Reviews

Horrible story, horrible acting, horrible dialogue, clumsy moviemaking. Eva Duivesteijn +1.

It's an outrage how Paul Greengrass had the actual nerve to write down this miserable excuse for an original story. The most joy to be had while watching, is finding out how all your thirteen in a dozen predictions of what will happen next will actually come true.

The predictability ranges from knowing how dialogues will play out (almost to the word), how certain scenes will roll along, how characters will behave, to which scenes or dramatic moments are bound to come up, followed by the inevitably cheesy ending.

Add some overly sentimental contemplations of indigenous Americans, the south, slavery, in a 'that's just how things were back then, back to the story!'-kind of way, and you'll find yourself amazed that you haven't yet vomited all over the room.

A special mention must be made to the computer generated images. Rare in frequency, but each time so atrocious that your mind wanders off for minutes, unable to understand how anyone could ever admit them to a high budget movie released in two thousand freaking twenty one.

If you're against the use of the fast forward button, get ready for a two hour trip of cinematic disaster tourism. Shame on all involved.

It's a pretty enteraining story about the rise and fall of Sega. A bit (16 bits??) too sentimental however. Sega games and hardware were never all that, and it's pretty obvious that they never had a chance after their cowboy marketing strategies were eventually exposed by a lack of quality titles. If they ever even had one.

To say that it was all the fault of a jealous Japanese executive is pretty cheap and I wouldn't be surprised if that golden guy from SOA blast-financed this whole thing, just to get even. :)

There's nothing wrong with a little bit of music to accompany/enrich/intensify what you're seeing. But just like he did with Inception, Nolan pretty much tries to drive you insane with the incessant and never-ending build-up of sound effects and 'music' (mostly just drawn-out notes) in climactic action scenes.

Why can't I decide for myself when to get excited for the things that are unfolding on screen? I could do without excruciating miserable tunes and the umpteenth glued on artificial ba boom ba bump ba boom heartbeat for that. This movie is filled to the brim (literally in a couple of scenes) with cheap clichés of people avoiding disaster just in time. It's tiresome, annoying and an insult to the viewer.

It's a shame, because it would've been a decent watch otherwise.

There are two characters in this movie that are supposed to look like human beings. Instead, they look like mid 90's Playstation computer game characters. I fail to see how a production with a budget of 200 million can screw this up. It is utterly laughable.

Also laughable, the manner in which the story is told. Mostly by characters that more or less explain it like they're reading children a book. "Hey, remember that you need to do this and this so this and that will happen which was all planned for by your dad and he did it all for the best of us all."

I want to go on but I can't effing bother anymore. The world has gone to shite and it's all because of Disney!

I must say that if it wasn't for the nice Mercedes-Benz cars all over the place, driving smoothly in and out of the action with the famous star logo prominently visible (and even a short cameo of their high performance AMG division logo on the backside of an off-road Mercedes-Benz), I'd rate this movie even lower. Man, Mercedes-Benz sure makes nice cars and I'm glad they pitched in a lil' bit to make one of the most profitable movies ever even more profitable. Heck, it's win-win! Nice cars, more money to make the movie, more money for some great dinosaurs! Too bad they had to cut down on the writer's budget. With a bit more money, I'm sure it wouldn't have turned out as this hysterically predictable 2 hour long sh*t pile of a car commercial.

The only thing Deux Jours, Une Nuit achieves, is feeling ashamed for living in the first world. A pretty lady with a loving husband and two beautiful kids risks losing her job. This might endanger her family of having to move to a less nice apartment. The horror.

But don't worry, she is not doomed. She manages to scrape together all her energy and will power to visit a few colleagues before Monday morning, in an attempt to help change their mind and reject a 1000 euro bonus which would let her keep her job.

We follow her driving around in a nice middle class car, stuffing her face with pills and mini pizza's, on her way to pathetic and predictable encounters with people that are either portrayed as egoistical lowlifes, or luminescent angels.

The amount of lethargic self pity and drama over a bump in the road occurrence like losing your job becomes almost humoristic. While it is tricky to pretend to know what goes on in the minds of real poor people in the third world, one can only imagine they would at least frown upon the scenery.

This movie is an obnoxious appeal to solidarity, and a false plea on behalf of depressed people. There hardly isn't a scene without dramatic overacting, and it's already annoying that Marion Cotillard will win lots of awards because of it. The one award this movie does deserve unfortunately doesn't exist. It would be earned by the only attempt at a little bit of lightheartedness (the Gloria sing along in the car), which would easily win the award for most cringeworthy scene of the decade.

This is the type of movie that gets funnier each time you watch it, just like The Big Lebowski. It takes a while to get a feel for the level of realism (a bit more serious than Napoleon Dynamite), but when you're finally tuned in to the wavelength of the makers, you can almost instantly re-watch it (which will not take up too much time because it's refreshingly short). Once you know the characters are a bit silly, but not trying to generate cheap laughs or thrills (it must have been tempting to let Mr. Simmons totally snap, or have an all out brawl at the hotel room party, or let Mrs. Simmons show some more skin), the story becomes remarkably solid.

This might be not a nice comment and a bit short, but I felt a bit drained after watching Hot Fuzz.

If you expect your audience to 'get' the really funny jokes, you should also expect them to 'get' the storyline. I think they could have cut a murder, or one of the teams get togethers. The story taking forever to unfold was a bit frustrating and made me lose interest for the often hilarious jokes.

You might say that story lines in movies like these are not too important, but I really enjoyed the way it all started. Simon Pegg was very cool being the dedicated Policem.. officer and Nick Frost admiring him was also brilliant. So why not finish the movie with a short but sweet statement and leave out most of the Scooby Doo-like whodunnit stuff?