Ocean’s Thirteen. Released: June 8, 2007. Starring: George Clooney, Brad Pitt, Matt Damon. Directed by: Steven Soderbergh. Runtime: 2h 2 min.
In “Ocean’s Thirteen”, Ocean’s team returns to Vegas when a sleazy casino owner Willy Bank (Al Pacino) double-crosses Reuben (Elliot Gould). The crew plan to get a bit of revenge for by sabotaging Bank’s grand opening of his hotel and casino, called “The Bank.” You can already see the huge ego on this guy, which Pacino plays very believably.
Writers (Brian Koppelman and David Levien) tinker with the formula by having this be more like a sabotage film than a heist film. This had me confused at times because I wondered where the monetary gain was here, but their plot is more for the satisfaction of taking down a bad guy rather than getting a lot money this time. Though, it’s nice they’re back in Vegas because this is where they shine.
They do so in rigging the games in the casino for massive payouts, and the way they go about this is clever and entertaining. The way they solve problems like the Greco player tracker coming to the casino, which monitors all games on the floor to see if wins are legitimate, is well-done.
It’s also equally rewarding watching the Eleven try to screw Bank over as it was watching them steal from Benedict (Andy Garcia) in the first film. Even though the film isn’t as much a heist film this time, it still has the stylish set-up of how they’ll sabotage the casino and it’s still really entertaining, even if it’s not as great as the first outing.
The characters are still interesting, even though any significant female presence isn’t here this time. Both Julia Roberts and Catherine Zeta-Jones don’t return because there wouldn’t have been any significant role written for them in the script.
Their absence in the film is explained by Rusty (Pitt) and Danny (Clooney) saying it’s not their fight. Because of this there’s only memorable female character, Abigail Sponder (Ellen Barkin), who is Bank’s right-hand woman. With the lack of females in this one, it’s no wonder they went for a female-led spin-off.
Ocean’s Twelve. Released: December 10, 2004. Starring: George Clooney, Brad Pitt, Julia Roberts. Directed by: Steven Soderbergh. Runtime: 2h 5 min.
Spoiler warning: There’s a spoiler for “Ocean’s Eleven” in the opening paragraph.
In “Ocean’s Twelve”, the old squad reunites to do one more heist when Terry Benedict (Andy Garcia) comes back for what they stole from him in the first film. It’s three years later and he wants the money back with interest. Without much of a choice, the Eleven must do what they do best: steal things to pay off their debt.
A new character here is Catherine Zeta-Jones as a detective, Isabel, on the tail of the Eleven. She also gets nice character moments and doesn’t feel cliché, even though she’s a love interest of Rusty (Brad Pitt).
She’s one of the film’s antagonists, and there’s also the Night Fox (Vincent Cassel), a rival thief who fancies himself the world’s best thief, and challenges Danny’s (George Clooney) team to stealing an item. The character sounds name sounds more like a comic book villain, but he’s just a petty thief.
The individual heists in this film are still entertaining even though they lack the flair of its predecessor. There are a lot more problems raised in this film but there are also a lot of interesting solutions.
The fact that the franchise exists in the real world with real celebrities gives comedic opportunity for writer George Nolfi. This includes an amusing cameo by Topher Grace, and it also makes things get really fun when Tess (Julia Roberts) gets dragged into the film’s scheme.
Most characters get their chances to shine again. Nolfi thinks of creative ways to get characters out of the picture for some time – like sending Yen (Shaobo Qin) somewhere else in a duffle bag, even though his character’s role is small enough as he just speaks Chinese.
Sometimes getting these characters out of the way for awhile is helpful because it’s hard to keep track of all of them. It’s also interesting to watch the Nolfi tinker with the formula more and see how it works outside of Vegas. It still works and offers entertainment, and it’s nice to see them stealing things again.
Ocean’s Eleven. Released: December 7, 2001. Starring: George Clooney, Brad Pitt, Julia Roberts. Directed by: Steven Soderbergh. Runtime: 1h 56 min.
With Ocean’s Eight releasing on Friday, I thought I’d review the trilogy, which starts with 2001’s “Ocean’s Eleven” based on a 1960 Rat Pack film of the same name.
When Danny Ocean (George Clooney) is released from prison, he immediately gets a crew together to rob three Las Vegas casinos simultaneously.
