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Clocking in at a diffident 70 minutes, "The Party" is the most star-studded student film adaptation of a play written by an 18-year-old who thinks they're smarter than they are that has ever graced the screen. Sort of like a dream someone had, in which they kind of came up with kind of a film but not really.

Much in the same way that the arguments in a debate we agree with the most are rarely the best arguments, but rather the most memorable and accessible, in this Woody Allen, upper-class socialite pastiche, the memorable moments are those featuring guns and fists rather than those that do, irably, make an attempt at an analysis of the characters or an exploration of age, class, sexuality and greed. The whirlwind of narrative throws us from story to story, to the point that, just as we invest ourselves in one attempt at conflict, we are immediately rushed to the next, so speedily that the previous encounter is shoved out of our minds to the point of extinction.

Ultimately, this underdeveloped, hour-long trailer that fails to honour "El ángel exterminador", which it so clearly idolizes, is not without its memorable quips and sufficient performances, however clearly stands not on the shoulders, but rather at the toes of the giants that came before it and so obviously inspired its existence.

To cite any film as an addition to the "hall of fame" if its genre, we must first give the film some time to settle, as since our views of films can so often be skewed by the recency with which we've seen them, it can be easy to write-off any such labelling as being "impulsive" or "misguided". However, despite its over-indulgence with its lesser sequels and its adherence to the comedic tropes of post-National Lampoon "party bro" movies, The Hangover is a fantastic comedy that would not surprise me were it to go down in the cinematic history books as one of the highlights of its genre.
So often nowadays in a landscape formed by Judd Apatow, improv-based actors and an increasing acceptance by audiences of the use of drugs and sex as a substitute for punchlines, comedy films seemingly feel no need to present a concrete story or arc, rather gathering funny people and letting the other narrative aspects work around the humour. And while The Hangover has its fair share of drugs, sex and rock n' roll, it uses them as narrative propellers rather than the crooks of its jokes.

My firm belief is this; no great comedy looks like a comedy.

Truly compelling comedy films are enticing situations with interesting characters, that also happen to be funny, with the humour inserted after the story rather than the opposite being true. Planes, Trains and Automobiles is presented to the audience like a straight up road-trip movie, and has a script that treats it as such, while also being hilarious. The Birdcage is a drama about filial appropriation and attachment to ourselves, our parents and our beliefs, and the film also boasts a diverse display of comedy. Some like it Hot is a classic witty-Wilder gangster caper, and we can't help laugh our asses off. This works because due to the very nature of the subjectivity of humour, not every joke can land for every person. But if the film cares about its entertainment value as a whole, citing story and in this case, mystery, as a means by which the viewer cant be entertained as well as the comedy, the film gives us reason enough to keep watching until we find another joke that makes us laugh, while many films that are focus-group oriented vessels for the comedy writer's quips have an almost "3 strikes and you're out" curse, in which the audience grows wearier with each ing chirp of a cricket. But in keeping with many robust comedy films, The Hangover is a compelling mystery with a gripping elevator pitch, satisfying character arcs and emotional beats, and it also happens to be fucking funny.

Michael Curtiz's Casablanca is piping hot, and filled to the brim. Bogart's Rick is played with a cynicism and disdain that is both cold and endearing, making us feel that maybe we could fix him. Maybe you could make him whole. Koch and the Epstein's screenplay crackles throughout, rising and falling in perfect proportions. Ingrid's eyes sparkle to the extent that we wonder why we ever considered life to be anything but miraculous, with all pessimism swept aside by her voice that oozed intimacy, like a touch on the arm and a laugh at your joke, exemplifying the rare phenomenon of a world utterly united, in a feeling towards a political movement, a mark in sociological development, or in this case, a woman. To cite and define cinema by mentioning one specific work is oftentimes labeled as being close-minded, or inexperienced, but in a fulfilling and interconnected marriage of direction, writing, acting, cinematography, editing and sound, Casablanca is just the movies, plain and simple. And boy, Sam sure can play.

In Nebraska, everyone is old and slow, they're cranky and nobody wants to be there and it's just tremendous.

The road trip movie has always remained to me, a sincere use of setting against narrative, tracking the physical and emotional progress of the characters. Take that and add an exasperated reluctance and there is something quietly and depressingly brilliant about it all.

