The Bourne Supremacy (Greengrass, 2004)
Assassins don't kill people. Corrupt bureaucrats who control assassins kill people.
Author: kenmorefield
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Far From Heaven (Haynes, 2002) — 10 Years Later
The quickest and easiest way to annoy a fan of Far From Heaven, I suppose, is to say something like, "Yes, I know it is a Douglas Sirk homage, I just don't know that Douglas Sirk's films are all that great to begin with."
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Emma, Merida, and the Female Bildungsroman
In his critical reception history for the novel in the Bedford edition, Alistair Duckworth notes that "feminist voices" were seldom heard championing Austen prior to the 1970s
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The Dark Knight Rises (Nolan, 2012)
As I've acknowledged elsewhere, the Batman of this series of films is not the same character/hero I grew up with, and that complicates my reactions, making it harder (though, I hope, not impossible) to separate my disappointment from my judgment. That's not all of it, though, or I should have liked Rises more than The Dark Knight, and I'm not sure I did (even if I did judge it a better film).
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The Dark Knight (Nolan, 2008)
In social media I quipped that I thought The Dark Knight was essentially a Saw movie with marginally less gore. That's a deliberate overstatement but not by too much.
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Bonnie and Clyde (Penn, 1967)
Are Bonnie (Parker) and Clyde (Barrow) supposed to be sympathetic?
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Road to Perdition (Mendes, 2002) — 10 Years Later
Road to Perdition was not officially Paul Newman's last movie. He did some television work and Pixar's Cars after Perdition was released, but it looks and feels very much like a curtain call...or a torch passing.
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Brave (Chapman, Andrews, and Purcell 2012)
Payoff there is, but I found my own emotions at the conclusion somewhat muted by the fact that--and there's just no easy way to put this--I preferred the pre-chastened heroine to the one who had learned her lesson at the end.
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Rock of Ages (Shankman, 2012)
The most surprising thing about Rock of Ages is that I was prepared to like it.
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Prometheus (Scott, 2012)
Prometheus's biggest problem is not a lack of ambition, but of execution. The film is at no loss for ideas, but it can't really pause to catch its breath long enough to develop any of them.