History Main / FilmsDiscussedByMoviebob

27th Aug '15 5:12:20 PM TARINunit9
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Unless otherwise noted, each film has been reviewed as part of ''Escape to the Movies''.
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Unless otherwise noted, each film has been reviewed as part of either ''Escape to the Movies''.Movies'' or ''Moviebob Reviews''.
18th Oct '13 9:29:18 AM TheRedRedKroovy
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The following is a list of all of the movies that "Z-list internet personality" [[Creator/BobChipman Moviebob]] has reviewed or otherwise discussed.
to:
The following is a list of all of the movies that "Z-list internet personality" [[Creator/BobChipman Moviebob]] has reviewed or otherwise discussed.discussed. Unless otherwise noted, each film has been reviewed as part of ''Escape to the Movies''.

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17th Oct '13 4:33:59 PM Feinoha
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17th Oct '13 4:32:30 PM Feinoha
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Page is done splitting. Please also see my forum post
The following is a list of all of the movies that "Z-list internet personality" [[Creator/BobChipman Moviebob]] has reviewed or otherwise discussed.
to:
The following is a list of all of the movies that "Z-list internet personality" [[Creator/BobChipman Moviebob]] has reviewed or otherwise discussed.

[[folder:Films #-E]] * ''2 Guns'': It starts off with a clever hook -- two undercover cops working together who don't know that the other guy is also a cop -- and has two very well-cast leads in Creator/DenzelWashington and Creator/MarkWahlberg, who play well off of each other. However, the rest of the movie is [[SoOkayItsAverage just alright]] and not all that interesting, epitomizing the disposable {{dump month|s}} action movie/star vehicle. Only worth watching for fans of its stars. * ''Film/TwoThousandOneASpaceOdyssey'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. Many scenes have little bearing on the plot, instead serving to get us into the mindset of its protagonists. * ''[[Film/TwoThousandTwelve 2012]]'': The so-called "[[MayanDoomsday Mayan prophecy]]" the film's based on may be a load of crap, but it still gave Bob everything he could possibly want out of a large-scale, end-of-the-world disaster movie. He ''loves'' to see [[ClicheStorm stupid stuff]] like [[MonumentalDamage the destruction of landmarks]], [[{{Melodrama}} cheesy family drama]] and [[NoOneCouldSurviveThat improbable escapes]] in movies like this, and Creator/RolandEmmerich can [[{{Troperiffic}} really do it]]. It knows what kind of movie it is, and it delivers in spades. He feels that the difference between a "good" silly blockbuster like this and a "bad" one like ''Film/{{Transformers}}'' comes down to the technical proficiency of the director -- rather than engaging in "stylish" rapid cutting and JitterCam to wage war on the viewers' senses at the expense of coherence, this film maintains a uniform, coherent style that looks downright beautiful on screen. * ''Film/TwentyOneJumpStreet'': An extremely funny movie. Didn't review it, but he mentioned it in his ''Film/CasaDeMiPadre'' review, noting that the reason why he reviewed that film instead of this one was because ''Casa'' was trying something unique. * ''Film/FortyTwo'': A movie that "feels like it could have been made by a machine." If you know [[JackieRobinsonStory the story of]] JackieRobinson and have seen any other movie about UsefulNotes/{{baseball}}, you know exactly what to expect from this film, and [[StrictlyFormula you'd be exactly right to expect it]]. It's competently made, but HarrisonFord's great, larger-than-life performance as the Brooklyn Dodgers' owner is the only thing that elevates this film above being another SoOkayItsAverage inspirational sports movie. * ''[[WesternAnimation/{{Nine}} 9]]'': Bob found this one to be SoOkayItsAverage despite the breathtaking animation, filling the otherwise short review with a explanation of the difficulty of producing commercial adult-oriented animation films and a vent against hardcore {{anime}} fans who insist only Japan is capable of doing this. * ''Film/TheATeam'': Called it a fun action flick, made even better by the character's marked enjoyment at all the cool stuff they get to do, i.e. 'not every character needs to be Batman'. * ''Film/AbrahamLincolnVampireHunter'': Nothing can change the fact that the film is "a gimmicky joke of a movie," and it's got some problems with third-act pacing and the action scenes all seeming to blend together, but it's still a worthwhile watch, helped along by the fact that it plays its central premise as a straight-faced piece of historical fiction rather than an extended gag. He also found it interesting to see a movie that paints [[UsefulNotes/TheAmericanCivilWar the Confederates]] not only as villains, but downright monsters at that. * ''Film/ActOfValor'': The action scenes are amazing, thanks in no small part to the fact that [[BackedByThePentagon the US Navy was directly involved in its production]], ensuring realism and authenticity instead of phony Hollywood machismo. Unfortunately, [[ActionFilmQuietDramaScene the talkier, non-action bits]] aren't nearly as good, with a number of "movie-like" moments that break the film's sense of realism and some mediocre acting from the active-duty Navy [=SEALs=] in the lead roles. Military buffs will love it, but most others would probably have been better served by a straight {{documentary}}. In addition, both within the review and in the following week's [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9448-Pop-A-Ganda "Intermission" column]], he rebuked the widespread concern that the film was a jingoistic, pro-war propaganda piece/recruitment tool, saying that it was no worse in that regard than any number of recent Hollywood action films, and that people on both sides [[WhatDoYouMeanItsNotPolitical read too much politics into popular culture]].[[note]][[ShoutOut Yvan]] [[WesternAnimation/TheSimpsons eht]] [[TheStinger Nioj]]![[/note]] * ''Film/TheAdventuresOfTintin'': Great directing, great action, and the best (though [[UncannyValley still not perfect]]) use of performance capture technology in filmmaking history make a very worthwhile watch. Bob also comments on how the mere fact of the film's production, what with it being a big-budget adaptation of [[{{Tintin}} a property]] that's [[AmericansHateTingle never been big in America]], showcases Hollywood's growing recognition of the power of non-American moviegoers. * ''Film/AfterEarth'': "Creator/MNightShyamalan might '''really''' want to look into a change of careers." Bob found this to be an incredibly boring movie to watch, an ego trip for both Shyamalan and Creator/WillSmith that's among the worst of both their careers. He spent a good chunk of the review laughing at the film's dumber moments (namely, one of the main characters being named [[AwesomeMcCoolname Cypher Raige]]) while criticizing the film for having a plot structure that felt more suited to a video game than a film, including using a number of arbitrary gameplay tropes. Also, both Will Smith and his son Jaden give incredibly dull performances here, with Will's famous charisma nowhere to be seen and Jaden out of his depth as an ActionHero, and the film's backstory about humanity leaving EarthThatWas is never properly utilized and feels superfluous. * ''Manga/{{Akira}}'': Feels that it's a perfectly serviceable {{cyberpunk}} action film, nothing more, nothing less, and that most of its popularity comes from it being [[NostalgiaFilter most Americans' first "real" experience]] with {{anime}} rather than its own merits. In [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9204-Advice-From-a-Fanboy-Akira.2 one of his "Intermission" columns]], he offered some tips on how to do the American remake properly. * ''Film/AlexCross'': A terrible movie that can't even bring itself up to being entertainingly awful, with the clean-cut Creator/TylerPerry unconvincing as an ActionHero (though he could've been much better in a more conventional mystery drama) and Matthew Fox delivering a laughably one-note and [[LargeHam over-the-top]] performance as a villain who feels like he came out of a comic book more than a relatively grounded police movie. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/AliceInWonderland'': While it works in bits and pieces, and the art design, special effects and score are amazing, ultimately it fails spectacularly to come together as a whole movie. Bob felt that, story-wise, it was a mess that tried to shoehorn the RandomEventsPlot of Creator/LewisCarroll's novel into a "good vs. evil" narrative reminiscent of a MerchandiseDriven cartoon from TheEighties -- something that someone like Creator/TerryGilliam or Creator/AlanMoore might have done as a spoof of the Hollywood system. * ''Film/TheAmazingSpiderMan'': "A rancid, terrible, stiflingly inept, torturous-to-sit-through piece of [[CensoredForComedy s***]] whose every second of its unforgivably long running time feels like the worst kind of passionless, cynical, mechanical, soulless, assembly-line, commercially-focused corporate filmmaking." Bob went into the film having dreaded it for the past year, due to the fact that it was put into production for the sole purpose of allowing {{Sony}} to hold onto the ''Franchise/{{Spider-Man}}'' [[Film/SpiderMan film rights]] and prevent them from reverting back to Creator/{{Marvel|Comics}} -- who, [[Franchise/MarvelCinematicUniverse at this point]], will likely never be giving them back. The end result didn't even meet his rock-bottom expectations, irritating him enough that he put out '''two''' ''Escape to the Movies'' episodes that week to discuss all his problems with it.\\ \\ The only thing stopping him from hating it as much as ''Film/GreenLantern'' was that he found it just too boring and lazy to really stay angry at, what with it completely recycling the origin story that Creator/SamRaimi's film did far better just ten years prior. Most of the "new" twists and wrinkles that it inserted into the plot either ruined the character's mythology, shamelessly ripped off Creator/ChristopherNolan's ''[[Film/TheDarkKnightSaga Batman]]'' movies and/or ''Literature/{{Twilight}}'', or (often) both, while the action and special effects were crappy and the villain's motivations, personality changes and behavior made absolutely no sense whatsoever. It was bad enough to make him miss the "emo Peter Parker dance" from the third movie. It may not be the worst movie he's seen in 2012, but to him, it's the most contemptible. At the end of 2012, he listed it as one of his ten worst movies of the year.\\ \\ He returned to the film in the following week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9801-Conundrum "Conundrum"]] to discuss another problem he had with the film, the fact that plot threads that should've been resolved within the film itself to create a complete narrative were instead LeftHanging for the sequel. He felt that this was the dark side of the continuity-driven storytelling that ''Film/HarryPotter'', ''Film/TheLordOfTheRings'' and the MarvelCinematicUniverse had popularized -- it gives lazy screenwriters an easy way out of having to actually resolve major story points by simply promising that the film is the first in a franchise, and that the resolution is being saved for later. * ''Film/AmericanPie'': He hates the series with a passion, feeling that it isn't anywhere near as funny, edgy, or insightful as people proclaimed it to be, then or now. Didn't review any of the films, but he mentioned them in his review of ''The Raid: Redemption'', discussing why he chose not to review the fourth film, ''American Reunion'', which had come out that week. (He did see ''Reunion'', mentioning at the end of said ''Raid'' review that he thought it terribly generic and overly reliant on cameos from the old films and '90s pop culture references, and at the end of 2012 he listed it as one of his ten worst movies of the year.) * ''Film/AnAmericanCarol'' * ''Film/AnchormanTheLegendOfRonBurgundy'': Called it "a straight-up modern comedy classic" while discussing the sequel in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. ** ''Anchorman: The Legend Continues'': Having loved the first film, he's excited for this too, though he worries that Christina Applegate's role might be smaller than before, as she was a major part of what made the first film work. * ''Film/{{Anonymous}}'': He used his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9196-Shaken-Up "Shaken Up"]] to examine the UsefulNotes/{{conspiracy theor|ies}}y that the film was based on. He didn't review the film itself, but his thoughts on it were mostly positive, calling it "deliberately-paced, fiendishly smart [and] luridly ribald", and saying it'll appeal to fans of ''TheTudors'' or the ''Film/{{Elizabeth}}'' films. * ''Film/ApocalypseNow'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. In this film's case, the sheer length of the movie served to wear the viewer down, making them feel like Captain Willard and his men as they slogged their way to Kurtz's camp. * ''Appaloosa'' * ''Film/{{Argo}}'': An "exciting, engaging spy thriller" that avoids the trap that many films about the film industry fall into (i.e. becoming an excuse to indulge in inside jokes about Hollywood), instead wisely putting the focus squarely on the rescue mission that drives the main story. It's not very showy, but the lack of such theatrics works to its benefit. He opened the review giving a Cliff's Notes version of the Iranian hostage crisis and how it affected American politics. Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10204-Gold-Bugged-Mea-Culpa "Gold Bugged: Mea Culpa"]], he discussed how nearly every major professional film critic, himself included, had missed this film as a potential Oscar contender. * ''Film/TheArtist'': He liked it on a superficial level, but he didn't love it like so many other critics and moviegoers did (though he understands why many of them loved it). He found the story and characters to be rather shallow and overly reliant on [[SilenceIsGolden its gimmick]], and the film as a whole to be deeply rooted in [[ClicheStorm rom-com conventions]] and not quite as intelligent as it thinks it is. He felt its AcademyAward for Best Picture to be [[AwardSnub wholly undeserved]]. * ''Film/AtlasShrugged Part I'': Takes [[Literature/AtlasShrugged a book]] full of deep political philosophy and [[GenreBusting genre-bending]] sci-fi, and only covers the dull introduction while {{Bowdleris|e}}ing many of the edgier parts of Creator/AynRand's [[UsefulNotes/{{Objectivism}} belief system]]. The result: a boring film that feels like it was [[MadeForTVMovie made for TV]], and which could've been a lot better, especially given its production