Steven Soderbergh’s style is what helps make this film so much fun. The writing by Ted Griffin is also stellar and the way he introduces the members of the Ocean’s Eleven is so great and it tells you all you need to know about them.
This is best shown in the scene when we meet twin brothers Virgil (Casey Affleck) and Turk (Scott Caan) Malloy as they’re bored passing time and Turk runs over Virgil’s small remote-control monster truck while Turk races it in a giant monster truck. Their banter’s one of the consistently funny things in the franchise.
The montage-like explanation of how they’re going to execute the heist is also entertaining. The team of characters and the cast is great and everyone plays their roles well. Rusty Ryan (Brad Pitt) is Ocean’s sidekick and helps recruit the team. His banter with Ocean is strong. Julia Roberts is also great as Danny’s ex-wife, Tess.
Rounding out the eleven include sleight of hand guy Linus Caldwell (Matt Damon), insider blackjack dealer Frank (Bernie Mac), tech guy Livingston Dell (Eddie Jemison), grease man Yen (Shaobo Qin), master of disguise Saul Bloom (Carl Reiner) and explosives guy Basher (Don Cheadle).
There’s also Reuben (Elliot Gould) who bankrolls the heist because of a vendetta against casino owner Terry Benedict (Andy Garcia), the man they plan to steal from. They plan to steal $150 million on a busy casino night from his vault.
We find out how they want to get in but Reuben points out it’s really an impossible heist because the hardest part is getting out. “Once you’re out the front door you’re still in the middle of the fucking desert,” he says. Gould’s a delight, here, especially when he does his recap of the most successful casino robberies (still colossal failures). He’s funny, and in these cutscenes is a spot where Soderbergh’s style and cinematography shine through.
During the leadup and during the heist, the writing’s really smart because we as the audience aren’t always in on the plan and it’s fun to see how they do what they do. It makes it more entertaining.
What works best for the film besides its editing, score and great direction is that all of the actors have a flawless chemistry. There’s amusing banter between all of them. It helps that their characters are well-written, too, and there’s a believable hostility between Ocean and ex-wife Tess.
It’s hard not to be entertained by this. I mean, I watched this over two years ago and I was still on the edge of my seat and thoroughly entertained because I only vaguely remembered what the twists and turns were. However, that just might be an ode to my bad memory.
Released: November 8, 2013. Directed by: Steve McQueen. Starring: Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch. Runtime: 134 min.
Imagine you’re at home enjoying your life as a free black man in upstate New York. Your beautiful wife and kids go away for two weekends, and when two men approach you with an opportunity to make some money, why not say no? One couldn’t predict that by saying yes to making a paycheck, they would then be drugged and sold into slavery. That’s exactly what happens to Solomon Northup (Chiwetel Ejiofor), a real person sold into slavery in 1841.
The premise is part of what makes “12 Years a Slave” such a powerful film. In any case, anyone being uprooted from their life is a terrifying reality, even today. Back then, it seems that many were a bit more clever than staging a home invasion. Solomon is backstabbed by business parters he trusted, portrayed by Scoot McNairy and Taran Killam. This film might just be the one to open people’s eyes as to why the black people of today are so protective of their rights.
It’s an educational feature, and the most powerful film of the year. It’s one of my favourite slavery films as well, at least for educational purposes. I’d give this a rewatch with pleasure, which would also allow me to watch a few scenes again that I didn’t comprehend completely. I prefer Quentin Tarantino’s “Django Unchained,” but that and this cannot be more different in tone. “Django,” to sum it up in so many words, is an entertaining treat. Another similarity is that both films probably hit the 100-mark with using derogatory statements, mainly the ‘n’ word. Paul Dano might have said it about 40 times it one cruel Southern tune.
John Ridley (director of “All is By My Side” which I didn’t like) adapts Northup’s 1853 novel very well, and director Steve McQueen knows what makes humans tick. This film is the platform for a harrowing odyssey of a man’s bravery and will to survive. Solomon’s drive is his family and he is making sure he does not sink into despair, by keeping their memory alive. He doesn’t know if he’ll ever see them again, but he tries to be as cooperative as possible in order to survive – which isn’t very at times, when he cares about fellow slaves. One of his friends is a woman named Patsey (Lupita Nyong’o) who plays a critical role in the film. He meets her on Edwin Epps’ plantation/farm.
