It’s just way too serious... honestly... THIS is the work signed by the director behind The Crow, Dark City, and Knowing? Before I even found out this thing was flopping at the US box office, I was actually going to sit here and type out some polite "well, everyone has their own taste" nonsense, but let’s be real—that’s totally unnecessary. Look, I don't have anything against stories about mythological clashes between gods and mortals; in fact, I've become pretty indifferent to the whole genre after being bombarded with all those remakes like Clash of the Titans, Immortals, and whatever happened to 300? (Seriously, who cares anymore!?) But, if you're going to dive into that kind of epic territory, please, just don't strip the movie down to cheap, comic-booky Marvel action, cheesy dialogue, and nothing but over-the-top CGI explosions... which seems to be the only thing this title offers, judging by the trailer. It doesn't even feel like a fun little retro homage to things like Hercules or Xena that we used to see on TV about twenty years ago!
Sandra Booth57 said:If they actually end up filming Junior 2, I'll be hunting down a tree immediately... honestly, I'm already looking into getting some heavy-duty rope just to be safe!
Hmm, well, it isn't exactly Junior 2, but word on the street is they've teased a sequel to Twins. 🤣
Jerry Martinez50 said:The first part feels like a total family squabble, and honestly, I don't have much to complain about there because everything seems to be working fine. You've got Arnold, Penelope, Reed, and the Twins 👍
As for this part? All I can say is, WTF. 😁
To be honest, my memory of the individual units is pretty fuzzy, so I really need to brush up on the material along with the rest of this... I am genuinely hoping that Dolph learns to be a bit sharper. I won't settle for anything less than perfection! 🤣
Tasked with recovering some highly sensitive stolen data, a gritty FBI agent (Dolph Lundgren) decides to go undercover as a kindergarten teacher, only to find out that navigating the school's super liberal, politically correct vibe is way tougher than his usual assignments.
Oh man, I honestly can't even... I am just losing it here! 🤣🤣🤣
I mean, I don't think I even need to give you guys a rundown of the original movie starring Schwarzenegger and directed by Ivan Reitman. If my memory serves me right, it was just your standard, middle-of-the-road flick—not exactly a comedy powerhouse and not quite an action blockbuster either—that mostly just seemed to be riding the coattails of its lead actor's fame.
But this sequel? Seriously, who on earth thought a follow-up was a good idea? And with Dolph Lundgren stepping in!? Honestly, this is either going to be an absolute masterpiece of unintentional comedy or a complete and utter disaster. Personally, I’m putting all my money on it sinking fast, though I have to admit, I am actually kind of excited to see how it plays out! 🤣
Just like I called it earlier, this felt way too superficial for my taste, especially with how thin the character development was. Look, I get it—in movies like this, you basically have to toss logic out the window because, let's be real, you have two characters playing a constant game of cat and mouse where they both know exactly what the other is thinking. Sorry, but Minority Report did it better... Dead Zone beat this one... heck, even a mediocre chess match would have more tension.
But let's break it down... if you've actually read or watched Red Dragon or Manhunter, yeah, everything starts to fall apart the moment Dr. Lecter swaps roles with Will Graham. What that really means is that Hopkins is back here essentially playing a variation of the character that made him a legend, while everyone else—unlike the lambs we see in those stories...—feels like they're just passing through. It's such a shame! Jeffrey Dean Morgan is a fantastic actor, and Abbie Cornish, much like Michelle Monaghan, is a talented actress who really needs a meaty role to truly shine (Trucker (2008.) anyone?). As for Farrell, his character is so wasted; without giving away too many spoilers, the pacing for his arc is just a total disaster. When you combine that with a terrible script, you're looking at an inevitable train wreck.
At the end of the day, I personally wanted so much more from these characters, particularly from Hopkins and Farrell. I kept imagining how intense it would be to live with a certain... "gift," or whatever you want to call it, but the movie fails to give us any insight into that from any perspective. They sacrificed deep character arcs and a potentially brilliant story for some mindless thriller action that wouldn't have been half as bad if the director hadn't opted for those frantic cuts, that loud and grating soundtrack every time there's a flashback or a plot twist, and all those unnecessary chase scenes, and so on and so forth.
In all honesty, it’s a massive waste of potential. The only reason to sit through it is that it never gets boring and it features a really solid cast.
Jack Murphy5 said:Kiss Kiss Bang Bang is fantastic. This looks like it might be heading in that same direction.
To be totally honest—and I feel a little guilty even saying this—I actually found it pretty exhausting to sit through! There were several moments where I just completely lost my focus because it felt so heavy.🙂
A private eye investigates the apparent suicide of a fading porn star in 1970s Los Angeles and uncovers a conspiracy.
Since we've got Shane Black directing and Shane Black writing, I think most of us have a pretty good idea of what kind of ride we're in for, especially with such a stellar cast lined up! To be honest, I wouldn't say this is at the very top of my must-watch list right now—looking at the trailer, it feels like it might be trying just a little too hard to grab our attention—but hey, I'm always happy to dive into something different to shake things up from all those endless Marvel / DC / Star Trek / Star Wars marathons. Cheers! 🙂
Jamie Turner80 said:Eli Roth simply isn't capable of subtlety, though I suppose expecting it would be a mistake. This isn't Cabin Fever or Hostel, where he can just lean on his usual toolkit of mindless brutality to get by. The real issue lies in the tone; the film never manages to be serious enough to deliver any actual message—no matter how banal or misplaced that message might be—yet it fails to embrace being irreverent enough to pass for pure, unapologetic trash cinema. It ultimately settles in this awkward middle ground, disintegrating before our very eyes, leaving us with nothing to remember once the credits roll. Knock Knock is a film that is beyond saving. It leaves you with the distinct impression of a poorly told, mediocre joke. Someone else might have managed to salvage it, but certainly not Eli Roth. One can only hope his talents lie elsewhere—perhaps he finds his true groove when working under the direction of Quentin Tarantino or Robert Rodriguez, given that his short films and trailers within their projects are absolute masterpieces. As a producer, there is still a glimmer of hope that he might stumble upon something actually worthwhile, much like he did with The Sacrament back in 2013. As far as directing goes, I get the feeling he showed us exactly what he was capable of with Hostel, and everything since then has simply been unnecessary filler.
