Quick Netflix review: HUGO (2011)

Starring: Asa Butterfield (THE SPACE BETWEEN US [2017], MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN [2016], and THE BOY IN THE STRIPPED PAJAMAS [2008]), Chloë Grace Moretz (NEIGHBORS 2 [2016], CLOUDS OF SILS MARIA [2014], and KICK-ASS [2010]), and Ben Kingsley (COLLIDE [2017], THE JUNGLE BOOK [2016], and SPECIES [1995]).

In support: Sacha Baron Cohen (ALICE THROUGH THE LOOKING GLASS [2016], LES MISÉRABLES [2012], and BORAT [2006]), Helen McCrory (THEIR FINEST [2017], 007 SKYFALL [2012], and HARRY POTTER AND THE HALF-BLOOD PRINCE [2009]), Emily Mortimer (THE SENSE OF AN ENDING [2017], SHUTTER ISLAND [2010], SCREAM 3 [2000], and the upcoming Disney revival, MARY POPPINS RETURNS [2018]), Christopher Lee (THE HOBBIT: THE BATTLE OF THE FIVE ARMIES [2014], STAR WARS EPISODE III: REVENGE OF THE SITH [2005], and GREMLINS 2: THE NEW BATCH [1990]), and Jude Law (KING ARTHUR: LEGEND OF THE SWORD [2017], SKY CAPTAIN AND THE WORLD OF TOMORROW [2004], GATTACA [1997], and upcoming films FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD [2018] and SHERLOCK HOLMES 3, no release date announced).

Director: Martin Scorsese (SILENCE [2016], THE DEPARTED [2006], GOODFELLAS [1990], and the upcoming THE IRISHMAN [2018]). Screenwriter: John Logan (ALIEN: COVENANT [2017], THE LAST SAMURAI [2003], and GLADIATOR [2000]). Composer: Howard Shore (DENIAL [2016], THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING [2001], and SE7EN [1995]). Cinematographer: Robert Richardson (LIVE BY NIGHT [2016], A FEW GOOD MEN [1992], and PLATOON [1986])


Set in the 1930s, Hugo Cabret (Asa Butterfield) is an orphan in Paris after his father (Jude Law) tragically perished in a fire. He lives in a local train station’s clockworks, repairs and modifying it to keep himself busy. But his real goal is repairing the broken automaton that his father had found, but never finished, so Hugo runs around the station looking for the necessary gears to fix the machine, all while avoiding the station’s stalwart limp-legged inspector (Sacha Baron Cohen). However, after he attempts to steal a piece from the station’s toy store and it’s owner Georges (Ben Kingsley), and Georges steals Hugo’s notebook of necessary tools and parts to repair the automaton. Following the older man home, Hugo eventually meets Georges’ goddaughter Isabelle (Chloë Grace Moretz), and the two strike up a friendship as she helps Hugo repair his machine and the two discover a love for films and fate of one of the most celebrated film-makers of a bygone era.


Jumped from one Paris-set film to another. Shocking how it took me this long to see this movie. I guess I was in denial that a borderline kids flick was a product of a director who has made some of the most violent films in cinema. The idea that he was even capable of doing whimsy and innocence, you’d think this was a Spielberg film than Scorsese. But no, it’s a Scorsese film and… honestly, it’s brilliant. Despite the story being about a pair of kids, the movie doesn’t talk down to it’s younger audience. Both characters, Hugo and Isabella, barely resemble kids, but more like young adults and both Butterfield and Moretz carry the film beautifully, making this movie their best roles that I’ve seen them in, and that’s saying something because it’s hard to top Hit-Girl. But everyone’s fantastic: Kingsley, McCrory, and yes, even one of my least favorite actors of all time, Cohen, was really good. Eh, he got a little too goofy in some parts, like when he’s talking to his romantic interest Lisette (Emily Mortimer). But you know what? A little goofy is infinitely more preferable than disgustingly unbearable, like I usually associate him as. If you’re a lover of film like I am, then this movie will leave you sitting, staring wide-eyed like a kid when you see the magic of watching A TRIP TO THE MOON (1902) and how those old-time silent films were made. It’s, for a lack of a better word, magical and I say if you haven’t seen this movie, then you’re doing yourself a huge disservice.