Bruce Dern and Will Forte both fantastically play children in this, be it a child emotionally or by label, in a story of desire to be something you're not, or for someone else to be that thing you know they aren't capable of being. Father and son switch roles throughout, with Will Fortes literal looking up to his father in the car, his dressing him in the parking lot and the final switch in the last shot remaining as three of my favourite moments. The use of cars as a means of male bonding works truthfully, but not as if it's trying to reinforce the idea that it's an "American" movie, because it just is. There's no white picket fence but there is a white whale, and everybody wants a slice of that pie. But when the wonderful no-nonsense June Squibb is holding the knife, only the good get seconds.

So often black and white is used because it's deemed to look cool or it makes it easier for low budget movies to achieve a consistent visual tone, but the use here to make us feel like we are partially connected to a bygone era works perfectly, and implants in our minds that maybe whatever is presently happening to us isn't the main part of our life, and the main part all happened years ago, before whatever epilogue we seem to find ourselves in now ever came to be.

In the end, Dern's Captain Ahab didn't get his white whale, but maybe the hat is good enough.

Not the movie about an I.T. technician I was hoping for, but still pretty good.

An emotional, messy, and most importantly realistic romance told through the bug-eyes of the incessantly annoying Alvy SInger,
Annie Hall earns the cultural significance it's obtained.

Much like Scorsese has what could be considered "the monopoly" on mafia movies, or Wes Anderson's association with offbeat dramas, Woody Allen has, to me at least, become the advocate for the
hope-cripplingly honest romantic comedy, or rather, comedy romance. (The difference is clear in my head).

Each scene feels ripped out of someone's real-life relationship and pieced together to from a non-linear, frankly horrific realization that I am worryingly similar to Alvy SInger, who again, I can't stand.

New York neurosis is an ever looming and imperative aspect of Allen's filmography, to the point where it may as well be a character in a shared cinematic universe. And I for one wouldn't dream of recasting.

Maybe it's the romantic in me that loves this movie. Maybe it's the cynic in me that loves this movie. But fact that I can't tell which is what makes it great.

I feel ripped off. I paid full price for my seat, but turns out I only needed the edge of it.

Denis Villeneuve once again constructs a movie like an intricate and compelling jigsaw puzzle, with each beautifully nuanced and visually astonishing piece put perfectly into place.
A tense, compelling and intelligent science fiction story that leaves you appreciating both the concentrated medium of film and the slightly less concentrated concept of life.
Embracing its unapologetic sci-fi name, the film is above all, emotionally responsible. No moment, be it one of suspense or emotion, goes undeserved.
With recurring imagery and a palindrome-like approach to storytelling, Arrival teaches us that just like the alien language, life comes full, non-linear circle.

This movie is a welcome diamond, in a year of utter shit. (That's not limited to movies either).

Slaps a smile on your face that won't quit, and sends an impossibly catchy beat through your tapping toes and up your spine.

The kind of childhood I wish I'd had.

Devoid of the scale, energy, ion, and frankly quality of the original, Independence Day: Resurgence fails on pretty much every level.

While the CGI was adequate and I found the nostalgia factor and the returning cast to be handled surprisingly well (apart from Judd Hirsch's nonsensical adventure of taking a bus of young children captive through the desert), the story and pacing were a disaster akin to an alien invasion.

Not even Jeff Goldblum's uncertain whispering to himself could save this movie.

Tumblr: The Movie

If everyone in this movie stopped yelling at each other all the time, and calmly discussed their feelings, things would have gone a lot smoother.

Also Max Landis really wants us to know that this movie took place in L.A. for some reason.

I feel like pulling a gun on George Clooney for making me waste my money on a ticket for this movie.

I actually kind of liked it, at least any scene with George Clooney and Jack O'Connell in it.

An irable attempt at a World of Warcraft adaptation by Duncan Jones, but overall disappointing. Doesn't nearly reach the spectacle and emotion it tries to, and the comedic moments fall into an abyss of flatness.
They fall flat.

Orcs were better than humans, a shame the movie didn't realize that, and any moments of genuine intimacy are clouded by scenes of exposition filled with confusing names and places. The movie really could have done with a narrated prologue setting out the situation like in LOTR.

A decent pursuit of the long awaited "good video game movie", but the lack of character development and the unorganised nature of the story gave Warcraft too many critical hits to come back from, especially without the healing potion of a solid screenplay.

The Nice Guys definitely don't finish last in the latest movie by Shane Black. The movie delivers on comedy, mystery, heart and for once a child who isn't incessantly annoying. Pure summer enjoyment.
A great buddy cop, or buddy P.I. movie I guess, that reminds us that movies can be something really special when they're made by people with ion and minimal studio micro-managing.