Epps is portrayed by Michael Fassbender, in a haunting villainous performance. Don’t be surprised to get chills from him in a few scenes. Epps is known famously in those parks for breaking his slaves’ spirits, it seems – even if his wife (Sarah Paulson) thinks he could do a better job. He is a malevolent soul, and he makes a previous slave owner of Northup’s (Ford, portrayed by Benedict Cumberbatch) look like a saint – and he already was a very considerate man. Northup meets several characters along his long journey, helping this film have a star-studded cast, even if some big-name actors have about seven minutes of screen time (like Brad Pitt, Paul Giamatti and Garrett Dillahunt – to name some).
There’s one main problem that the film has, it never really allows viewers be aware of what year it is. The only clue is the title. It starts out in 1841, and since there’s a scene at the beginning that shows up again in roughly the third act, we know that we’re caught up – but we still can’t tell what year it is. It doesn’t affect one’s enjoyment severely, but even cues like older make-up for Solomon would assist the film. It would give us an idea of how long he has been slaving for. There are some scenes that feel like they will go on forever, but that is purposeful in one scene to show that slaves cannot interfere when someone is being punished, so to speak. That being said, this has quite a few shocking moments – so it’s not for the faint of heart!
The film’s power is greatly prominent in Ejifor’s performance, as he tries to hang onto his humanity, not give up his hope and not sink into despair. Many slaves give up much faster than Solomon Northup, but he has something to fight for; and that’s what makes this film so inspiring and moving. It also helps it become an unforgettable experience.
I saw six out of the nine major theatrical releases of June. I still plan on seeing the following from the month of June, in alphabetical order: “Berberian Sound Studio”, “The Bling Ring”, “Byzantium”, “The Internship”, “Maniac”, “Much Ado About Nothing”, “Song for Marion”, “Syrup” (because I love Brittany Snow), “Violet & Daisy”, White House Down”. Considering that the lowest score of June’s new releases was 50 out of 100 (surprisingly “awarded” to “Man of Steel”), it was hardly a bad month for movies. Here’s the ranking of the June’s releases from best to worst, with a blurb from each of my reviews.
“This is an insanely funny movie. Ridiculous, yes, but a sure blast if there ever was one. It’s all good old-fashioned, self-aware bliss. This just shows that a comedy about hanging out with one’s best buds could be a real gem to the genre. Adam Sandler could take quite a few pointers from this comedy.” 91/100. This was my fourth most anticipated movie of June, and it exceeded expectations, and it’s currently my favourite movie of the year thus far.
“I will always cherish this fantastic film. I will always watch this with a big smile on my face. This is an impressive prequel to “Monsters, Inc.”, and an impressive Pixar movie.” 90/100. This was my most anticipated movie of June, and it truly satisfied.
IMDb Score: 7.8/10; RTC: 6.7/10; RTA: 8.4/10.
“The story’s a good one, as far as ‘find the cure’ movies go. Since I have not read the book, I cannot comment on any similarities or big differences. All I can say is, it’s a story that plays well on the screen. I like that Drew Goddard has a hand in the screenplay; because he has talent. It’s a traditional, but very enjoyable ‘find the cure’ type of film.” 75/100. This was my tenth most anticipated movie of June, so it really impressed.
IMDb Score: 7.3/10; RTC: 6.2/10; RTA: 7.6/10.
“The humour is raunchy as hell, but usually funny as hell. When I wasn’t laughing at the jokes, I was at least smirking a little. When it isn’t being hilarious, the likeable chemistry between Bullock and McCarthy really carries it along. The movie balances out to a fun, predictable, but hysterical time at the movies.” 75/100. This was my seventh most anticipated movie of June, so it did satisfy.
IMDb Score: 7.1/10; RTC: 6.0/10; RTA: 8.0/10.
“The concept helps make this movie memorable. However, this rushed home invasion flick/intriguing social commentary ends up being incredibly average. It’s disappointing, and while it has some worthwhile menacing villains, it’s the latest movie to the Great Concept, Poor Execution category.” 57/100. This was my third most anticipated movie of June, so it was truly disappointing.
IMDb Score: 5.6/10; RTC: 5.1/10; RTA: 6.0/10.
“I do not appreciate the constant changes in tone throughout the feature. It goes from big, stupid action to character-driven drama that feels real. It becomes bothersome quickly, and it does not make for effective storytelling.” 50/100. This was my second most anticipated movie of June, so it was a big let-down.
