Shawn_Graham

This movie is a blasphemy on NASA. It's also about as funny as an asteroid belt. The writer can't tell if you are 7 years old or 17 years old. Imagine having Anthony Mackie and wasting it by having his character have pathetic taste in music. As if he would have anything but THE JAMS.

This film doesn't belong in sci-fi, it doesn't belong in comedy, it belongs in silly and stupid.

I suppose the only minor redeeming quality is the cassette futurism aesthetic, which is kind of quirky and cool, but wasted on this film.

Having said all this, if you like the first 20 minutes of the film, you'll probably like the whole thing. It's just the same theme over and over.

War movies tend to get it really bad, or get it really right. This one gets it right.

More of a docu-drama, than a narrative film, and non-stop "WTF" in your face the entire time. You instantly feel for the soldiers who were based in one of the most ill-conceived camps known. The ominous sense of dread and foreboding haunts the first few minutes of the film.

There are plenty of "gotcha" moments where you think a certain soldier is going to be with you the entire film, only to discover they are not. It's jarring and keeps you on your toes the entire time.

The handheld cameras are shaky, but not overly so, and bring you right into the terror that was that fierce battle.

Every actor delivers a satisfactory performance, but it is Caleb Landry Jones who delivers an Oscar-worthy performance as Ty Carter. An incredible portrayal which required careful nuance, it's one of the best pieces of casting direction I've seen in a long time.

A truly incredible film that will tear you apart, "The Outpost" quickly rises to the my top 25 all-time war films ever made.

The SFX budget alone probably could have fed a few small countries. But like the director said, it's impossible not to be a hypocrite anymore.

I don't know how many times the main music riff repeated itself, perhaps a dozen or more times. This film felt like a broken record and will be relegated to the compost bin of documentaries due to its hilarious premise that if we just eat more seaweed and take subways, we'll be fine.

The narrator must love the oxford comma, because he only speaks in threes. Something, something else, and then something finally. It's as if he can't make a point without talking in threes.

The one and only sole saving grace is the population problem, which the film glosses over. According to the film, women worldwide have around 5 children each. FIVE. If we were to stop that, we'd be OK. And they're completely correct. Population control is the ONLY way to really save us.

A fun game to play with this film is how many times they say "environment" or "resources" I stopped counting around 50. It's the same message pounded into your head over and over. We get it!

The nearly 10 minutes of credits shows the sheer volume and expense of making what is without question the slickest documentary ever produced. If Marvel made a documentary, it'd be this. The visuals were at times so corny and contrived they completely made you miss the message because you were so distracted as to how they did it.

Sure, the film is supposed to be a letter to his daughter, and aside from the unwatchably awful and inappropriate husband/wife sexual innuendos, I hope the kid "Velvet" sees it as a young woman of 16 or more and realizes she has to rise to heights far higher than this in order to make a dent in the world.