history. * ''Attack of the Super Monsters'': Not so much a film as it was a translated collection of a few episodes of a Japanese {{toku}} series called ''Dinosaur War Izenborg''. It's weird even by [[WidgetSeries Japanese standards]], combining live-action monster/robot rumbles (done with laughably obvious OffTheShelfFX), [[RogerRabbitEffect anime human characters]] that fit all the stock {{anime}}[=/=]toku archetypes, and creepy IncestSubtext, but it's watchable if you're into that kind of stuff. He also discussed the practice in the early days of home video of importers translating foreign (often Japanese) cartoons, toku shows and monster movies and releasing them DirectToVideo. Discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6442-Schlocktober-2012-Attack-of-the-Super-Monsters 2012 "Schlocktober" special]]. * ''Film/AttackTheBlock'': Loved it. While he hasn't reviewed it yet, he has recommended it on several occasions in his reviews, comparing it to old-school "JohnCarpenter high-grade BMovie asskicking" during his episode on films [[NotScreenedForCritics not getting screened for critics]], and noting that it was incredibly deep for what is essentially a B-grade monster flick. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/{{Avatar}}'': Ultimately very positive. He notes that while the plot itself isn't original, it helped in keeping the audience immersed in the fantastic world-building and theme-driven story. He also lampshades the FetishFuel potential behind it, noting that DeviantArt will probably go nuts with the movie and compares Neytiri to Jessica Rabbit as potential FetishFuelStationAttendant material. * ''Film/TheAvengers'': He'd been hotly anticipating and hyping up the very idea of it ever since TheStinger at the end of ''Film/IronMan''. In particular, as explained in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5622-Future-Assembly "Future Assembly"]], he's excited about the possibility of [[TheVerse shared continuity]] becoming part of the DNA of moviemaking, just as it is for comics and, to a lesser extent, television. However, he recognizes that it could easily have [[ContinuitySnarl some]] [[CashCowFranchise serious]] [[ContinuityPorn pitfalls]], and he later came back to this subject (in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9856-Avengers-The-Down-Side-Of-Up "Avengers: The Down Side of Up"]]) to say that Hollywood has drawn the wrong lessons from the success of the MarvelCinematicUniverse, continuity being among them.\\ \\ When it finally came time to review it, he loved the hell out of it, saying that it was a great film on its own merits and a downright miracle given [[MarvelCinematicUniverse what it took]] to make the film possible, and felt it was the new standard against which all future comic book movies will be judged. It marked the first time that a movie of its kind had managed to bring the full "comic book" experience -- the sprawling storylines, the disregard for genre, the [[LoadsAndLoadsOfCharacters massive cast]] -- to life on the screen without being too timid or serious. Much of the credit goes to writer/director JossWhedon, who is an expert at handling these kinds of large casts and group dynamics thanks to his experience with ''Series/{{Buffy|TheVampireSlayer}}'' and ''Series/{{Firefly}}'', and who takes a fairly simple and straightforward main plot and manages to elevate it head and shoulders above nearly anything like it.\\ \\ Later that summer, in the ''Intermission'' editorial "Avengers: The Down Side of Up", he commented that this one film's awesomeness was enough to single-handedly make up for what he saw as an awful summer movie season. Most of the summer's output ranged from good-but-disappointing to downright terrible in his opinion, with only a few hidden gems to liven it up, but it was possible for him to just go back and watch this movie again whenever he was in need of a great movie to see in theaters, and he'd forget about all of the other crap. At the end of 2012, he listed it as the best movie of the year. ** ''The Avengers: Age of Ultron'': Hasn't reviewed it yet, but in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con, he said that his interest in this film, already high to start with, shot through the roof when Ultron was announced as the villain. He compares it to "the Avengers vs. the Franchise/{{Terminator}}". * ''Film/BadBoys II'': Calls it "Creator/MichaelBay's masterpiece" and the exemplar of his filmmaking and nihilistic style. Its themes can be described as "nothing matters, everybody sucks, but watch how awesome it is when I blow it the f*** up!" Didn't review it, but he discussed it in his review of ''Pain and Gain''. * ''Film/BadLieutenantPortOfCallNewOrleans'': It's certainly not a forgettable film for its RefugeInAudacity, noting that Creator/WernerHerzog made good use of NicolasCage's LargeHam nature as the VillainProtagonist. * ''Film/{{Batman}}'' (the 1989 film): One of the most influential superhero movies ever made, with a pop culture impact that Bob sees as being as great as that of ''Franchise/StarWars''. He credits the film with proving to Hollywood that superheroes not named Film/{{Superman}} can be huge box office draws, as well as launching Creator/TimBurton's career and having its influence loop back into comic books. On the other hand, he feels that the film itself, while quite good, is also deeply flawed and uneven, with [[FridgeLogic large gaps in logic]] and it [[FranchiseOriginalSin kicking off a number of trends]] that plagued later Bat-movies, such as having [[StuntCasting stunt-cast]] villains who completely drive the story. Didn't review it, but he discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5973-Batman-Revisited-Part-1 "Batman Revisited Part 1"]], a retrospective on the pre-ChristopherNolan ''Franchise/{{Batman}}'' movies. ** ''Film/BatmanReturns'': Called it "a much more extreme version of its predecessor", in that the stuff that was good about the first movie -- Burton's artistic sensibilities, the set design, Creator/DannyElfman's music, the action scenes -- was better in this one, and the stuff that was bad in the last one becomes almost disastrous here. Between the two movies, Bob feels that, while Burton may have made a pair of incredibly stylish Batman movies, he didn't really "get" the character and his universe, seeing as how both of his Bat-movies (particularly the second one, which he had greater control over) "fell apart on a storytelling level" according to him. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/5979-Batman-Revisited-Part-2 "Batman Revisited Part 2"]]. ** ''Film/BatmanForever'': After the backlash by MoralGuardians against the dissonance between the last movie's dark, twisted atmosphere and its [[MisaimedMarketing kid-friendly]] [[MerchandiseDriven merchandising]], replacing Tim Burton with JoelSchumacher and going in a LighterAndSofter direction probably sounded like an excellent idea. The problem was that, by this point, ''Batman'' had become a CashCowFranchise for WarnerBros, and so the emphasis was more on managing the brand than in crafting a good film, with the (now-unavoidable) issue of [[StuntCasting stunt-cast]] villains dominating the film being among the biggest signs of this. That said, Bob appreciated how the film managed to develop Batman/Bruce Wayne as a character and set up a plausible new direction for the franchise, and he doesn't really see how Schumacher "destroyed" the series, given that the problems with ''Forever'' were many of the same problems that plagued the last two movies. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/6018-Batman-Revisited-Part-3 "Batman Revisited Part 3"]]. ** ''Film/BatmanAndRobin'': It's an awful movie, with a terrible script that makes no sense at all (even in comparison to prior films), bad casting and production design, and MoodWhiplash all over the place. It's a symbol of everything that was wrong with big, empty popcorn blockbusters in TheNineties, and the culmination of all the growing problems that had been plaguing this series in particular. However, it's not the toxic neutron bomb that many people see it as, with Bob viewing it as SoBadItsGood instead and comparing it to movies like ''Film/FlashGordon'' and ''Film/StreetFighter''. If nothing else, it holds a place in film history for having spurred on the rise and growing importance of internet film criticism, with all that came with that.\\ \\ He feels that there are two major reasons why this movie is so viscerally hated while comparable flops like ''Film/{{Showgirls}}'' are {{cult classic}}s. First, the film's {{camp}}y, LighterAndSofter, almost Creator/AdamWest-like take on the material clashed with the DarkerAndEdgier aesthetic that was popular in the ''Franchise/{{Batman}}'' comics of [[TheDarkAgeOfComicBooks the time]] -- many Bat-fans felt (wrongly, in Bob's opinion) that the '60s ''Series/{{Batman}}'' show had ruined the character, and that drawing from that well was tantamount to CanonDefilement. Second, and related to the above, he feels that there was also a homophobic undercurrent to the hatred of the film, given that many of the most vitriolic criticisms were against things like the nipples and cod-pieces on the protagonists' suits and the aforementioned camp sensibilities. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/6041-Batman-Revisited-Part-4 "Batman Revisited Part 4"]]. * ''Film/BattleLosAngeles'': He praises it for its realistic depiction of what a war between [[SemperFi the Marines]] and {{alien inva|sion}}ders would actually look like, but felt that its underwritten plot and characters made it hard for him to care. It's worth a matinee if you're in the mood for a gritty war movie, but overall, it doesn't get his recommendation. Didn't review it, but he mentioned it in his ''Film/{{Paul}}'' review. * ''Film/{{Battleship}}'': "Pretty much every bit as bad as everyone kind of assumed it was going to be all along." Bob was actually rooting for this one to be at least decent, just so that it could surprise those who felt it was a bad idea to adapt [[TabletopGame/{{Battleship}} a board game]] into a movie (he's of the school that there's no such thing as bad ideas, just bad execution). Its big problem is that it's got a director who is far smarter than the material (having made films like ''Film/FridayNightLights'' and ''The Kingdom'') trying to dumb himself down and make a Creator/MichaelBay-esque, empty-calorie popcorn blockbuster, and failing because he and the movie keep out-thinking themselves, comparing it to the UrbanLegend about the elite chef who couldn't make a Big Mac. He did like the last twenty minutes and some of the cheekier nods to the board game (even if nobody utters "the line"), and was surprised by how good an actress Music/{{Rihanna}} turned out to be, but it's not enough to save a crappy movie. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/BeastsOfTheSouthernWild'': Called it one of the best movies of 2012, combining MagicRealism, youthful adventure, outstanding acting (especially given that the two leads had never acted before) and social/political commentary that is always on point but never [[{{Anvilicious}} preachy]], and effectively saying that it was the film that ''Film/TheHungerGames'' wanted to be but failed. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9773-Under-the-Radar "Under the Radar"]]. * ''Literature/BeautifulCreatures'': While he did like the film's SouthernGothic vibe and the LargeHam performances by Creator/JeremyIrons and EmmaThompson, it does nothing new with its "light vs. dark" mythology, the ending is anti-climatic, and it carries some [[UnfortunateImplications awkward anti-female undertones]]. He first discussed his thoughts on the trailer in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], then reviewed it a week after it was released (nothing that week caught his interest). * ''Film/BeverlyHillsCop II'': Didn't so much discuss his thoughts on the film as opposed to its LoveItOrHateIt status among fans of the original. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Bio Zombie'': Didn't review it, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie "Schlocktober" special]] for 2013. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake of the handover. He was impressed by just how much time the film takes to develop its characters before getting to the "good stuff", though he feels that this probably had more to do with the film's low budget than artistic intent. He also notes how the film's non-Western take on the zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they were wise to keep the zombies in the background and focus chiefly on the human drama. * ''Film/BlackSwan'': "Bottom line: ''do not miss out''." Bob was absolutely blown away, with NataliePortman in particular deserving the Oscar that she received for her performance. He starts off the review speaking in a [[FakeBrit faux-stuffy-Brit]] accent listing off all the reasons why he liked it, then drops it for the second half, in which he talks about the LesYay and how enjoying such scenes isn't necessarily shameful or objectifying. * ''Film/BloodSuckingFreaks'': Takes the idea of the infamous Grand Guignol theater in Paris to its logical extreme, and notable for being something that even Creator/{{Troma}}'s Creator/LloydKaufman (who distributed the film) considers reprehensible. The special effects don't hold up well, but it's still a rough watch. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/TheBookOfEli'': Found the plot to be silly and overly reliant on literal DeusExMachina -- after all, if Eli is on a MissionFromGod, then there's no way he can lose, thus sucking out all the tension. Ultimately, the rest of the film is no different than any other AfterTheEnd movie, though he thinks the actors did a good job with their roles. * ''Born to be Wild'': "Monkeys and baby elephants in [=3D=]? That works for me." Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review. * ''Film/TheBourneSeries'': Bob's never liked the movies, finding them to be [[SoOkayItsAverage lukewarm]] and having a hard time recalling anything beyond the broadest story strokes. He attributes this to the films trying to straddle the line between the action-packed "Martini" and [[DarkerAndEdgier dark, gritty]] "Stale Beer" flavors of SpyFiction, and "doing a weaksauce version of both", with the two sides detracting from one another. He also felt that the manner in which the films portrayed their all-American, military-industrial complex villains came off as, in essence, telling viewers that the USA is so awesome that the only thing that can threaten it is itself. He's astonished at how so many of his fellow critics and moviegoers loved the series, and how it replaced JamesBond as the defining spy movie series of the TurnOfTheMillennium. Didn't review the first three films, but he discussed them in his review of the fourth film... ** ''The Bourne Legacy'': "Not bad, not great, but I guess it does the job." The film's big reveal was a great twist that really built the character, but then it abruptly ends at what feels like the end of the second act. It feels more like the pilot for a new series starring the new hero Aaron Cross than part of the ''Bourne'' series. On the other hand, it moves at a rapid pace, and while Bob was never all that interested in the proceedings (and had trouble remembering the story just six hours after watching it), he was never bored either -- the action scenes are few in number but very well-shot, and Jeremy Renner has the chops to be an action star. * ''Film/{{Branded}}'': "The worst movie of its kind I've been unfortunate enough to see since Richard Kelly's ''Film/SouthlandTales''." Bob felt it to be one of the few movies that truly deserves what he feels to be an often-misapplied adjective, "pretentious", coming off as a smug, stupid mish-mash of ''Series/MadMen'', ''Film/TheyLive'', and ''Film/TheStuff'' that thinks it's a lot smarter and more important than it actually is without coming anywhere close to its inspirations. Most of the film consists of either boring, {{anvilicious}} monologues about the evils of consumerism, or scenes that break the cardinal filmmaking rule of ShowDontTell (and then often [[{{Filler}} show it anyway]]), and without spoiling anything, its depiction of overweight people was [[UnfortunateImplications extremely insulting]]. The only reason to watch it is for its SnarkBait value. At the end of 2012, he listed it as the worst movie of the year. * ''WesternAnimation/{{Brave}}'': In his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]], he used the trailer's clip of the seams on Merida's fancy dress tearing open as she drew the bow as an example of how Creator/{{Pixar}} knows how to [[ShowDontTell show rather than tell]] -- in this case, showing how Merida is rebelling against the male-dominated world around her by symbolically destroying a symbol of femininity in the process of that rebellion.\\ \\ When it came time to review the movie (which he did in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9760-Near-Miss "Near Miss"]]), he found it to be a good, well-made movie that would've been seen as great coming from any other studio, but given Pixar's pedigree it should've been better. Notably, Pixar's traditionally rock-solid storytelling chops feel wobbly here, with an overly long first act, a bunch of one-note comic relief characters, and the main plot only really getting going about halfway through the film. He attributes much of this to the film's rocky (by Pixar standards) production cycle, with the creative team departing and being replaced during production, leading to what felt like a lot of loose plot threads. * ''Broken City'': One of those movies that often makes people say "they don't make 'em like that anymore" (Bob feels otherwise, saying that it's just that they don't make it to theaters anymore), a slow-paced crime drama/political thriller that feels like a ''Series/LawAndOrder'' episode fleshed out into a feature film, and feels almost novel by virtue of its ''lack'' of intense action scenes and its focus on characters and plot twists. It's good, but not great, with superb acting and solid directing but also an uneven, blunt script that is bogged down by plot holes and unnecessary subplots. * ''Film/BulletToTheHead'': Going by the trailer, it looks like the movie that ''The Expendables'' desperately wanted to be: a [[GenreThrowback love letter]] to macho '80s action movies that doesn't take itself at all seriously, and instead looks like great fun. He later came back to it, along with ''The Last Stand'', in the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] (because he felt that nothing that came out that week was worth reviewing) to discuss its failure at the box office and what that means for the action genre, particularly the sort of RatedMForManly beefcake action movies that characterized TheEighties and TheNineties. * ''Film/{{Buried}}'': A tight, suspenseful thriller with a great performance from RyanReynolds that, for some reason, is being treated by its distributors like a high-minded arthouse film (limited release, promotion to match) rather than the low-budget BMovie that it is. * ''Film/TheButler'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said he was excited to see Forest Whitaker in another big lead role, as well as Lee Daniels (the maker of ''[[Literature/{{Push}} Precious]]'') turning his eye for soapy melodrama towards TheWhiteHouse. He also discussed [[Series/TheOprahWinfreyShow Oprah Winfrey]]'s involvement and some of the film's [[WTHCastingAgency strange and provocative casting]]. He reviewed it (and discussed the legal fight that led the film to be called ''[[InCaseYouForgotWhoWroteIt Lee Daniels']] The Butler'') in another ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story "Based on a True* Story"]], where he said that the celebrity cameos were distracting and oftentimes poorly done, and that the convoluted plot too often consumed the film and the character that it's supposed to be focusing on. Later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10579-Summer-School-Part-II "Summer School - Part II"]], he used the film's success as a sign that Hollywood is finally waking up to the untapped gold mine that is black moviegoers, rather than allowing hacks like Tyler Perry to have a virtual monopoly on that market. * ''Film/TheCabinInTheWoods'': "Don't let anyone tell you ''anything'' about this movie. Just mark your calendar and make damn sure you ''do not'' miss it. ''[[SugarWiki/SoCoolItsAwesome Believe the hype.]]''" It's a triumph of [[SlidingScaleOfComedyAndHorror horror and comedy]] that succeeds where others have failed by going whole-hog with its meta-narrative ideas, and it's the best film Bob's seen all year up to that point. However, he recommends seeing the film ''before'' reading his review, opening it with a ninety-second warning that it was going to spoil the film's big twist (even if it happens at the very beginning of the film and was partially given away by the trailers). A few weeks after he reviewed it, he did an ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9561-Re-Take-The-Cabin "Re-Take The Cabin"]] (warning: huge spoilers), in which he discussed the film's TakeThat at moviegoers (specifically horror fans) who demand cliche and formula rather than anything new. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/CannibalFerox'': "Just about everything going on is in the worst possible taste, but I can't say it isn't effective." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/CannibalHolocaust'': Has only seen it once, and refuses to watch it again or to recommend it (even to fans of graphic horror/grindhouse films) due to its depictions of real wild animals getting brutally slaughtered. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/CaptainAmericaTheFirstAvenger'': He loved it. Video description was "Pretty much perfect in every way!". In the video itself, he elaborates "...it's basically perfect, at least to the degree that it's the most perfect CaptainAmerica movie I can conceive anyone having made." At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/CaptainPhillips'': Surprised and impressed about how it didn't go the obvious route and focus on the daring Navy SEAL rescue that the [[BasedOnATrueStory real-life incident]] is most famous for, as well as how it was "obsessively resistant to politics or symbolism" and refuses to let them take over its story. Creator/TomHanks as the title character and unknown actor Barkhad Abdi as the pirates' leader are excellent, their interplay coming off as both outmatched and equal, while director Paul Greengrass is one of the few people who Bob feels knows how to make the JitterCam style really work. It's an easy shoe-in for award season. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10649-Captain-Philips-Sympathy-for-the-Pirate "'Captain Phillips - Sympathy for the Pirate"]]. * ''WesternAnimation/{{Cars}}'': While he agrees that it's {{Pixar}}'s worst movie, he claims that it's not as terrible as most people make it out to be, feeling that the reason why geeks hate it is because it's about {{NASCAR}}, with [[DeepSouth all that entails]], rather than the geeky subject matter that Pixar films tend to embrace. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Cars 2'': Despite being the first Pixar film to be a [[MoneyDearBoy blatant]] [[CashCowFranchise cash grab]], it's a better film than the original, ironically because it seemed as though Pixar wasn't trying as hard. While the first film stumbled due to failed attempts at sentimentality, the sequel simply didn't bother with that and instead focused on [[RuleOfFunny being funny]] while sidelining the (in his opinion) bland character of Lightning [=McQueen=] to focus on Mater. * ''Film/CasaDeMiPadre'': "One of the funniest damn things I've seen in years." It manages to somehow mine astounding levels of hilarity out of just two real jokes -- WillFerrell [[FakeNationality playing a Mexican]], and [[StylisticSuck the cheesy production values]] of Latin American ''[[SoapOpera telenovelas]]'' -- without ever coming off as offensive or insulting to the shows it's parodying (or their fans). It's also a film that could only have been made at the precise moment when ''telenovelas'' and Latino pop culture in general were just on the cusp of the American mainstream, not quite part of it but not quite obscure either. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Centurion}}'': "Proof that making an action-oriented BMovie doesn't mean you also have to suck at it."[[note]]That last comment, for what it's worth, was spoken with a poster for ''TheExpendables'' [[TakeThat in the background]].[[/note]] * ''Film/{{Chloe}}'': If watching Creator/AmandaSeyfried and JulianneMoore having [[LesYay hot lesbian sex]] is your idea of a good time, then you're probably already in line to see this, and you won't be disappointed. Bob compared it to ''MulhollandDrive'' in terms of inappropriately-purchased art films. Didn't review it, but he mentioned it during his ''Film/HotTubTimeMachine'' review. * ''Film/AChristmasCarol2009'': Hyper-literal adaptation + wacky slapstick and 3D antics = confused and unsatisfied Bob. * ''Film/{{Chronicle}}'': It didn't really ''need'' to be a {{found footage|Films}} movie, and it doesn't take many narrative risks, but otherwise it's far better than its [[DumpMonths February release date]] suggests. Bob calls it "''Franchise/{{X-Men}}'' for a post-UsefulNotes/{{Columbine}} world" with its combination of TeenDrama and {{superhero}} action, and it comes with a third act that stands as one of the best action sequences he's seen in terms of both its inventiveness and its emotional investment. He thinks that director Josh Trank will be getting a lot of offers to make big-budget superhero movies after this. * ''Literature/TheChroniclesOfNarnia: Film/TheVoyageOfTheDawnTreader'': A reasonably good fantasy movie, though not as good as the [[Film/TheLionTheWitchAndTheWardrobe last two]] [[Film/PrinceCaspian entries]], mainly due to the fact that the book it's based on wasn't exactly the Hollywood-ready blockbuster adventure that the films thus far (including this one) have been. He spends much of his review discussing the giant elephant in the room that comes up in nearly every discussion of ''Narnia'' -- specifically, Creator/CSLewis' religious beliefs and the way that they are presented in the books. * Franchise/TheChroniclesOfRiddick franchise: ** ''Film/PitchBlack'': Called it a decent riff on ''Film/{{Aliens}}'' that likely would've been forgotten if not for the fact that it starred Creator/VinDiesel just before he became the [[HollywoodHypeMachine Next Big Action Star]] thanks to ''The Fast and the Furious''. Didn't review it, but he discussed it in his review of ''Riddick'', along with its sequel... ** ''Film/TheChroniclesOfRiddick'': Talked less about the film itself and more about how the film reflected Vin Diesel's [[OneOfUs surprisingly geeky interests]] for an ActionHero. ** ''Film/{{Riddick}}'': Pretty much a remake of ''Pitch Black'' in all but name, which isn't all that bad a thing, all things considered. The first act is by far the best thing in any of the films, and it works best when it's focusing on Riddick himself (in spite of Diesel's limited range as an actor). However, when the bounty hunters show up it turns into a subpar ''Aliens''/''Predator'' clone, with only [[Wrestling/{{Batista}} David Bautista]] and Creator/KateeSackhoff doing much to liven up the proceedings -- and even then, the subplot surrounding Sackhoff's character being a lesbian is handled in [[UnfortunateImplications an extremely tasteless manner]]. * ''Film/ClashOfTheTitans'': Discussed both the original and the remake in his review of the latter. He felt that both films were SoOkayItsAverage, though the original is ''slightly'' better, describing the remake as "a C+ remake of a B- film". Both films have cool action and effects, but suffer from cheesy human drama (or in the remake's case, a total ''lack'' of human drama) that keeps them from the upper ranks of their respective eras' great blockbusters. The remake's RageAgainstTheHeavens plot, however, did solve the DeusExMachina problem often faced by adaptations of ClassicalMythology. ** ''Wrath of the Titans'': A slightly better film than the last one, but not by much, with the JitterCam ruining several of the action scenes and not meshing well with the film's {{ancient Gree|ce}}k setting. He also notes how the ''Clash'' remake was one of those blockbusters that made a ton of money but was quickly forgotten (seemingly justifying the sequel's CharacterDerailment to the filmmakers), and gushes about how awesome ''The Raid: Redemption'' was and how much ''Film/MirrorMirror'' sucked. * ''Literature/CloudAtlas'': One of the best films of 2012. The fact that such an audacious and unconventional project was made at all was impressive enough, but the fact that it was made as a big-budget Hollywood blockbuster that actually ''worked'' is miraculous. However, that's about as much as he can say without potentially ruining the experience (though if you've read anything about it in magazines or on websites, there's nothing new he's going to spoil), so he recommended those who might be interested in the film to go see it before watching his review.