My honest rating for HUGO: 5/5




I love me a good sci-fi flick, but this one seems a little too “young-adult” for my tastes, if that makes any sense. So… a woman gives birth to her son in space as they’re on their way to colonize Mars. He turns into a teenager and is unable to go to Earth due to how he was raised there, but he still manages to keep himself connected to a teen girl on Earth, dreams of seeing her, and somehow hitches a ride to the big blue ball and so begins a road trip of discovering the world and what he’s been missing out on while the space program big-wigs try to recover him before he dies, since his heart can’t handle Earth’s gravity. Already I have problems with this. First of all, don’t we have tight rules about pregnant women going on airplanes? Wouldn’t stricter rules apply to a space voyage?! Second, based on the trailer, it sounds like the girl doesn’t know that the boy is from Mars. Why not? Was this “colonization of Mars” some kind of secret mission that’s lasted for fifteen-ish years? Actually, calling it, the pregnancy was hidden away from the media due to possible backlash, or the mom begged her higher-ups to just go with her pregnancy despite the irresponsibility. Yeah, I’m betting this won’t be a very good movie, but for what it might be, it could be cute and charming enough. We’ll see.

Let’s take a look at the most redeeming quality about the flick, the cast. Starring is Asa Butterfield. You’ve seen him in such films as MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN (2016), ENDER’S GAME (2013), and HUGO (2011). Honestly, I think this young man is a fine actor, but has been given a pretty checkered career in showcasing his talent. MISS PEREGRINE wasn’t a very good movie, particularly for him, but I hold firm that ENDER’S GAME is underrated. I’m thinking he’ll be fine for the most part here. Next, we have Britt Robertson, whom you’ve seen in A DOG’S PURPOSE (2017), MR. CHURCH (2016), and TOMORROWLAND (2015). Again, I think this girl is fantastic and was one of the best elements of TOMORROWLAND, despite the movie not being great. While I haven’t seen everything she’s done, she’s quickly becoming one of my favorite young talents and I can’t wait to see her bring her charm to this role. I might even expect her to steal the show. Next, we have Carla Gugino, whom you’ve seen in SAN ANDREAS (2015), SUCKER PUNCH (2011), and WATCHMEN (2009). Despite her being in some movies that have had mixed reactions from both critics and audiences, I like to say that Gugino is always a welcomed actress in anything. I think she’s a good actress, even when the movie itself isn’t good. I feel like I’ve said that about everyone so far. Patterns; life’s little brain-splinters to remind us to notice repetition. Finally, Gary Oldman. Um… need I say more? Gary freakin’ Oldman. CRIMINAL (2016), DAWN OF THE PLANET OF THE APES (2014), the Dark Knight franchise, the list goes on. He’s one of the greatest actors of our time. He can chew the scenery or play subtle with the best of them. If you need a reason to enjoy anything in a movie, it’ll always be Oldman.

Now for behind the scenes. Directing is Peter Chelsom, known for HECTOR AND THE SEARCH FOR HAPPINESS (2014), SHALL WE DANCE (2004), and SERENDIPITY (2001 – one of my favorite rom-coms, by the way). Penning the screenplay is Alan Loeb, known for COLLATERAL BEAUTY (2016), SO UNDERCOVER (2012), and 21 (2008). Composing the music is Andrew Lockington, known for INCARNATE (2016), SAN ANDREAS, and ARGO (2012). Finally, the cinematographer is Barry Peterson, known for CENTRAL INTELLIGENCE (2016), SISTERS (2015), and ZOOLANDER (2001).

Overall, I think it’s not going to be a very good film, but for what it looks like it’s meant to be, a romance between teenagers, it looks harmless and cutsie enough. At the very least, I’m expecting some good acting.

This is my honest opinion of: THE SPACE BETWEEN US


Sixteen years ago, Nathaniel Shepherd (Gary Oldman) dreamed of colonizing Mars. Sending a team of the first astronauts to Mars, led by Sarah Elliot (Janet Montgomery), it’s not long before some complications crop up, namely Sarah discovering her pregnancy. By the time she reaches Mars, she’s ready to give birth and delivers a healthy boy named Gardner, but Sarah passes away. Back on Earth, Nathaniel demands that the birth be kept top secret and covered up, and disappears from NASA. Sixteen years later, Gardner (Asa Butterfield) is full of angst and desperately wants to see Earth for himself. Mostly because via the internet, he befriended an Earth girl named Tulsa (Britt Robertson), whom doesn’t know he was born on Mars, but rather in New York with some kind of disease. But after some hard convincing from Kendra Wyndham (Carla Gugino) to a resurfaced Nathaniel and Gardner goes through a surgery and training to help adapt to Earth’s gravity. While also looking to meet with Tulsa, he also wants to look for his father and tell him the truth of his mother’s passing and his birth.