I sort of almost liked it. Sandler seemed like he was trying which was both nice and kind of pathetic.
The cure for cancer things was kind of weird, then again I just watched an Adam Sandler/Davide Spade movie that was kind of enjoyable so who am I to judge things for being out of the norm.
I didn't hate it, and it definitely didn't make me genuinely consider stopping watching movies forever like The Ridiculous 6 did. Very predictable at points, but unpredictable in the sense that I found myself chuckling more than once.
Overall it wasn't among the worst ten things in the universe, which at this point is a pretty solid endorsement for a Sandler flick.

Holy shit. The all-out brutal violence combined with the tension and restraint proves that Jeremy Saulnier can build an atmosphere of pure dread. More of a horror movie than anything, Green Room earns its scares with its always slow and steady plot development. I have heard people say that the characters make unrealistic and poor decisions, but I found those decisions to be as well thought out as they could be for those people in that situation. It treats the use of guns in a realistic and terrifying way, and its use of guts and gore always feels like it's in aid of rising the stakes, and building a world we are terrified to live in.

Patrick Stewart is everything that scares me about the world personified. Scary and clever. Dangerous and experienced. The presence he has on screen is shocking, and sends chill down your spine.

Characters die without a second glance, we are constantly wondering what the other side is up to when they're off screen, the movie certainly does not pull its punches.
Contained and claustrophobic, the movie boasts beautiful cinematography, chilling performances and leaves you looking over your shoulder.

The Aint Rights deliver a performance so fantastic, I can't wait for Saulniers next gig.

Swingers is a coming of age movie. Yes, I know that the characters are nearing 30, but that doesn't mean it can't be a coming of age story. A brutally awkward look at early life for a nice guy in a mean city. Jon Favreau's Mike is as gawky and inept as the rest of us, with a slightly unhealthier view of relationships, and a slightly more interesting social life. Vince Vaughn's Trent is a criminally under-appreciated character in modern movie culture. Where the movie itself may feel dated, the character of Trent never does. We all have a Trent who is responsible for both the best and worst nights of our lives, and Vince Vaughn finds the perfect balance to become my favourite on-screen portrayal of the "likeable asshole". Hilarious, relatable and filled with Kevin Smith/Quentin Tarintino style pop-culture filled, sex related dialogue, Swingers has a great time at the party, but leaves at 11.

Also, a little Heather Graham never hurt anyone.

I'm not gonna end the review by saying that the movie was "so money baby", because everyone does that, but y'know. It was.

How to be single:

Step 1. Take your date to see this movie.
Step 2. Congratulations.

Spider-Man was amazing, spectacular, ultimate, whatever adjective you want to use, as long as its a synonym for awesome. I giggled every time he spoke, my friend asked if I was okay, I most definitely was.

This movie is obviously going to draw comparisons to Batman vs Superman. I don't believe we have to like one or the other, that would be like comparing apples to worse quality apples.
But BvS had lots of components to cram into a movie of the same run time, new characters to introduce, plot points to be developed etc. and where it failed, Civil War succeeded. Everything blended seamlessly, from the incorporation of the Web Slinger, to the introduction to Black Panther, (also incredible) the steely - I mean... vibraniumey warrior/King, Civil War balanced it all.

The airport fight scene displayed the understanding the filmmakers had for the different relationship dynamics between all the different characters, and while this is definitely Cap's movie, something I had hoped would be the case, Robert Downey Jr. delivers his best performance to date as Tony Stank - I mean Stark. Where I didn't buy into his emotional problems as much in Iron Man 3, here they were on full display, matched by Cap's undying dignity and sense of responsibility.

What other superhero movies nowadays lack is character motivation, and this movie had it in spades. I knew why everyone was on the side they were on, and why those sides existed in the first place.
Daniel Bruhl's Zemo was among the better of Marvel's forgettable villains, but a forgettable villain nonetheless. Like Lex Luthor, he is really just an evil shit-stirrer, but at least Zemo had motivations, even if they were cliched ones.

Vision, while still being God-like and wise, was pared back, and less powerful, which I think was a good move. Scott Lang was hilarious and delightful for the parts he was in, and all in all I liked and understood every character more when I finished watching than I did when I started.
I liked how things had changed by the end of the movie, and hadn't reset the events like most other Marvel movies have, interested to see where it goes from here.

