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thedullwoodexperiment

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Tag Archives: San Francisco

San Andreas (2015)

04 Thursday Jun 2015

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Action, Alexandra Daddario, Brad Peyton, Carla Gugino, Disaster movie, Drama, Dwayne Johnson, Earthquakes, Hoover Dam, Ioan Gruffudd, Paul Giamatti, Review, San Andreas Fault, San Francisco, Tsunami

San Andreas

D: Brad Peyton / 114m

Cast: Dwayne Johnson, Carla Gugino, Alexandra Daddario, Paul Giamatti, Ioan Gruffudd, Archie Panjabi, Hugo Johnstone-Burt, Art Parkinson, Will Yun Lee, Kylie Minogue

Ray Gaines (Johnson) is a helicopter rescue pilot with the Los Angeles Fire Department, separated from his wife Emma (Gugino), but on very good terms with his daughter, Blake (Daddario). He plans to take a few days off to spend some time with her in San Francisco, but he has to shelve those plans when an earthquake destroys the Hoover Dam, and he’s called back to work. In apologising to Blake, he learns that Emma is planning to live with her new boyfriend, property developer Daniel Riddick (Gruffudd). Daniel suggests taking Blake to San Francisco himself and they leave soon after.

While Ray takes part in various rescue missions, seismologist Lawrence Hayes (Giamatti) – who was at the dam when it broke – is becoming increasingly worried that that earthquake was just a precursor to a series of much bigger, much more devastating ones. When one such earthquake strikes Los Angeles, Emma finds herself in a high rise building having lunch with Daniel’s sister, Susan (Minogue). As the quake hits she’s talking to Ray on the phone; he tells her to get to the roof and he’ll come and rescue her. Further quakes strike towns and cities up and down the California coast, including San Francisco. With Emma safe on board his helicopter, Ray receives a call from Blake: she’s trapped in a car in the basement of Daniel’s office building and it’s about to collapse.

Ray and Emma decide they have to try and rescue Blake, but the helicopter they’re in develops a fault and they crash land in Bakersfield. Managing to commandeer a plane, they continue on to San Francisco. Meanwhile, Blake has been rescued by a British engineer she met earlier at Daniel’s offices. Ben (Johnstone-Burt) and his younger brother Ollie (Parkinson) stay with Blake as she works out a way to let Ray know she’s okay. When she does he tells her to meet him in a particular place that has a special meaning to both of them. But it’s not possible for her to get there, so she heads for Daniel’s latest high rise development instead. Ray and Emma parachute out of the plane and land in San Francisco; when they realise Blake can’t get to the rendezvous site, they also discover that a tsunami is coming that will swamp the city. And when it does, Blake, Ben and Ollie find themselves trapped in Daniel’s building with the waters steadily rising, and Ray and Emma having no idea of where they are…

San Andreas - scene

A disaster movie – the moviegoer’s guilty pleasure – should always favour spectacular destruction over coherent plot, story or characterisation. It should feature enough devastation to leave the viewer slack-jawed in admiration at what the special effects wizards can achieve. It should cater to that part of us that slows down to look when we pass a road accident. And above all, it should show us something that we might all experience some day, regardless of how safe we might feel in our own little corner of the world.

San Andreas should give us all that and more. But instead it’s a curiously bloodless affair, full of moments where the cast look awestruck at some fresh new aspect of the disaster around them, and where Hayes’ doom-laden dialogue hypes the destruction to near-apocalyptic levels. There are some impressive shots it’s true, but some – such as the awkward destruction of the Golden Gate Bridge – seem too absurd to appear feasible, or are rendered in such a way that the wow factor plays second fiddle to any plausibility. This might not be too much of a concern though if what we’re witnessing is something new, but the devastation wrought in the movie, while impressively mounted, has been done elsewhere already, and San Andreas, while promising the mother of all earthquakes from very early on – one that will be felt “on the East Coast” – actually falls short of doing so.