While I don’t necessarily dislike the movie, I can’t deny that it’s not good.

You can guess some major plot devices from the trailer itself. That’s not a good sign if a lower-than-amateur writer, such as myself, can guess a movie’s motivation from its trailer that doesn’t even feature said motivation. But never mind that.

I felt like every act had it’s own set of special problems that could have easily been fixed… through editing. As in… not have that three second shot in there, kind of easy fix. Take the first act. There’s a scene that depicts Tulsa sitting at a piano. After hitting a few nice keys – I kid you not – a group of three or four male students spy on her from the classroom window and whistle at her. But if that was only barely manageable in how forced that was, it gets worse. She leaves, embarrassed, hops on a bike and casually rides away as those same male bullies chase after her in the same fashion as if they were chasing someone they were going to beat up. First of all, this tease of a subplot goes absolutely nowhere. It’s never even really addressed, even in that moment. So… the hell?

But it’s not just that. There’s a whole lot that this movie does that never measures up to anything, or isn’t properly explained. Like, why does Tulsa know how to fly a plane? When did she learn to figure that out? Also, maybe I’d need to talk to NASA about this, but a lot of the reasoning for why Gardner’s life had to be kept secret was because the general public would freak out and be mad at them. But… unless I missed some compelling dialog, why would the public care? I mean, okay, the astronauts acted irresponsibly and giving birth to a baby on ANOTHER PLANET might get a few red flags going, but… call me crazy, I think NASA would have had the female astronauts tested to prevent this kind of crap from happening. You know, LIKE I SAID ABOVE!!! I mean, I guess the premise is dead on arrival because there are real world safety measures, or you would need to go in with that level of suspension of disbelief, but… man, I guess if the movie wasn’t taking itself so seriously, I wouldn’t be taking it so seriously.

There’s also a bunch of twists and turns that you can see coming from a hundred miles away, and the ones that you don’t see coming are kind of contrived and the story ultimately doesn’t make those twists mean anything. Hell, even scenes that talk about important information sometimes leads to nowhere. There’s needlessly cruel and out-of-character moments, a whole lot of awkward writing and directing that made even Oldman a bad actor, logic occasionally takes a vacation both in terms of story and character elements, clichés here and there, it is a surprisingly messy film. And though I have no real problems with Butterfield, I think he can be a good actor when given the right material and director, but these last couple films he’s been in have not been kind to him. He’s never awful, but he’s always written to be either bland or awkward. Here isn’t different. He tries to make it work, and I can’t always deny the charm he tries to put into it, but it doesn’t always work in his favor, which is sad.

But is it all bad? Um… no, actually.

Once more, I think Robertson brings her A-game. In every movie I’ve seen her in, she always has this endearing charm and energy about her that makes her so likable, even when the lines she’s reading aren’t that good. Plus… she can sing? Hmm… well, I guess we know the movie she should be shooting for in the future. Also, I really like Gugino. Again, ever since WATCHMEN, I think this woman can act. Granted, she always seems to play the motherly type, but hey, if people can love Jason Statham’s one note career, I can love her’s. At least Gugino’s characters have something that set each other apart. And once again, I can kind of relate to this story: boy loves a girl that’s crazy far away and does everything in his power to make sure he can see her. Kind of a sucker for that.

As a whole, it’s still not a very good movie. It’s sure not the worst, this movie had some seriously dumb moments. Plus, some serious brownie points lost for making Oldman a bad actor. You know something done screwed up if that ever happens, whether by bad writing, bad directing, or both, doesn’t matter. Very little worked. What did work saves it from being bad, as well as my personal connection to it, but I can’t say I’d recommend it to anyone. I think the young adult crowd will decide for itself if it’s worth seeing, but I say skip for the adults.