više na: I recently sat down to watch *Knock Knock*, and I find myself grappling with what exactly Eli Roth was trying to achieve here. On paper, the premise offers a certain voyeuristic tension—a man’s domestic sanctuary being violated by two opportunistic women—but the execution feels remarkably thin. It attempts to play with the psychological discomfort found in films like *Funny Games*, yet it lacks the intellectual bite or the unflinching cruelty required to make that comparison stick. Instead, we are left with a narrative that feels less like a descent into madness and more like a series of increasingly improbable escalations. Keanu Reeves carries the heavy lifting, playing the role of Evan Webber with a weary, almost pathetic vulnerability that serves the plot well enough. He manages to convey the desperation of a man whose life is unraveling in real-time, which is perhaps the only element keeping the viewer tethered to the screen. His chemistry with Lorenza Izzo is functional, providing the necessary friction to drive the conflict, though one can't help but feel the script leans too heavily on shock value rather than genuine suspense. The film struggles to decide if it wants to be a gritty thriller or a heightened dark comedy, and in its indecision, it settles for being neither particularly scary nor particularly funny. While some might argue that the direction mirrors the chaotic energy seen in works by directors like Robert Rodriguez, it lacks that specific stylistic cohesion. It is a polished production, certainly, but there is a hollowness to the tension. If you are looking for a deep dive into the darker impulses of the human psyche, you might find this experience somewhat superficial. It is an okay way to pass an evening at AMC Theatres, provided you aren't expecting anything profound.
But, what makes the whole thing even more frustrating is that the first half of the movie actually works brilliantly. 🙂
It really feels like it’s finally time to see a remake of Knock Knock! I was just sitting here thinking about how much certain classic thrillers can be reimagined for a modern audience, and that one keeps popping into my head. There's just something about that tension that would work so well with a fresh perspective and some updated twists. Honestly, I could spend all afternoon debating what direction they should take with it! I was just sitting here thinking about those old-school thrillers, and I couldn't help but drift back to the 1977 classic, Death Game. It’s one of those films that really sticks in your mind, isn't it? There's just something about that era of filmmaking—the atmosphere, the pacing, the way they built tension without relying on the flashy CGI we see in everything today. I remember seeing a similar vibe in some of the older suspense films I watched growing than when I was younger, and it always sparks such a nostalgic feeling! It’s definitely a standout from that decade for me. I have to say, I am absolutely obsessed with John Wick! There is just something about those action sequences that gets me every single time. 🙂
Personally, I think Mads Mikkelsen would be absolutely phenomenal as Geralt. He’s got the age right for it... he's still in incredible shape... yeah, honestly, he's just perfect for the role.
Watching this movie followed by Under the Skin (2013) feels like the ultimate heavy-hitting double feature—the kind where you walk out of the theater feeling completely and utterly emotionally drained. 🙂
Let’s kick things off in the most straightforward way possible! I’d say the best way to start is exactly how I would approach it myself—just typing "how to write a script" right into the Google search bar. To me, that feels like a total bullseye for a starting point. Good luck, everyone! 🙂
Honestly, I’m just not feeling this at all. It feels like your run-of-the-mill, generic PG-13 attempt at a fantasy-horror mashup, sitting right up there with those mindless movies like I, Frankenstein, van Helsing, or even The Mortal Instruments: City of Bones.
I was just sitting here thinking about Vanilla Sky (2001)...
I honestly adore that movie, but I always find myself caught in this internal tug-of-war regarding how it should have actually ended. Imagine if it had finished with a totally shell-shocked Tom Cruise screaming at the top of his lungs because he wants to wake up and desperately needs some technical support! Instead, the director basically takes us by the hand and serves every single answer up on a silver platter. Personally, I feel like we would have been cheated out of one of the most breathtaking endings ever captured on film, especially since everything is wrapped up so beautifully with that sweet, honey-like "Untitled 4" by Sigur Ros. 🙂
northernpilot2 said:Honestly, my memory is getting a little fuzzy since it’s been such a long time since I last sat down to watch it! From what I recall, she crawls through all those bones, manages to scramble into the car, and starts driving away. But then, there's this twist where she wakes up and realizes it was all just a dream—she actually crawled back into that hole, only to be met by some old man who clearly knew everything about those creatures living in the tunnels and was actually out there feeding them!
Actually, that sounds like the second movie. 🙂
As for the original film, there are actually two different versions floating around! There’s the "happy ending" specifically tailored for the American market, where she makes it out of the cave, reaches the car, and escapes safely. Then you have the version intended for the rest of the world, which is much closer to the director's true vision. In that one, she has this hauntingly beautiful vision of her daughter and a birthday cake, but as the camera pulls back, we realize she’s still trapped inside the cave, completely surrounded by those creatures with absolutely no hope of escape.
I honestly feel like the movie would have landed such a massive punch if Gary Sinise's character had actually pulled off the heist—you know, instead of the writers playing it safe and opting for that typical, predictable Hollywood happy ending.