Overall, Spidey's incredible, Aunt May's hot now, little weird at first but I'm on board, Cap is badass as always, Iron Man is more vulnerable and thus relatable than we have ever seen him, and the Russo brothers have officially gained my trust. Don't screw it up guys.

Delightfully inspiring, wonderfully cheesy and endearingly innocent, Eddie the Eagle soars into our hearts and sticks the landing.

The Karate Kid is now a clumsy but good-hearted Englishman with strong objectives and even stronger bones, and Master Miyagi is now a tall Wolverine-like man. As predictable as it may be, the movie hits all the beats a feel-good underdog story should, combining that with a dance-provoking soundtrack and a lovable performance from Taron Egerton, the movie is so good it almost makes you care about the Winter Olympics. Almost.

Have you ever asked yourself: "what would Stand By Me be like if the kids didn't just find a dead body, but were responsible for one?"
A fascinating look into how society and it's darkest components shape its citizens. "This is a true story about friendship", the opening lines of the movie are true, on a base level. I imagine large parts of it are fictionalized, but it is a story of friendship and revenge, at first. But to me, Sleepers is a film about responsibility. The responsibility we owe to the people we care about, whether it's to our friends or in Robert Deniro's case, to our alter boys, or Brad Pitt's responsibility to the law he chose to protect, or indeed the outcomes society must take responsibility for when it allows institutions such as the one depicted in this movie to be run.
The movie isn't without its flaws, but it gets to the core heart and truth of each scene, especially the earlier ones featuring the kids, which is saying something when the latter scenes feature Dustin Hoffman and Brad Pitt, and creates a believably realistic world where the decision that is right and the decision that is preferable aren't ones that cross paths.
Sleepers is one to sleep on, as it evokes more discussions of morality and redemption, rehabilitation and faith the second or third time around. A must see, and must think about.

The Gift is a movie that keeps on giving. First time director Joel Edgerton surprises with slick camerawork and Hitchcockian like suspense, which is not a term I use lightly. Jason Bateman delivers a stand-out performance that I feel ridiculous for not seeing coming. The movie blurs the lines between what it means to be a good or a bad person, as we the viewers opinions about who is right and who is wrong are thrown around, a real washing machine treatment. It is an understated revenge flick. The ambiguous ending is one of those climaxes that leave you discussing what you think really happened with your friends long after you've left the cinema. I look forward to your next movie Joel. And Jason. And Rebecca Hall. God everyone was really good in this.

It's not just that this movie has an incredible soundtrack, or that it's impossible to take your eyes off Kate Hudson, or even that this was the first time I ever heard Elton John's Tiny Dancer, it's that Almost Famous makes me feel like I belong in a world I have never set foot in. It is rare to find a movie that so immerses you in its world that you are genuinely surprised to come downstairs and realize Francis McDormand isn't actually your mother, or that you can't buy tickets for the next Stillwater concert.
I was lucky enough to watch Cameron Crowe's masterpiece, his Stairway to Heaven, at the exact right point in my life. Not that there is any bad time to watch it. A flawless coming of age movie, Almost Famous let's you tune out your problems, and turn up the music.

I have heard people compare this movie to Snowpiercer, which on a very base level is understandable, and bizarrely enough The Raid 2, because... there's a tower?
It could be considered the thinking mans Snowpiercer I suppose. I won't pretend I understood it all on the first viewing, and I think that's by Ben Wheatley's own design. But the themes are clear and well explored, even if we take a complicated route full of ambiguous twists and enigmatic turns to get to them.
Another viewing should cement my opinion, and maybe a re-read of the book. I'd like to thank the cast and crew of High-Rise for making me think.

An electric, pulsating, visceral movie that is so much more than its trailers would lead you to believe. It is neither Fast nor Furious in its tone or its pacing. Much like Ryan Gosling's Driver it knows exactly where it's going and knows not to take shortcuts when it doesn't need to. The Driver is far more complex than his perfectly nuanced, simplistic dialogue would suggest, and the score sends a beating pulse through the movie that carries it in and out of consciousness, combined with stellar performances all round and layers upon layers to be peeled back over multiple viewings, Drive is a movie that delivers both style and substance. Needless to say I will be delving into Nicholas Winding Refn's filmography, yearning for more.

"Bro that shit was so tight, dude let's go find some pussy!"
That's you, That Awkward Moment.

