kaylin

The Koreans must definitely be credited for capturing the era exceptionally well, including visually. I'd almost say they matched the Japanese or even surpassed them in some aspects. That aligns with the story, which is so beautifully emotional and powerful that it definitely captivates or impacts you.

This Filipino historical film certainly has its flaws and at times looks very amateurish, but at the same time, some moments showcase the power of cinematic storytelling and how it's possible to highlight history and politics, as well as human attitudes like loyalty or betrayal. The acting is surprisingly very good, but the most surprising are the gore scenes.

The film is beautifully shot, with great battle scenes and outstanding performances that are sometimes absolutely captivating. However, I couldn't shake the feeling that the film was inaccessible, that it couldn't draw me in. It's a powerful theatrical tragedy captured on film, leveraging the possibilities of cinema over theater and maintaining the synergy of both mediums. However, I still didn't leave completely enthralled.

Neither the story trying to capture something great nor the one from the skatepark stand out, and the film would work even better without them, perhaps even improved. I don't think it's that big of a problem; it's just that those films overall simply don't stand out. There's no standout gem that would blow you away; everything is rather average to below-average. And the film is in this spirit as a whole, where you are just not captivated.

Quite disappointing. I admit that I expected more from the filmmakers and the cast. Not really from the cast, because Omar Sy is great, as is Charlotte. I believe in them in every scene, but the film just has a very slow pace, and in the end, it's quite clichéd and doesn't offer anything new. That's a shame.

I like the humor that Adam Sandler produces, but having David Spade in the lead role of a character who is annoying from the start isn't something that would captivate me for the whole movie. Moreover, there is relatively little humor here, and the few funny scenes don't really stand out enough to salvage it. It's almost a waste of time to spend on this because I haven't seen a more pointless romance yet.

In the film, there's this odd theatricality that just didn't sit well with me, and the scenes that are supposed to come across as quite intense and emotional sometimes just felt rather laughable. The story itself isn't bad at all, and some moments remain intriguing despite the overacting. The car ride at the end is one of them.

Evel Knievel is one of those names I've heard often, but I never really knew who to associate it with. I finally know. And even though the film is crafted as a tribute to this personality, fortunately, it also mentions the more negative aspects of his character, which make him more genuine and vivid. I also got a bit of a new perspective on Jackass.

John Hughes always managed to write very good characters, but here he truly went all out. At first glance, the protagonists may seem like caricatures, but they are deep, which is actually the essence of the whole movie, and John Hughes captured that perfectly. We are what we are, and this film shows it beautifully. Nothing will transform us unless we want it to. We just have to remember that.

I believe I uphold the same values as those presented in the film, but I definitely don't want them to be portrayed in such a silly way, especially in connection with a faith that is so twisted it's headache-inducing. No, I simply can't stand such appeals to family values in connection with faith. God simply doesn't care about us, and if we don't kick ourselves in the ass, nothing will change.