IMDb Score: 7.8/10; RTC: 6.3/10; RTA: 8.0.
Here are some statistics:
IMDb Ranking: 1. “This is the End” (7.9), 2. “Man of Steel” (7.8), 2. “Monsters University” (7.8), 4. “World War Z” (7.3), 5. “The Heat” (7.1), 6. “The Purge” (5.6). Average score: 7.25/10.
RT Critics Ranking: 1. “This is the End” (7.0), 2. “Monsters University” (6.7), 3. “Man of Steel” (6.3), 4. “World War Z” (6.2), 5. “The Heat” (6.0), “The Purge” (5.1). Average score: 6.21/10.
RT Audience Ranking: 1. “Monsters University” (8.4), 2. “The Heat” (8.0), 2. “Man of Steel” (8.0), 2. “This is the End” (8.0), 5. “World War Z” (7.6), 6. “The Purge” (6.0). Average score: 7.66/10.
My Average score: 73/100. (Adjusted [excluding lowest grade]: 77.6/100.)
What movies did you enjoy out of June’s releases, and which ones did you hate? There were a total six votes in my Most Anticipated Movies of June poll (4 to “Man of Steel”, 1 to “This is the End”, and 1 to “Monsters University”, which was my vote). Did your most anticipated movie satisfy or disappoint the hell out of you? Let me know in the comments!
Also: I’ll be posting my Best of the Year So Far article sometime this weekend or early next week. Stay tuned!
The zombie sub-genre is a successful one. (And The Walking Dead shows it’s wildly successful on television, as well.) We saw that with Warm Bodies earlier this year, that brought about a unique film to the the zombie sub-genre. World War Z is a more straight-forward zombie movie that doesn’t try to reinvent anything. Apparently movie-goers don’t tire of watching zombies or the world end, either, as this is the second zombie movie and umpteenth apocalyptic flick of 2013.
United Nations employee Gerry Lane traverses the world in a race against time to stop the Zombie pandemic that is toppling armies and governments, and threatening to destroy humanity itself.
World War Z mashes genres of action, drama and horror together in this zombie feature that’s a little more in the vain of 2007’s I Am Legend and less TV’s The Walking Dead. If your favourite part of any zombie movie is all of the blood, you’ll be sorely disappointed. The only blood presented are in the form of cuts and bites from the zombies, for the most part. Even when the zombies are shot, there’s hardly a realistic shot of blood – mostly because the majority of the zombies are CGI-animated. It is never, ever gory.
Half of the kills even happen off-screen. That could take half of the fun out of the movie for fans of people getting mauled by zombies. The movie is surprisingly human. That isn’t saying that the zombies themselves are human, even if some have senses of humour. Some tease their victims by clacking their teeth together like Pac Men. It’s funny, yet menacing. Anyway, the human part of this is in Brad Pitt’s character. He, Gerry Lane, is an average UN worker, who others think could play a critical role in stopping this epidemic. His motivations are driven by his family. He wants to find a cure, or at least something to save some of the human population, as quickly as he can so he can keep his family from turning into those monsters. I really like Brad Pitt’s honesty in his portrayal.
One might get the vibe from the trailer that all of of the zombies will be in the form of CGI. Thankfully, that is not the case and there are quite a few humans actually playing the zombies. This movie probably does hold the record for tallest CGI-zombie doggie pile. Generally, the visuals are decent. Some of the movie suffers from shaky cam, which just shouldn’t be present in a big budget movie – because, really, one would think they could pay for cinematographers without Parkinson’s disease. The majority of the scenes are in the dark, and a lot of the camerawork is generally busy. A few scenes, generally near the beginning at the start of the hectic epidemic, are eye sores. I don’t see how 3D visual effects would add anything to the movie; it might even make the movie more excruciating to the eyes.
The story’s a good one, as far as ‘find the cure’ movies go. This film is adapted from the book of the same name written by Max Brooks. I have not read the book, so I cannot comment on any similarities or big differences. All I can say is, it’s a story that plays well on the screen. I like that Drew Goddard has a hand in the screenplay; because he has talent. It’s a traditional ‘find the cure’ type of film, that doesn’t become complicated. If you do miss a few lines of critical dialogue, however, you might be out of the loop for a few minutes. Director Marc Forster brings his A-game, but he could be more aware that his movie suffers from shaky cam. It doesn’t add to the experience at all. Nor would the 3D; but this is the film industry, so they want to make money.