My honest rating for THE SPACE BETWEEN US: 3/5



Once upon a time, Tim Burton was master of the weird and brilliant. Maybe he hit a few snags here and there, like PLANET OF THE APES (2001), but ultimately, he was considered one of the most visionary filmmakers of our generation. At least, that’s what the general opinion was of the man. Wanna get the hate-mail ready? I’m actually not his biggest fan. Sure, I liked BATMAN (1989) like everyone else, but most of his other films were sort of forgettable, wasn’t interested in seeing, or I hadn’t heard of until much later. I don’t remember much of BATMAN RETURNS (1992), and I was horror movie-intolerant as a kid so I hated MARS ATTACK! (1996) and SLEEPY HOLLOW (1999). Okay, BIG FISH (2003) I remember being good, but I don’t remember details. CHARLIE AND THE CHOCOLATE FACTORY (2005), CORPSE BRIDE (2005), SWEENY TODD (2007), ALICE IN WONDERLAND (2010) not a fan of any of them. To be fair, though, I’ve never seen films like EDWARD SCISSORHANDS (1990), all of BEETLEJUICE (1988), ED WOOD (1994), or BIG EYES (2014). I see where his popularity comes from, but not so much in recent years.

But I have to honest, this movie looked like it’d be pretty awesome. The visuals looked astounding, it starred Eva Green and Samuel L. Jackson, I could tell I was going to have fun with this. This is the first time in years that I thought I was seeing the Burton that everyone else has been a fan of.

So let’s take a look at the cast. Green is something of a big crush of mine (she’s European, what do you want from me?!), my into her being, of course, 007’s CASINO ROYALE (2006). But I wouldn’t see her again until 2014’s SIN CITY: A DAME TO KILL FOR and 300: RISE OF AN EMPIRE. I’ve seen a few episodes of the TV show PENNY DREADFUL… which I want to be watching, but movies and reviews take up my time. In short, I really like her and wish I saw more of her work. Co-starring is Asa Butterfield. Many may recognize him from such films as ENDER’S GAME (2014), THE BOY IN THE STRIPPED PAJAMAS (2008), and HUGO (2011). Finally, Judi Dench (the most recent 007 films, THE BEST EXOTIC MERIGOLD HOTEL [2011], and JANE EYRE [2011]), Allison Janney (TALLULAH [2016], JUNO [2007], and TV show MOM), and the always-amazing Jackson, who don’t need no monkey fightin’ introduction on this Monday to Friday review (yeah, I cable-TV’d the real line, get over it)!

Now for behind the scenes. I’ve already given my thoughts about Burton, but lets see who he’s working with. Penning the screenplay is Jane Goldman. She’s written KINGSMAN: THE SECRET SERVICE (2015), X-MEN: DAYS OF FUTURE PAST (2014), and this took me by surprise, STARDUST (2007), one of my favorite fantasy films of all time. This round, we have two composers, Matthew Margeson and Michael Higham. Higham hasn’t composed much in his career, a few shorts and a couple unheard of titles, but Margeson is known for EDDIE THE EAGLE (2016), KINGSMAN (2015), and KICK-ASS 2 (2013). He will also be the composer for the upcoming film, RINGS (2017). Finally, the cinematographer is Bruno Delbonnel. He’s worked with Burton before on BIG EYES and DARK SHADOWS (2012), but his most famous movies are arguably AMÉLIE (2001) and HARRY POTTER AND THE HALF-BLOOD PRINCE (2009).

I’m heading into this film with pretty big hype. I think it’s going to be good and this will put Burton back on the map as a visionary filmmaker. I’m too excited to contain this anymore, let’s get this ball rolling. This is my honest opinion of MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN.


Jake Portman (Asa Butterfield) lives a pretty normal life, going to school, having a job as a teen, solid parents to raise him, and generally being a good kid. But despite having good, normal parents, Jake has one person in his life who turns it upside down: his grandfather Abe (Terence Stamp), who tells him fantastical stories about a home he frequented as a younger man, run by a mysterious woman named Miss Alma Peregrine, who protected “peculiar” children with extraordinary gifts. But… maybe to both of them, they weren’t just stories. But as Jake grew up, life convinced him that his grandfather was crazy and they grew apart. However, one tragic night after work, Jake gets a call from his grandfather and unfortunately arrives at his home too late, only to find him dead with his eyes missing. Months later, Jake is still struggling with Abe’s final words in finding Peregrine, who is supposed to tell him why everything happened. Although Jake’s dad Franklin (Chris O’Dowd) thinks it’s just a guy’s trip to get away from it all, he and Jake travel to Wales, hoping to visit this fabled home of Abe’s. Jake finds nothing at first, but upon his second visit, he comes across some pretty strange children who take him into what they call, a loop: a safe moment in time, a single day, that Peregrine uses to essentially time travel back to the beginning of that day. As a result, no “peculiar” ages, despite it nearly being eighty years in the future. Jake meets Peregrine (Eva Green), who introduces him to their wondrous world, full of impossible things, possibly finding romance, and discovering that he may be more special than he ever believed, and because of that, dark forces are searching for him and Peregrine’s kind and Jake must choose whether or not he wants to be a part of it and help, or return to his safe life.