Instead, what we have is a tale of a family’s determination to survive against all the odds, and in Ray’s case, without regard for the job he does. Once the earthquake hits Los Angeles and all points Californian, Ray becomes a solo pilot, where before he’s been part of a four-man team. He rescues Emma and then jettisons any notion of helping others with a quick “we have to find our daughter” (not that anyone’s trying to contact him with any instructions or requests for help). He’s reckless as well, putting himself and Emma in harm’s way time after time: let’s crash the helicopter in a clothing store, let’s parachute out of a plane, let’s head into the swell of an oncoming tsunami – the more dangerous the action, the more determined he seems to tackle it. In a different kind of movie, Ray would be an adrenaline junkie with a death wish; here, he’s a big-hearted father who’s doing the best he can (gosh darn it!).

It’s a good thing then that Johnson is more than capable of helping the viewer ignore or forget these contradictions, putting in an emotive performance that sees him remind everyone why he’s the go-to guy for this kind of big-budget nonsense. Whether he’s ripping car doors off their hinges, or holding his breath underwater for minutes at a time, Johnson’s amiable muscularity fits the needs of the script admirably, even when Ray is called upon to relive a past tragedy. As a chip off the old block, Daddario provides an earnest counterpoint to Johnson’s grim-faced determination, while Giamatti bleeds sincerity as the tormented seismologist who saw it all coming. Spare a thought however, for Gugino – along for the ride and little else – and Gruffudd – asked to become a prick in the space of a nano-second. Both actors are ill-served by Carlton Cuse’s ill-focused screenplay, as is Johnstone-Burt, who’s called upon to play the kind of stereotypical good-natured bumbling Brit who sounds like minor royalty.

Behind the camera, Peyton orchestrates all the mayhem with a good eye for packing the frame with as much incident as possible, and there’s an effective score from Andrew Lockington that supports the action without overwhelming it. Fans of the disaster genre will particularly approve of the many building falling into/against/onto other building shots, and the refreshingly practical effects work used to show that a movie of this sort doesn’t have to be all digital. Others, though, may look at all the devastation and wonder, why does a lot of it have problems with scale?

Rating: 6/10 – while it’s enjoyable in a big dumb leave-your-brain-at-the-door kind of way, San Andreas has a script that features enough fault lines to warrant a warning sign all its own; a movie where the spectacle never quite inspires the awe or wonder it needs to, it fits neatly into the category of guilty pleasure but without really doing too much to earn its place there.

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Godzilla (2014)

20 Tuesday May 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Aaron Taylor-Johnson, Bryan Cranston, Elizabeth Olsen, Gareth Edwards, Gojira, Japan, Ken Watanabe, Monsters, Muto, Nuclear fuel, Review, San Francisco, Sci-fi, Tsunami

godzilla_485dca15

D: Gareth Edwards / 123m

Cast: Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Bryan Cranston, Sally Hawkins, David Strathairn, Victor Rasuk, Carson Bolde, Juliette Binoche

Opening with a montage of grainy black and white footage from the Fifties that reveals the real reason for all those atomic bomb detonations in the Pacific – Bikini Atoll et al – the movie fast forwards to 1999 and the discovery in The Philippines of a massive skeleton and two egg sacs, one of which bears the signs of a recent hatching. At the same time, the Janjira nuclear plant in Japan is experiencing a series of seismic anomalies that has plant supervisor Joe Brody (Cranston) worried that these anomalies may cause damage to the plant. While his wife Sandra (Binoche) investigates below ground, there is a reactor breach and the plant is destroyed.

Fifteen years on, the site of the Janjira plant is still a quarantine area.  Joe’s son Ford (Taylor-Johnson), now living in San Francisco with wife Elle (Olsen) and young son Sam (Bolde), receives a call telling him that Joe has been arrested for trespassing in the quarantined area. Ford travels to Japan to find out what his father is up to. They go back to the Janjira plant and are promptly arrested. They are taken to a secret facility within the plant where a chrysalis containing the creature that destroyed the plant is being studied by scientists Ishiro Serizawa (Watanabe) and Vivienne Graham (Hawkins). The chrysalis hatches, releasing a massive winged monster that devastates the facility before flying off. Ford, Serizawa and Graham join an American-led mission to track the monster, which is heading for Hawaii.