The make-up for the zombies is good, at least those who are human. I wouldn’t exactly call this a horror movie. You might jump once or twice, but not constantly. There is a constant tense and suspenseful atmosphere. You’ll appreciate how the screenplay keeps you guessing (but it’ll be less predictable if you haven’t read the book – I’d assume). The cast is good. James Badge Dale and David Morse are memorable in petite roles. Mireille Enos has been appearing on the small screen since 1994, but this is only her second movie role. Nonetheless, she performs well. Even if her character makes a few unfortunate decisions, that don’t exactly affect her.
The entire feature won’t stand out prominently in memory by the end of the year, but there’s one particular air plane scene that is good, intense fun; if not entirely realistic. This movie isn’t exactly a good horror movie, per se, but it does have scary aspects. It’s mostly just an effective actioner. I also like how it is character-driven and is never boring. For a big-budget action movie, the cinematography is too shaky. I wasn’t anticipating this heavily – so it’s a nice surprise.
Note: I love the idea of a good mob flick. I have a large list of ones I have to check out, including ‘Goodfellas’ (cue the gasp); and in all honesty, this is my second mafia related film (I think). The first being ‘Road to Perdition’. But I loved this. Enjoy the review.
Ah. Hitmen meet the economy; they go together like peanut butter and jelly.
Jackie Cogan (Brad Pitt) is an enforcer hired to restore order after three dumb guys, who think they’re smart, rob a mob-protected card game, causing the local criminal economy to collapse.
Johnny Amato (a.k.a., Squirrel; portrayed by Vincent Curatola) is the so-called mastermind behind the heist of a mob-protected card game. He enlists the assistance of Frankie (Scoot McNairy) and Russell (Ben Mendelsohn), and the plan is seemingly golden. The host of this card game is Markie Trattman, a man who hosted another card game in the past, and he then robbed his own card game. Due to that, card games went away for a little while. Now they’re back. The local criminal bosses believe that if this one gets robbed, Markie will have to be behind it. That’s what makes these three dumb guys believe that this is a foolproof plan.
Because of all this, Jackie Cogan gets called in to restore a little order to this imperfect local economy.
The film opens with Frankie (Scoot McNairy) walking down a rundown street, and the film cuts between a politician speaking (Obama or George W., possibly) and him. The wording constantly gets off. This is both stylish and artistic, but it will get irritating to the impatient viewer. It becomes known that this film is set when George W. Bush was still leader of the free world, and America was in an economic crisis. The card game being robbed doesn’t particularly assist the local criminal economy in any way.
In that way, this is both a story of violence and despair, and a compelling and complex social commentary of 2008 America in the midst of one of the worst financial situations since the Great Depression. The concepts in Killing Them Softly are complex, but they aren’t hard to comprehend. The film suggests that America is not a place where one could easily raise their kids. It is not a community, it is a business. However, these concepts of economics and capitalism are not subtly explored. The political voice-over speeches are practically right in your face, as if they’re 3D. Though, this barely bothered me.
Jackie Cogan is an awesome character who is filled with philosophy and mystery. Though, he isn’t the only interesting character in this. There is also Frankie and Russell, who may be a little dim-witted, but they are nonetheless good characters. Russell is often really there just for comedic relief, and he is also a representation of the stupid people of America. Frankie may be sort of dumb, but he is much smarter than Russell. Both the characters are good enough to carry the film for their scenes. In fact, they practically carry the film for the first twenty minutes – with a little help from Curatola and Liotta. These actors remind us that a film can be good, even when Pitt isn’t onscreen. Also, Brad Pitt entering the screen to the sound of Johnny Cash’s “The Man Comes Around” is the perfect touch.
Brad Pitt, as usual, is a booming screen presence. Put him next to Richard Jenkins’ character, he’s cool and he has a mysterious bravado. Speaking of Richard Jenkins’ character, his name is never revealed. He is just the middle man of crime who pays Cogan. Though the question of who Jenkins works for is left unanswered. That is one of the pleasant ambiguities and mysteries of the film.
Though, put Pitt next to James Gandolfini’s character of Mickey (another hit man called in by Cogan to help out with killing the twerps), he’s nothing special. Only because he’s listening to Mickey talk his ear off. Mickey’s character hardly fascinated me. He talks too much, and he doesn’t kill enough. Don’t get me wrong, Gandolfini’s a great screen presence. I just wasn’t digging the character. So don’t you tell Gandolfini to put out a contract on my head. I don’t want to die, man. I’m just telling it how it is.