What the hell happened?! No! This was supposed to be amazing! It looked so good! It had some great pieces in place, so what in the name of all that is holy and sacred went wrong?!

Ugh, alright before I start ranting about every misstep that was taken, let me just point out that the movie isn’t all bad. It’s definitely not good, but there are aspects that were great. First and foremost, this is definitely a different looking Burton film. His earlier work definitely had a surreal gothic look and feel to them before he discovered green screen backgrounds. This doesn’t look or feel particularly gothic, but there is a vintage quirkiness to it that feels fresh and is actually very appealing to marvel at. The sets look like real sets, as opposed to something that even Zack Snyder wouldn’t use so much of. There’s a tasteful, or understandable amount of CG that looks pretty solid for the world it created. For example, yeah, the hollowgasts are obviously CG, but it works in this kind of environment, so their fakeness doesn’t bother me. They still look creepy and do have a threatening, creepy design.

Green? I think this woman couldn’t even try to act badly. It would just come off as a comedy performance. She’s always great in everything that she does and this is no exception. She’s quirky, delightfully strange, which translates to humorously offbeat, I could watch Green star intently with wide eyes and an unnerving smile all day long and never get bored. Also… we men should just collectively turn in our balls because none of us would ever have the temerity to shush the living embodiment of bad-ass whose name we know as Samuel L. Jackson, and look damn intimidating while doing it. Even Jackson in the scene I’m referencing is all like, “Okay, I’m confused, am I the scary villain of the movie, or this crazy white bitch?”

Oh and she’s fully clothed this time!

The young actors are solid, even though the characters lack any likable distinguishing personalities. I mean, it can be argued that Jake is just an observer-type character, playing the role of the audience, guiding us and learning about this unseen world. Problem is, they give him a detailed backstory and attempt to make a connection with the audience. Trouble is, I can’t really tell you anything about him. Just sort of walks around, reacting to things, and doesn’t really partake in making his own decisions, contributing to the transpiring events until the final act of the story. Yet, Butterfield gets a kind of pass for hitting every emotion dead on. His character doesn’t have much to him, but he’s a fine enough actor to be watchable. This pretty much goes for the rest of the cast as well.

And I don’t know what it is, but that invisible kid really gets to me. I really feel like he’s not there. Um… wow, how do I make that sound more intelligent. I know he’s not there, but I still feel like he’s… there, in his… not-there…ness… Okay, you all should know what I’m trying to say!

But… lets get down to the ranting. First off, the movie’s first fifteen minutes is horribly drawn out and choppy. So you get your standard opening titles, Burton-like score while pictures of the Peculiar children fade in and out. Then we get a narration of Jake’s life, and as he is driven home to visit his grandfather, we get the backstory of his relationship with his grandfather… weird. Wanna know why I think it’s weird? Because in those flashbacks, we get bits of his grandfather showing Jake the photos of the children. Why not have the titles roll while Abe is telling young Jake his bedtime stories as the pictures fade in and out? Everything we need to know about their relationship more conveniently packaged in the first five minutes and more freedom to develop Jake or Abe as characters since most of the story hinges on Jake finding out if his beloved grandfather really was crazy.

Second, why are we chocking up Jake’s sadness as a mental instability? And by “we,” his parents. So after Abe dies, a few months go by and he’s been seeing Dr. Golan (Allison Janney), who never said that he suffered from a mental breakdown after his grandfather’s death. His visions, just a result a grief. Not insanity. But when Jake and his dad go to Wales for their trip, his dad pretty much labels his own son crazy. For no reason.

Third, on their way to Wales via boat, they see a bird flying overhead. It’s later revealed that the bird was Peregrine in her bird form. Questions: it’s revealed if any Peculiar leaves the time loop and into the main timeline for more than a few minutes, time would catch up to them. Well… why doesn’t this apply to Peregrine? How long was she following Jake on that boat? I don’t recall seeing that bird fly back to the loop. For that matter, when Jake finally meets the Peculiar children, how long were they out of the timeloop before encountering Jake themselves? Exactly how long is “a few minutes?” That’s starting to turn into a pretty subjective phrase. A few minutes could mean one million minutes and it’d still seem like chump-seconds comparing to the billions upon billions of years that the universe has been around, so how about narrowing down that deadline for those of us not in the know?