Brad Bird delivers cartoonish fun in the fourth installment of the M:I franchise. For what it lacks in quality villains and blowing its wad too soon, so to speak (I am referring of course to the Dubai tower scene) it makes up for in gripping entertainment, heart pumping moments of tension, and action sequences that are pure awesome in the truest sense of the word.

Red Letter Media are one of my favourite movie review channels, and while this movie may not have been everything I was hoping for, it certainly feels like Mike and Jay made the kind of movie they like to watch. Rich Evans as fan favourite Mr. Plinkett was underused, both comedically and in regards to the development of the story, but the movie has moments of Half in the Bag comedic brilliance, and is very well made and crafted considering the budget couldn't have been more than the Half in the Bag beer budget.

Well actually that's probably quite a lot.

First off, Batman was fantastic. Favorite live action portrayal so far (Kevin Conroy will always be number 1) but the flaws in this movie were too numerous to let slide.
Obvious lack of character motivations, namely Lex Zuckerberg, and a disappointing conclusion to a satisfying B vs S fight, but the flaws don't stop there.
Why did they have an (incredibly badass) scene where Batman fights all the thugs in the desert, only to just, not steal the kryptonite for a few more scenes? What purpose did the courtroom explosion serve? Why do movies setting up even bigger movies try to fool us into believing they would kill off their main character? When Clark Kent puts on his Superman costume when there is an urgent crisis, does he stop to gel his hair, or is it just water from the clouds he flies through?

It's becoming apparent that superhero movies and TV shows are entering a new phase, where they have two protagonists (or likeable antagonists) battling for what they believe is best for society, because they think the other person is dangerous, or not willing to do what is hard, to pull the triggers that need pulling. Namely Batman vs Superman, Daredevil Season 2 and the Captain America: Civil War. And those are interesting themes to explore. But they get thrown out the window in this movie, not by Batman, but by Zack Snyder. The fight between the titular characters should have been because Batman believed Superman was harmful and dangerous to society (which it sort of was) but also that Superman believed Batmans more brutal methods represented a less just society, and because Superman considers Earth his home now, and believes he is the person who will protect it best. But instead Zanex Luthor forces Superman into taking the fight because he kidnapped his mother.

The movie was enjoyable, and had some fantastic action and a few specific confrontations that left the seats of the cinema sticky, and not from Coca Cola, but overall, the movie failed to reach the dizzy heights it could have, and ask the questions that needed asking, because it was so caught up with setting up the next 6 movies.

At last, a movie that examines the fine line between man and walrus. Thank you Kevin Smith for finally capturing that we are all just one crazy Michael Parks away from somehow becoming sea creatures forever.
But hey, at least it was different.

Kevin Smith's most mature movie to date, his Jackie Brown, due partially to the time it came out, Chasing Amy avoids falling into the trap that movies revolving around similar themes today do, which is the annoying 20 something year olds with problems that most of the time, we couldn't care less about. On a base level its Good Will Hunting for Pussy, but it goes on to take a more mature tone, helped by a surprising performance from Ben Affleck, and an infatuating one from Joey Lauren Adams.

How is there a rushed conclusion in a nearly two and a half hour comedy? Classic Apatow.

I only watched this for Adam Scott and Lizzy Caplan, excited to see them together again after Party Down ended all too abruptly.

Ah, the things we do for our shows.

That was most definitely my tempo.

What can I say? I'm a sucker for De Niro.

Concussion, a.k.a. The Fresh Prince of Health-Care

The artist formally known as the Fresh Prince delivers a great performance.

Between Steve Jobs last year and now this, I am starting to forget what Kate Winslet actually sounds like.

Not the US Office spin-off movie I was hoping for, but a great movie nonetheless.

Probably the only movie ever to be better experienced on a laptop than on the big screen.

Director's cut, far superior to the theatrical version. Maybe I should watch the director's cut of Gigli.

The cinematic equivalent of that kid in school who will do anything in a desperate attempt to impress people, whether it's touching a dead body with a stick, eating paint, or adding a bullshit twist for no reason with zero setup. They aren't even calling the sequel Now You Don't.

"You sucked my cock! It was free pizza!"

Poetry.

Maybe it is style over substance, but it's stylish as fuck.

One day, in the (unfortunately) not too distant future, Bill Murray will die, and with him, my main reason for living. That is not a day I will want to relive over and over again.

Attaboy Ryan. Third time's the charm.