Scoot McNairy has proved to audiences that he is a solid supporting presence (Exhibit A: this; and Exhibit B: Argo) and also a good leading man presence (as shown in 2010’s Monsters). I look forward to more performances by this promising actor.
The story, the cinematography and the editing are the real highlights of the film. There are a few other vividly cool editing sequences, that leave me feeling impressed. There’s one scene where Pitt is firing a gun in the rain in a slow-motion sequence, that is stunning. It’s vividly cool, and is worth the watch simply for that. Don’t stay for just that, though. This is one of the best films of the year!
There is a whole load of killing, but not as much as it seems to promise. In that way, the advertising is sort of deceiving. That’s okay, though, the other things that it never promises make up for it. There’s a fair share of soft, but brutal, killing to satisfy all, even though the kills are far between each other. The social commentary it offers is also profound. Sometimes it gets talky, but it is never uninteresting. The film has its fair share of intensity. The soundtrack is great and the atmosphere it offers is one of the most unique of the year. The writing is great, and the actors are great. They don’t disappoint one bit. There’s enough violence, and enough politics and economics to leave both crime movie lovers and scholars with a smile on their faces by the time the end credits roll. Just don’t expect non-stop carnage, and you’ll be good.
Stars: Edward Norton, Brad Pitt, Helena Bonham Carter
Runtime: 139 min
Tagline: Mischief. Mayhem. Soap.
Vote Tyler Durden for President.
An internally angry office worker insomniac (Norton) joins forces with a slippery soap salesman (Pitt) to create a shocking new form of
therapy that channels primal male aggression. This therapy is to beat
the hell out of each other, but the first and second rule of Fight Club is that you cannot talk about it. Their concept becomes popular and soon catches on in every town worldwide, and they become a secretive household name. When an extremely eccentric woman (Carter) creates tensions between the two, which in turn ignites a violent out-of-control spiral toward oblivion.
Fight Club offers one heck of an experience that is original on all levels.
It really is difficult not to fall in love with the atmosphere the film offers.
It’s easier for the male demographic to enjoy, but that doesn’t
mean females shouldn’t at least give a try. It’s darkly funny, wonderfully dramatic and uses themes of anarchy and mayhem extremely well. This film owns just about some of the greatest and most unique cinematography I have ever witnessed. It is so great and stylish, that it’s really hard not to appreciate. David Fincher is a great director in his finest hour that brings a unique style to this great film. I love writers and directors that can create atmospheres like this, and create comedy in the most intense of situations.
The direction, the cinematography, the editing, the writing, the
acting, the visual effects (must I go on?), are all amazing. Chuck
Palahniuk, the writer of the novel that this film was adapted from, has stated this film is an improvement on his novel. I wouldn’t know about that, but I’d like to give the novel a read.
Both Norton’s and Pitt’s characters are so fascinating. They are both fairly troubled, which makes for great characters. They are also
wonderfully developed. Their legacy of Fight Club started an eventual violent revolution, and you simply must see it unfold. And then watch it again. And again. Why not another time? Seriously though, it really is worth the second watch. You’ll pick up on things that you may have missed.
All of the other supporting characters, like Marla, are really cool, also. I mean she may get irritating, but she has a great sense of humor, and she’s played well by Carter. Each character has a sense of humor, and some sense of philosophy. Especially Pitt’s, he’s one fascinating character. Each actor performs quite well, no matter how small the role. There are some darkly hysterical scenes, dramatic scenes, sexy scenes, vivid and visually beautiful scenes, intense scenes, strange scenes, stylish scenes, violent scenes, twisted scenes*, and each scene is memorable in its own right.
Edward Norton, Brad Pitt, Helena Bonham Carter, Meat Loaf, Zach Grenier and Jared Leto star in this film.
Fight Club is a daringly original cinematic experience that offers one heck of a dark, hysterical, and flawless experience. The
atmosphere is great, and the visuals that are offered are quite stunning. It really is an incredible cinematic achievement. If you didn’t think it was good, or even a little funny, you may just have a tumour called Marla.
* and one scene, two scenes, red scenes and blue scenes, a little Dr. Seuss for you.