In Hawaii, the creature – known as a MUTO (Massive Unidentified Terrestrial Organism) – is discovered feeding on the reactor of a Russian submarine. The military attack the MUTO but it proves too much for them. Godzilla arrives to battle the MUTO but it flees. Serizawa sees the creature is headed toward the US and realises it’s trying to reach its mate, the inhabitant of the other egg sac from The Philippines, and which has been housed in a secure nuclear waste repository in Nevada. This MUTO, the female, hatches and begins heading towards the coast (but not before laying waste to Las Vegas). Serizawa is afraid the two MUTOs are making their way to each other with the intention of breeding… and if his calculations are correct, they’ll meet in San Francisco.

The military comes up with a plan to destroy the MUTOs using a more-powerful-than-usual nuclear weapon (basically two nuclear warheads strapped together). Ford goes along with the team assigned to getting it offshore far enough that it will destroy the creatures but cause minimal damage to the coastal region, but the female MUTO wrecks the train it’s being transported on and eats one of the warheads. The other is saved and flown to San Francisco. The two MUTOs meet there and capture the remaining warhead, which the female uses to build a nest for her offspring. Godzilla arrives to battle the MUTOs. While they’re distracted, Ford destroys the nest and regains the warhead, but it’s damaged and he can’t disarm it. He gets it to a boat and heads out to sea in the hope of getting far enough before it explodes. Meanwhile, Godzilla battles the MUTOs…

Godzilla (2014) - scene

One of the most eagerly awaited movies of 2014, Godzilla arrives trailing a ton of hype and pre-release fervour, but sad to say this is a major disappointment. The story is nonsensical and at almost every turn throws up a WTF? moment. There are inconsistencies galore, some of the worst dialogue so far this year, a sad waste of a more than capable cast, an incredible lack of tension or threat throughout, and the usual reliance on mass destruction to provide any thrills.  Here are just ten reasons why Godzilla doesn’t work:

1 – The characters are paper-thin and serve no purpose other than to mouth expository dialogue of the “This must mean…” variety.

2 – The cast are required to do little more than gawp and gasp at the destruction going on around them. Seriously, why employ actors such as Juliette Binoche (who had to be persuaded to take part), Sally Hawkins and David Strathairn if you’re going to give them so little to do?

3 – Inconsistency No. 1: Godzilla’s arrival in Hawaii causes a tsunami, but not when he arrives in San Francisco (perhaps the budget didn’t stretch to two such sequences).

4 – Ford has a son who isn’t put in jeopardy once; instead the writers have Ford save some random Asian-American kid when the train they’re on is attacked by one of the MUTOs (plus having Ford save his own son would have added some much needed emotional resonance to the drama).

5 – Elle is seen escaping from the destruction of San Francisco, but at no point is she in any peril; in fact she survives unscathed. What was the point of showing this (other than to give Elizabeth Olsen something more to do than make phone calls and look worried a lot)?

6 – Ford is introduced as an adult as an explosive ordnance disposal officer (and a lieutenant at that), but this skill is never utilised (it’s his relationship with his dad and his dad’s data that keeps him along for the ride).

7 – The MUTOs, even though they are supposed to be MASSIVE, seem able to appear and disappear at will.

8 – The MUTOs are attracted by nuclear radiation but the male MUTO, the one that hatches at Janjira, doesn’t stop to munch on the rest of Japan’s nuclear plants (there’s nearly fifty of them). Is MUTO love really that strong a call?

9 – How many times do the same buildings have to be destroyed in San Francisco before anyone is supposed to notice?

10 – Inconsistency No. 2: Why, if the MUTOs are supposed to have migrated towards the earth’s core for their radiation fix, is one found so close to the surface in The Philippines (and what has sustained the egg sacs)?

11 – And why was the Russian nuclear submarine found perched in the trees (on a mountainside) in Hawaii when it was earlier reported as missing at sea?

Yes, that was eleven reasons instead of ten but that just goes to show how lazy the screenwriters – all five of them! – were in assembling this narrative mess. It’s sad when a project that’s been in development for as long as this one has, falls at the first hurdle because the filmmakers couldn’t spot the problems inherent in the script (though with five writers having worked on it, maybe they did). And while this is a Godzilla movie, and what we’re looking for is some outstanding monster-on-monster action, does the rest of the movie have to be so bad? Well, the answer seems to be yes. And because the filmmakers have opted for a slow-build, let’s-keep-Godzilla-hidden approach, the effect of all this underwhelming drama is that the audience are soon praying for things to hurry up so they can get to the big showdown without lapsing into complete slack-jawed lethargy.