Fourth, why doesn’t Peregrine talk to Jake about why his grandfather was murdered? Don’t give me that lame answer, “I don’t like to talk about unpleasant things unless absolutely necessary,” crap. Lady, this kid LOST HIS BELOVED GRANDFATHER!!! He watched him die in his own damn arms in a brutally violent way! His family thinks he’s crazy. He feels guilty for no longer believing Abe’s bedtime stories. He’s seen and survived the very terrible monsters that you are protecting your children from without any foreknowledge on what to do if he encounters them. He’s come all this way to learn that his grandfather wasn’t crazy the whole time, turning every perception of what he knows to be reality completely upside down. Meanwhile, the same threats that killed his grandfather are probably hounding him for the same reasons they were hounding his grandfather for this long… and you seriously have the tits to deny him answers to his questions for reasons that are on par with, “I don’t feel good talking about it.” *insert shame-on-you stare here*

Fifth, what is your freakin’ deal, Enoch (Finlay MacMillian)?! No, seriously. What is your damn deal?! Why are you such an asshole?! Oh, not even to Jake, but to everyone. His hatred for all things not him is quite remarkable, and not in the good way. None of it is explained, or not very well. The first thing he does when he appears on screen is basically hate Jake and ignore the friends that are trying to be kind to him. No joke, I pegged him to be the cliché good guy-turned bad guy because of stupid misunderstandings. While the story doesn’t go in that direction with him, all he does throughout the story is bitch and moan. He’s basically the nega-Jake. Whereas Jake is a likable character, Enoch is completely unlikable. Supposedly, it’s because he tried to have a relationship with Emma (Ella Purnell), but then Abe came along in his youth and they probably had a relationship, which made Abe jealous and spiteful, doubling down on that when Abe left the home and Emma made a vow to never fall in love again. All of this is pure speculation, but there’s no win-win. If this isn’t the reason for his bitterness, then the movie doesn’t explain his attitude at all. If this is the explanation, then this is a damn stupid explanation. Get the hell over it, dude. So the cute blond girl didn’t want to hop into your pants. If you’d kindly look to your side, you’ll see an equally cute redhead who seems eager to hop in there.

Sixth, for that matter, why aren’t these kids mature? No, I’m not asking why they haven’t aged. I know that and that’s not the problem. This loop they’re in makes them stay in the same day and year. But that doesn’t apply to them themselves. They may not age, but their experiences carry over into the “new” day. This supposed relationship between Abe and Emma, that was nearly EIGHTY YEAR AGO!!! How does your butt hurt for that long? Why are the twins still playing with a teddy bear? One would think all these children would have the minds of adults by now. For that matter, because Emma is over eighty years old, aren’t we entering Twilight creepiness as she develops feelings for Jake? Just because she looks fifteen or sixteen years old, doesn’t mean she hasn’t matured to her real age.

Seventh, what’s the big deal with relationships in this house? Why does Peregrine insist on the whole, “no one’s getting married” thing. Did you see how she reacted when Horace (Hayden Keeler-Stone) projected that near-make out between Jake and Emma? Even at the time of the 40’s, she was a teenager, the height of sexual awakening. Seems to me that her time of finding boys with cooties has long since past. Someone wanna clue me in?

Oh my god, I’m getting depressed. Trust me, I have a whole lot more to rant about, but I’ll be here all month long if I try and I have other reviews to get to and I still haven’t seen all the new movies coming out this week. Overall, this movie isn’t really good, but I have a hard time saying that it’s not worth it. In a weird sort of way, I’m still recommending this movie ONLY for the visuals and acting. They are damn impressive and the acting ranges from serviceable to phenomenal. But don’t go in expecting a well put-together story because it’s hard to sit through. Despite it all, I will probably see this movie again, but I’m getting drunk off my ass.

My honest rating: a weak 3/5 – but still a recommendation.


Upcoming reviews:

    • trailer – https://www.youtube.com/watch?v=S-UPJyEHmM0
    • trailer – https://www.youtube.com/watch?v=zIkzuXDhCcQ