The film is quite an experience. While the plot is undeniably thin—perhaps even transparently so—it doesn't actually detract from the viewing. I found myself laughing quite frequently. The soundtrack is excellent, the acting holds up, and above all, the cinematography is superb. It’s pure gonzo; my hat is off to them.
Movies that require absolutely zero brainpower. Look, film is art; TV series are entertainment—provided they actually have substance. Otherwise, they're just a way to kill time.
I found the film to be quite compelling, though I struggle to classify it strictly as a comedy—perhaps because the lead actor is so inextricably linked to his role in The Intouchables. It feels more like a gritty, almost documentary-style examination of the immigrant experience within the democratic structures of Europe. There are comedic beats, of course; without them, the subject matter would likely have been too heavy to endure. The performances from the entire cast were exceptional.
I happened to come across some speculation suggesting that the third installment might reveal the daughter's boyfriend is actually the sole surviving son of Radin. Honestly, I am sincerely hoping they don't bother making a third one. I suppose I am part of a small minority who actually sat through the first film after finishing the second. I must admit, even the original wasn't particularly impressive.
I have such deep admiration for Woody; his stamina is truly remarkable. To think he’s pushing eighty and still manages to churn out a film every single year—complete with scripts packed with enough dialogue to fuel five mediocre productions—is nothing short of extraordinary. And occasionally, he even steps in front of the camera himself. The film itself is quite strong, though I found myself wishing for a slightly more cohesive thread to tie the vignettes together. That said, each segment is a riot in its own right. The sequence featuring Benign was easily my favorite, while the others were all equally delightful runners-up. It’s also genuinely refreshing to see Woody back in front of the lens after such a long hiatus.
Meryl is nothing short of phenomenal, though I can't help but feel the film itself missed its mark. It lacked a certain depth, didn't it? After all, her life was filled with far more compelling chapters than just the struggles of dementia.
There is really only one thing standing between this film and a perfect score for me. It’s Clooney. Honestly, his tendency to oscillate between those "I'm utterly bewildered" expressions and those "I'm just playing the fool" faces... it truly spoils the immersion for me.
Indeed. A masterful film, truly. And the performances? Simply sublime. I must confess, I have never particularly connected with any performance by Alec Baldwin before this, but he is nothing short of extraordinary here. That said, for me, the standout remains Jack Lemmon; there was something profoundly moving about him in one of his later roles.
I found the film quite entertaining, though I must say it feels somewhat incomplete. The happy ending didn't quite sit right with me—perhaps that is simply a byproduct of parental anxiety. In fact, one could almost argue the film’s underlying message is: "Go ahead, kids, try drugs!" Is there any actual clarification regarding what became of the model, or are we meant to be left searching for answers, just as lost as the protagonist?
Daniel Fisher7 said:I find it absolutely mind-boggling that he’s even been nominated for eight Oscars 🤷 , and I can't help but wonder: what on earth is the criteria here?...
....It is quite frankly a story we have all seen millions upon millions of times before; you could easily compare it to any old-fashioned Hollywood romance if you wanted to.....
....The only logical conclusion my mind keeps jumping to is that George is using this particular film as some sort of elaborate, cinematic attempt to answer the age-old question of why he hasn't tied the knot just yet!?!?
....and then there is that IMDb rating of 8.0 😕
To honestly feels like a much bigger shock to me than those Oscar nominations.
I am utterly disappointed. There is perhaps one redeeming moment in the entire film—that scene where the girls discuss what they look for in a guy during their youth versus when they've matured. Beyond that, it’s just pathetic. George Clooney delivers his usual performance, cycling through those two signature smiles—one sly, one charming—but I certainly don't see any heavy-hitting acting here worthy of an Oscar nomination. What I found most irritating, however, was the sheer lack of direction from the writers; it feels as though they had no idea what they were actually trying to achieve. Is it meant to be a romantic comedy, as the marketing suggests? It isn't particularly romantic, nor is it funny. A social drama? If so, it remains incredibly shallow and superficial. Had the movie simply slid toward a predictable happy ending, it might have passed for tolerable fluff, but once we hit that twist in Chicago—which felt entirely unearned from a screenwriting perspective and existed solely to shock the audience—the film completely loses its way.
A pleasant little flick for those sweltering summer days. It’s nothing more than that, really. As for a Green card, this movie isn't even in the same league.
I used to be quite an avid cinephile—it was practically a hobby of mine—but these days, I find most films exceeding the ninety-minute mark to be unnecessarily bloated. It feels as though directors are simply running out of substance; they stretch a narrative to three and a half hours just so the critics can pat themselves on the back and label it "high art."
She is truly an exceptional actress. In my estimation, perhaps no one else has tackled such a vast array of films and inhabited such wildly different characters. For me, her most striking performance remains her dual role in The French Lieutenant's Woman. I also found her work in Adaptation to be quite remarkable—she played that part with a completely unhinged, brilliant energy.
Bradley Gomez6 said:The show is fine—charming enough, I suppose—but let's be honest: it’s already cycled through PBS Kids two or three times now. It would be downright insulting to give it a decent primetime slot when they won't even let relatively decent series finish their runs, much less invest in picking up new seasons.
So why is it that those Cosbyesque, recycled pieces of nonsense are always shoved into the afternoon lineup?
velvetdrifter15 said:Well, if we're looking at that late-night window around 11:30 PM to midnight, it depends on whether it falls on a Wednesday or Thursday!
It’s a classic move, isn't it? Every five years or so, when FOX finally decides to air something actually worth watching, they schedule it at an hour when there isn't a soul awake to see it. Meanwhile, they fill the rest of the day with absolute garbage that nobody wants to watch.
driftingmason7 said:All things considered, I find Russell Crowe to be the superior actor. He didn't just master the genres they are both most famous for; he proved himself in entirely different arenas as well. From playing a somewhat dim-witted cop in *L.A. Confidential* to portraying a schizophrenic mastermind in *A Beautiful Mind*, and moving through Westerns to his signature historical epics—his range is undeniable. Does Charlton Heston really possess that kind of versatility? I suspect not. Besides, Crowe still has plenty of room to grow. It’s a compelling comparison, regardless.
Samuel Ortiz3 said:Personally, I find Shrek The Third to be the standout of the trilogy. It feels the most cohesive, if I do say so myself, but more importantly, the humor strikes me as remarkably fresh—perhaps even the most mature of the bunch. It seems to cater far more to an adult sensibility than to children. I’d certainly recommend it. 👍
For me, it edges out the second installment, though it fails to reach the heights of the first. All things considered, it’s a decent enough effort.