Once all three monsters reach San Francisco the movie does pick up, and the battle between them goes a long way toward redeeming things, though there’s still far too much cutting away to see what the human characters are up to (as if we care by now). There’s also a slightly corny moment where Ford and Godzilla share a look, but it’s the one misstep in a section where the filmmakers do get it right. And we get to witness Godzilla’s famous nuclear breath, something that will have fans cheering in their seats.

So, it’s not all bad, and the visuals (as expected) are often stunning to behold. The much-touted HALO drop is still eerily effective despite the long-term exposure given it in the trailers and the movie’s print ads, and the scenes of devastation are effectively rendered (as expected). The MUTOs have a realistic-looking solidity about them (even if they look like second cousins to the kaiju from Pacific Rim), and Godzilla himself is a leaner, meaner looking version of himself (though the problem of scale is still an issue – he’s taller in some scenes and shorter in others depending on the background). Monster-wrangling for the second time, director Gareth Edwards shows his obvious empathy for the material and despite its limitations, rescues large chunks of it from the mangler. He has a visual style and flair that is reminiscent of early Spielberg, and he has a firm grasp on how to stage the final showdown, paying special attention to the framing and using the most effective camera angles. There’s a kinetic energy to these scenes that is lacking in the rest of the movie, but it does add up to a more satisfying conclusion.

Rating: 4/10 – woeful for the most part, and just plain horrible to sit through at others, Godzilla lurches on to the big screen like the big, lumbering beast he was in the Fifties and Sixties (though minus the saggy underbelly); embarrassing to watch at times, and with no clear idea of what to do for the first ninety minutes, the movie is only slightly better than Roland Emmerich’s 1998 version, and is saved by the panache of its final showdown.

 

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Need for Speed (2014)

02 Wednesday Apr 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Aaron Paul, Car chases, Car crashes, Cross-country, Dominic Cooper, Imogen Poots, Michael Keaton, Prison, Racing cars, Review, San Francisco, Scott Waugh, Video game

Need for Speed

D: Scott Waugh / 132m

Cast: Aaron Paul, Dominic Cooper, Imogen Poots, Michael Keaton, Scott Mescudi, Rami Malek, Ramon Rodriguez, Harrison Gilbertson, Dakota Johnson, Nick Chinlund

At one point in DreamWorks’ Need for Speed, Julia (Poots) comes out of a gas station restroom and sees Officer Lejeune (Chinlund) in the next aisle.  Immediately she ducks down and tries to sneak her way out.  It’s possibly the stupidest moment in the whole movie – and there’s plenty of others – and makes you wonder if anyone actually read George Gatins’ half-baked, semi-developed script before they committed to filming it.  (The answer is clearly: no.)  Another question that springs to mind is: are the car chases going to be enough to help the movie make its money back?  (Ahh… we’ll get to that.)

Tobey Marshall (Paul) has inherited his father’s auto shop but there are mounting debts he can’t pay, so when old rival Dino Brewster (Cooper) offers him a chance to make $2.7 million on a private race involving Tobey, Dino and Tobey’s friend Little Pete (Gilbertson), he can’t turn it down. But Little Pete is killed in the race, forced to crash by Dino.  With Dino denying any involvement, and hiding the car he was driving, Tobey ends up  spending two years in prison.  Two years later, Tobey is released on parole, and promptly arranges for a car so that he can travel from New York to California and a) take part in a race arranged by mysterious philanthropist Monarch (Keaton), and b) have his revenge on Dino.  Dino is taking part in the race, but Tobey needs a way in as its by invitation only.  With car dealer Julia along for the ride as the car owner’s representative, Tobey gets the car and himself noticed enough times that Monarch gives him a spot in the race.  All he has to do is reach San Francisco within forty-eight hours, avoiding the police and anyone who takes up Dino’s offer of a bounty if Tobey is stopped from getting there.

