He's Just Not That Into Kate and Leo
He's Just Not That Into You: Dustin absolutely loathed this, writing: He's Just Not That Into You has got to be one of the absolute worst romantic comedies in recent memory. Why? Because it's no better than Bride Wars or 27 Dresses, but it pretends to be. It pretends to be an insightful movie, one full of self-help witticisms and meaningful relationship advice. It's not. It's torturous drivel -- a long series of platitudes wrapped around a wet, gooey center of suck. The only difference between this one and others is the sheer amount of Hollywood celebrities that were roped into playing bit roles and a two-hour plus running time, which only serves to belabor the film's emptiness.
Defiance: The Boozehound rued yet another of Edward Zwick's missed opportunities, writing: "Zwick's minor failure with Defiance is all the more exasperating because the tale covers potentially exciting ground hardly trodden by artistic feet: an instance during the Holocaust where Jews formed a pocket of armed resistance. There are few aspects of history better documented in dramatic film than the horrific persecution and genocide of European and Slavic Jews, but damn few examples exist depicting Jews taking up arms against their persecutors (a dearth earnestly discussed in Knocked Up), and Zwick had a real opportunity to do something quite rare in Hollywood: take the original and make it transcendental."
Revolutionary Road: Dustin suggested that Kate Winslett and Leonardo DiCaprio's Revolutionary Road was perhaps too well constructed, writing: "Granted, Revolutionary Road isn't a bad movie, nor should it be with the level of talent or the source material involved (Richard Yates' remarkable 1962 novel). The movie is technically flawless -- DiCaprro and Winslett act up a storm, and Mendes direction is perfect. A little too perfect, actually. Revolutionary Road feels like a movie that went from the novel to the storyboard to the screen flawlessly, but then again, there's no messiness to cling to. In a technical sense, Revolutionary Road is kind of that perfect friend you hate -- it's too well done, too meticulous. Even the arguments between the Wheelers feel too controlled -- Mendes has so perfectly constructed Revolutionary Road that he's sucked the life out of the story. It's impossible to really feel for the characters because they have no soul -- they're just perfectly dressed vessels who hit all the marks and deliver their lines perfectly -- hell, even their mussed hair looks perfectly tussled."
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