is rushed and overly melodramatic. Other characters come and go without the viewer even realising, and there’s a confrontation between Manuel and “Black” Jones that comes out of nowhere and then returns there as soon as it’s done. But by the time this encounter pops up the average viewer will be checking their watch and wondering just how longer this farrago has got to go. There are just so many wretchedly glum and dispiriting scenes that have come before, suspended moments that lack resonance or emotion, for anyone to really care how it all turns out. And when it finally does, the only reaction left to the viewer who’s got that far is relief.

Rating: 3/10 – a spectacular misfire of a movie, Exposed is so bad that William Goldman’s classic quote, “In Hollywood, nobody knows anything”, should have the qualifier, “especially Lionsgate” added to it; let’s hope that Linton’s original cut eventually sees the light of day, and this dull, leaden, dreary mess can be consigned to the cinematic landfill where it belongs.

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Mini-Review: Knock Knock (2015)

10 Saturday Oct 2015

Posted by dullwood68 in Movies

≈ 5 Comments

Tags

Adultery, Ana de Armas, Bel, Drama, Eli Roth, Genesis, Home invasion, Keanu Reeves, Lorenza Izzo, Paedophile, Remake, Review, Threesome, Thriller

Knock Knock

D: Eli Roth / 100m

Cast: Keanu Reeves, Lorenza Izzo, Ana de Armas, Aaron Burns, Ignacia Allamand, Colleen Camp

Architect and committed family man Evan Webber (Reeves) is forced to stay home for the weekend due to work commitments, while his artist wife, Karen (Allamand), and their two children go to the beach. On the first night he’s hard at work when he hears a knock at the front door. Not expecting anyone, he’s surprised to find two young women – Bel (de Armas) and Genesis (Izzo) – trying to find the location of a party they’re going to, and who are soaked through thanks to the rain. He lets them in to wait for another taxi, and gives them robes to wear while their clothes are put in the drier. He’s hospitable and friendly, but as the two women begin to flirt with him, Evan becomes uncomfortable. When the taxi finally arrives and he tries to give the girls back their clothes, he finds them in the bathroom, naked, and wanting very much to have sex with him.

Evan succumbs to their advances and they end up having a threesome. The next morning, he wakes to find Genesis and Bel have no intention of leaving. When they vandalise one of his wife’s sculptures, he threatens to call the police, but they call his bluff by saying they’d have an interesting story to tell the police, what with their being underage. Evan is shocked, and backs down, and the young women continue to disregard his pleas not to interfere or damage anything. Eventually he gets so mad he starts to call the police to report a break-in, and the women agree to leave. He drops them off where they’re supposed to live, and back home, cleans up all the mess they’ve created. Later that night, Evan is working again when he hears a noise. He goes to investigate and is knocked unconscious by Genesis. When he comes to he finds himself tied to the bed, and that both Genesis and Bel are determined to make him suffer for his actions of the night before.

Knock Knock - scene

“Knock knock.

Who’s there?

A pretty awful movie by Eli Roth.

Sorry, we’re out.”

A remake of Death Game (1977), which starred one of this movie’s producers, Sondra Locke, and cast member Colleen Camp, Knock Knock has all the tension and edge-of-your-seat suspense of an episode of The Simpsons. It’s stupid, ridiculous, annoying, derivative, farcical, erratic, ludicrous, woeful, preposterous, idiotic, and just plain dumb. It’s a psychological thriller that forgets all about the “logical” and plumps for the “psycho” side of things with a passion that will leave most viewers shaking their heads in disbelief. This is a home invasion movie where you can’t feel sympathy for Reeves’ character, or the barmy antics of Genesis and Bel, or even the unlucky Louis (Burns), Karen’s assistant, who proves that an asthmatic can still play piggy-in-the-middle long after they should have collapsed fighting for their breath.

The script, co-written by Roth, Nicolás López and Guillermo Amoedo, is a lumpen mess that judders from one unconvincing scene to another, and resolutely avoids giving Evan the chance to gain the upper hand, keeping him the shouting, sweating victim throughout, while making Bel and Genesis the equivalent of avenging angels (though why they do what they do is obscured by their commitment to behaving like five year olds on a sugar high). Reeves is also lumbered with some of the most awful dialogue written in recent years, and it shows up his deficiencies as an actor (it doesn’t help that for most of the movie’s second half, and one rant aside, his general reaction to what’s happening to him is to repeat the F-word). And Roth, whose caché as a director is becoming increasingly devalued, directs each scene as if it’s completely independent of the ones before and after it, and shows no interest in making it exciting or dramatic for the viewer.

Rating: 3/10 – a wince-inducing thriller that remains a huge waste of time, and confirms Evan’s question part way through of “What’s the point?” with every subsequent scene; more knock-off than remake, Knock Knock plays around with a decent clutch of ideas but ultimately hasn’t got a clue what to do with any of them.

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Rubbish Talk

Film 4 Fan

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for those who like their movie reviews short and sweet

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The official blog of everything in film

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All my aimless thoughts, ideas, and ramblings, all packed into one site!

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Australian movie blog - like Margaret and David, just a little younger

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