Naturally, Tobey has help along the way from fellow mechanics and friends Benny (Mescudi), Finn (Malek), and Joe (Rodriguez).  Benny is also a pilot and keeps stealing planes and helicopters in order to provide Tobey with eyes in the sky along the route.  Finn and Joe help refuel the car while it’s in motion, and generally follow along the route Tobey takes in case of back up (which is eventually needed when Tobey reaches San Francisco).  Monarch provides a running commentary on Tobey’s progress, and acts as commentator when the race starts.  Julia provides the inevitable romantic interest, and Dino is the sneering villain we all want to see crash and burn like Little Pete does.  Which leaves Tobey, the mostly silent but determined underdog who should win the race but only if he watches out for dastardly Dino and his habit of running people off the road.

Need for Speed - scene

If it seems a little predicable so far, then that’s because it is.  Need for Speed is a movie without an original thought under its bonnet, a handful of barely convincing performances, and lines of dialogue that prove impossible to give credibility to.  It’s movie-making by cliché, a string of ill-thought out scenes and low-key characters whose combined motivations couldn’t power a light bulb.  Once again, it’s the fault of the script, a horrible concoction that almost screams, “Rush job!”  This is Gatins’ first produced screenplay, and it’s ironic that he was an associate producer on a movie called You Stupid Man (2002); he gets hardly anything right.  This leaves the cast to deal with mountains of trite and terrible dialogue, third-rate plot contrivances, scenes so laughable they should be included in a training scheme for aspiring writers – at random: Benny in a military jail asking for an iPad and being allowed to follow the race on it… and all the while the guard holds it up for him to watch – and some of the most perfunctory dialogue this side of a script by George Lucas (have I mentioned the dialogue enough yet?).

With director Scott Waugh unable to breathe any life into the movie when there’s no chase going on, Need for Speed has to depend on its action scenes to gain any brownie points or gold stars.  Much has been made already of the fact that CGI hasn’t been used in the car chase sequences, and that all the smash-ups were done for real.  And so they should be.  But while Paul and Cooper may have spent time learning how to race so they could seen behind the wheel as much as possible, what the filmmakers have failed to realise is that, racing, in and of itself, is only really interesting or attention-grabbing when something goes wrong.  So yes, the car chases are exciting, but only if you find the idea of a car going really fast in competition with another car, and (inevitably) on a deserted stretch of road, to be truly exciting.  On this evidence, it’s almost exciting, but what’s missing is a real sense of danger.  When Tobey is in Detroit and he’s being chased by the police, there’s never the slightest doubt that he’ll get away (and yes, I know that’s obvious, he’s the hero, after all) so the movie drops down a gear or two and makes his escape both a high point and, from a technical viewpoint, a bit of a let-down.

This is the highly regarded “two-lane grasshopper” manoeuvre, where Tobey accelerates up an embankment and powers his car over two lanes of traffic to land safely in a third and drive away without being followed any further – at all.  It sounds like a great stunt, and on paper it is, but in the movie it’s a short sequence made up of five or six different shots (one of which is a long shot of the car in mid-flight), that doesn’t let the viewer see it happen in one fluid take (unlike, say, the bridge jump in The Man With the Golden Gun (1974).  It’s like the scene in Speed (1995) where the bus has to jump the gap in the freeway; it was done for real, but the way it’s cut together leaves you thinking it wasn’t.  Sadly, it’s the same here.

There are some positives, though.  Keaton – on a bit of a roll at the moment – reminds us just how exciting a performer he can be, and lifts the movie out of the doldrums whenever he’s on screen.  The crashes, when they happen, are spectacular and thrilling, and a testament to the creative abilities of the stunt team; they all look suitably life-threatening.  Paul and Poots, reunited after appearing together in A Long Way Down (2014), have a chemistry that helps their scenes immeasurably, and the location photography ensures the movie is nothing less than beautiful to look at in places.

Rating: 4/10 – fans will disagree but Need for Speed doesn’t have that kinetic charge that would have elevated it above other chase movies; the script’s deficiencies hurt it tremendously, too, and no matter how fast Messrs Paul and Cooper may try, that’s one (very major) problem they can’t outrun.

 

 

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