jtattle

And I still don't quite believe it was written by a real person. Teller and Taylor-Joy work what they were given, but it is a shame an adept and experienced script doctor didn't get their hands on this thing before production (the ghost of Carrie Fisher could have saved it). The trite boilerplate dialogue and onerous romantic sequences will drive most audience members nuts but the plot and setting is intriguing to start and while I threw up my hands more than once, I did watch the whole thing. There's enough material there to edit out a much, much, better film and maybe AI will come to the rescue of this story eventually.

If you look back at critics reviews and award nominations lists ten, twenty, thirty, years later, it is surprising how many lauded films slipped into irrelevance pretty quickly. Rewatching Goon, it is obvious now that it is a masterpiece of film making: an iconic storyline executed with brilliant performances, stellar direction, and absolutely perfect editing. There's more going on here than comedy, which is always true with any comedy that is really good. It is authentic and deserves to use Turandot as background music, which you cannot say about many films. Goon and Moonstruck would be a perfect double bill.

Watchable and even briefly evocative thriller. Great setting, atmosphere, and more than competent cinematography. Woodley stands out as a femme fatale. Gordon-Levitt makes the most of a generally solid script that has a few missteps. The dialogue, particularly the voice over, drops into heavy-handed pastiche every few minutes and that will probably seem bizarre to anyone too young to have seen Bogart. For all the tried-and-true dedication to the genre, they definitely could have gone for a more cut-throat ending, but they pull the punch at the last minute, which is significantly less satisfying.