An anthology of sex-themed genre pastiches that intermittently takes its stupidity seriously enough to verge into funny and/or subversive, but more often just drifts into nothingness.
Category: Capsule
A well-written romcom with a theme and lots of fun details plus good chemistry between Allen and Keaton. Too bad the jokes just aren’t all there and the story isn’t enough of a home run. Still quite good, though.
Not as funny as Allen’s proper debut Take the Money and Run, but a very good sophomore effort.
The animation is peerless, the songs are occasionally invigorating, and Moana herself is one of Disney’s greatest protagonists, but the script and quest suffer a bit from exposition overload, pacing hiccups, and fluctuating stakes that keep it from soaring to all-time heights. Still a strong and memorable outing that I’ll always be keen to revisit.
An epic romance and coming-of-age story told with tremendous humanity and precision and life. Yet it has its share of problematic storytelling and is certainly too long. Too much sex, too, but I suppose it adds to the palpable intimacy between the leads.
Woody Allen’s first actor-director-writer film is a parody criminal biopic/documentary. It doesn’t always hold together, but as a series of skits it is astonishingly hilarious.
I had forgotten this is kind of… bad?
I devour this kind of mumblecore stuff as comfort food, but even for me this one is a tough sell.
I did really like how weirdly meta the premise is — Karpovsky playing a guy named Karpovsky on a film tour for a real movie Karpovsky made.
A bit too frenetic, and the live action segment sucks the energy out of the story, but the animation is jaw-dropping and the story otherwise buoyant.
It still holds up, hilarious and human. Comedy that actually cares about its characters, themes, and stories. Carell is phenomenal. But the criticisms are right, too: very male-centric, iffy on race and gay jokes, and longer than it needs to be.