\\ \\ The makeup on the actors to let them play characters of different races and genders in different time periods, while still remaining recognizable and without being [[UnfortunateImplications offensive]] (something that he went into further detail on in the ''Intermission'' editorial [[http://www.escapistmagazine.com/videos/view/the-big-picture/6488-Skin-Deeper "Skin Deeper"]]), deserves an Oscar. The film's editing, telling six separate stories of different genres and bringing them together into a cohesive whole, is equally amazing. The directors (all three of them) deliver some of the best work of their careers, making a visually stunning film with great performances from everyone involved. Bottom line: its structure means that it's gonna be one of those LoveItOrHateIt films, but either way, you should see it just so, at the very least, you have something amazing to talk about at the watercooler. At the end of 2012, he listed it as one of his top ten movies of the year. * ''WesternAnimation/CloudyWithAChanceOfMeatballs'': Said it was a "really great little movie", a highly imaginative parody of {{disaster movie}}s that caught people by surprise due to the fact that it wasn't made by Creator/{{Pixar}} (back when that studio was still seen as untouchable) and thus didn't have a lot of hype surrounding it. He compared it to ''Film/{{Ghostbusters}}'', ''Film/HoneyIShrunkTheKids'', ''Film/BackToTheFuture'', and ''Film/{{Evolution}}'' in terms of great sci-fi family comedies. Didn't review it, but he discussed it in his review of its sequel... ** ''WesternAnimation/CloudyWithAChanceOfMeatballs2'': Not as good as the original, lacking its more grown-up wit and heart in favor of a broader parody of Apple and modern tech culture that doesn't quite click. That said, it's still a very engrossing film on a purely visual level, and pretty funny on top of it. It's a good sequel that doesn't live up to its great predecessor, but if you have kids, it's still worth your time. * ''Film/{{Cloverfield}}'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7295-Mystery-Bonks "Mystery Bonks"]], he used it as an example of Creator/JJAbrams' skill at ViralMarketing, turning an otherwise straightforward [[FoundFootageFilms found-footage]] {{kaiju}} film into a great big mystery. * ''Film/ConanTheBarbarian2011'': On the remake: "By Krom, is this piece of shit ''awful''." [[Film/ConanTheBarbarian1982 The original]], on the other hand, still holds up today, and remains John Milius' best movie. Didn't review them, but he mentioned them in his ''Film/FrightNight2011'' review. * ''Film/TheConjuring'': "[This movie] got an R rating from the MPAA. It was shot to be PG-13. No nudity. Limited blood. But was still given an R. For being 'too scary.' Doesn't really need much more review than that." It's one of the best haunted house movies in years, elevated by the care that went into making it. Didn't review it, but he mentioned it at the end of his review of ''Red 2'', and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]] he listed it as one of his top ten movies of summer 2013. * ''{{Cosmopolis}}'': Runs a bit too long, but RobertPattinson's cold emptiness makes him perfect for the role, and it's one of those films that simply washes over you. Very good. Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Film/CowboysAndAliens'': Called it "[[SoOkayItsAverage dull and lifeless]]," two adjectives that he felt should not apply to a movie with such a premise. He felt that the characters were little more than [[WesternCharacters Western movie caricatures]], and that it could've gone a lot deeper with the historical irony of people in TheWildWest being [[DoesThisRemindYouOfAnything exterminated and driven from their land by a foreign, technologically-superior invader]] -- especially given that UsefulNotes/{{Native American|s}} characters featured into the plot. He ended the review by telling viewers to seek out ''Film/AttackTheBlock'', another just-released alien invasion movie, instead. * ''Crimewave'' (aka ''The X, Y, Z Murders''): Compared it to ''ComicBook/SinCity'', only without the UnfortunateImplications of FrankMiller's writing. Bob also mentioned how it was written by Creator/TheCoenBrothers and how Raimi hoped to use the film to break out of his post-''Evil Dead'' TypeCasting as a splatter film director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Creator/SamRaimi's career. * ''Film/CrimsonTide'': Called it "a stone-cold pop-drama masterpiece" and Tony Scott's best film. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheDarkKnight'': Enthusiastically positive, to a point where he compares most movies to it. He counts it as one of the three greatest superhero movies ever made, the others being ''Film/{{Superman}}: The Movie'' and ''[[Film/SpiderManTrilogy Spider-Man 2]]''. Flaws that would cripple lesser films (ChristianBale's gravelly Batman voice, one of the worst-looking Batman suits ever) become only minor quibbles due to how amazing the rest of the movie is. ** ''Film/TheDarkKnightRises'': "Disappointing, but not crushingly so." It's a good movie, but far from a fitting sendoff for Creator/ChristopherNolan's ''Batman'' trilogy. Bane's not a particularly interesting villain (though he's definitely a unique one), and its presentation of its themes feels heavy-handed and suffers from the problem of [[ShowDontTell telling rather than showing]], but its biggest problems lie with its messy story structure. It feels like two movies welded together, with the shift at the halfway point making the first hour of the movie feel like a waste of time, and it possesses quite a few major plot holes and poorly-thought-out plot twists (which he discussed in the following week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9825-Knightfail "Knightfall"]]).\\ \\ On the other hand, the score is excellent, Nolan's wizardry behind the camera keeps the film ''looking'' great, and Creator/AnneHathaway, GaryOldman and {{Joseph Gordon-Levitt}} are standouts in an AllStarCast that is rock solid all around. Given the massive buildup in terms of both the previous films and the hype train for this one, it should've been SoCoolItsAwesome, and falls well short of that goal. Still, it earns Bob's recommendation. Three weeks later, he did a ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/6118-Holy-Spoilers-Batman "Holy Spoilers, Batman!"]], that took a spoiler-filled look at the various plot twists in the film, and how it drew far more influence from the ''Batman'' comics than the past two films. * ''Film/DarkShadows'': It's far from TimBurton's return to form, but it's better than his last couple of movies by a long shot. Despite being a structural mess, the film still somehow works thanks to how game the cast (particularly Creator/JohnnyDepp) is for the material. * ''Film/TheDarkestHour'': Spent the opening of his ''FinalDestination 5'' review mocking the premise of it, saying that he didn't know whether to be offended or impressed by the fact that "somebody pitched, greenlit and produced an entire movie of guys shooting guns at, running away from, and getting grabbed up ''by nothing''." * ''Film/{{Darkman}}'': The best of the films to come out of the early '90s pulp hero boom in the wake of Tim Burton's ''Batman''. Bob also discusses how it emerged from Creator/SamRaimi's failed attempts to make a film adaptation of ''Radio/TheShadow'', and how it drew as much from UniversalHorror as from its pulpy inspiration. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Raimi's career. * ''Film/{{Daybreakers}}'': Absolutely loved it. Compared it to [[CoolVersusAwesome "Godzilla vs. Voltron"]]. Also dubbed it the "Anti-Twilight". * ''Film/DaysOfThunder'': Pretty much ''Film/TopGun'' [[RecycledInSpace with cars]], though that's not a bad thing, as director Tony Scott and star TomCruise make a very intense and interesting, if melodramatic, film. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late TonyScott's career. * ''Film/DeadHeat'': Didn't review it, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8275-Schlocktober-2013-Dead-Heat "Schlocktober" special]] for 2013. It's cheesy and has a KudzuPlot, but it's CrazyAwesome personified, largely due to the gore and the presence of ''[[Series/SaturdayNightLive SNL]]'' vet Joe Piscopo as one of the leads. Bob also longs for the days before the current boom in zombie-related media when the few zombie films that ''did'' come out were more unique. * ''Film/DeadSnow'': "The same director [as ''Hansel and Gretel: Witch Hunters''] also did this movie, which is a lot better." Didn't review it, but he discussed it in his review of ''Hansel and Gretel: Witch Hunters''. * ''Film/DejaVu'': Bob enjoyed this film, saying that it had a very cool sci-fi concept and one of the more inventive chase scenes that he's seen, and that it was unfairly overlooked when it came out. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Demon Seed'': Said that it was the only good film adapted from a DeanKoontz book (as well as [[WhatDoYouMeanItWasntMadeOnDrugs the weirdest]]), and laments that it got lost in the mid-'70s shuffle of [[DemonicPossession demon possession]] flicks and sci-fi movies. He also longs for the time in film history between ''Series/TheTwilightZone'' and ''Franchise/StarWars'' when you could take a fantastic SpeculativeFiction premise and play it with a completely straight face. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture''. * ''The Desperate Hours'': The TropeMaker for the "home invasion" genre that stands out due to its AllStarCast and director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/{{Detention}}'': "... an awful poster, but the movie is kind of ''amazing''. Not on your radar? ''Fix that.''" It's an entertaining [[PostModernism meta]] take on ''TheBreakfastClub'' that doesn't fully succeed in its satire of teenage life, but was still highly enjoyed by Bob, being a lot smarter and more coherent than it appears on the surface. It also gets points for accurately reflecting contemporary high school life rather than feeling TwoDecadesBehind. If only it hadn't had the misfortune of opening in limited release the same weekend that ''Film/TheCabinInTheWoods'' came out. He discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9533-Kids-Today "Kids Today"]], then did a proper review of it two weeks later (it was a slow week). * ''Film/{{Devil}}'': "''Devil'' should not be booed and maligned because of the tangential connection to Creator/MNightShyamalan. No, ''Devil'' should be booed and maligned on ''its own'' merits, because it's ''awful''." Bob calls it one of the dumbest movies he's ever seen in theaters, with an IdiotPlot that [[FridgeLogic makes no sense if you think about it]] for more than five seconds, as well as cheap scares and a total lack of suspense. * ''Franchise/DieHard'': In the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] and in his review of the fifth film, ''Film/AGoodDayToDieHard'', he discussed how [[Film/DieHard the original film]] was a reaction against the {{invincible hero}}es and exotic set pieces of action movies past, and Creator/BruceWillis' success as the "anti-ActionHero". He also used the success and critical praise of the original ''Die Hard'' trilogy to argue that action movies shouldn't be seen as CriticProof, since professional film critics can tell a good action movie the same way they can tell a good movie in any genre. And since he knew people were going to ask, he ranks the first film as the best in the series, followed by [[Film/DieHardWithAVengeance the third]], [[Film/DieHard2 the second]], [[Film/LiveFreeOrDieHard the fourth]], and finally, the fifth... ** ''Film/AGoodDayToDieHard'': He forgot pretty much everything about it not long after watching it. The series has become a FranchiseZombie by this point, this film being easily the dumbest and least interesting in the series and a disgrace to its namesake. The action feels cheap, with little use of the Russian setting and the bad CGI looking jarring against the practical effects/stunt work, and John [=McClane=] feels more like James Bond than the [[ActionSurvivor everyman hero]] that made the series so refreshing in the first place. * ''Film/{{District 9}}'': Next to ''WesternAnimation/{{Up}}'', Bob said this was possibly the best movie of summer 2009, finding it to do everything that the previous blockbusters of the season (most notably the ''Film/StarTrek'' reboot) didn't -- namely, combining kick-ass action sequences with the sort of "big idea" sci-fi storylines that the old ''Franchise/StarTrek'' movies excelled in. He finds it very fortunate that Neill Blomkamp got to work on this (a feature-length adaptation of his short ''Alive in Joburg'') instead of making a ''Franchise/{{Halo}}'' movie * ''Film/DjangoUnchained'': Creator/QuentinTarantino's "most grounded, unironically affecting, and human film" since ''Film/JackieBrown''. Bob attributes this to the fact that its subject matter -- the brutality of slavery in the [[AntebellumAmerica pre-Civil War]] [[DeepSouth Southern US]] -- didn't need any embellishment to come across as something out of an ExploitationFilm, which, combined with the fact that the film seems to be single-handedly making up for a century of films ignoring this history, provides it with a weighty sincerity. Jamie Foxx gives his best performance since ''Film/{{Ray}}'', Creator/LeonardoDiCaprio delivers a grotesque subversion of the cool, charismatic villains of many recent action films, and Christoph Waltz does a great, multi-layered performance as Django's mentor. He first discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]], and at the end of 2012 (three days before his review) he listed it as one of his top ten movies of the year, with just three words: [[PunctuatedForEmphasis "GO. SEE. DJANGO."]]\\ \\ A couple of weeks later, Bob returned to the film in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6714-Is-Django-Racist "Is Django Racist?"]] to discuss the controversy over the film's copious use of the N-word. Not only does he feel that those complaining are CompletelyMissingThePoint of the film, focusing on a superficial detail rather than broader themes, but also states that they are greatly underestimating Tarantino and taking his "hyperactive film geek" public persona at face value. The genius of this film is in how it takes TheWildWest, one of America's most mythologized periods of history, and juxtaposes it with the slavery that went on in that same period. * ''Film/DragMeToHell'': The best horror film in years, with Creator/SamRaimi keeping on form by using his trademark tone (that of a horror/humor mix seen in carnival ghost trains) and his love of '30s and '40s film. Several years later, though, he came back to it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]] (a retrospective of Raimi's career) to say that he might have overrated it a bit when it first came out. * ''Film/{{Dredd}}'': "Pretty damn awesome. Go see it, it deserves it." Didn't review it because there wasn't a showing for critics the first week, and when it was released later he was at the Escapist Expo, but he mentioned it in his reviews of ''Resident Evil: Retribution'' and ''The Master''. * ''Film/{{Drive}}'': Great movie, with Bob calling it a {{better|ByADifferentName}}, arthouse version of ''TheTransporter'', and proof that so-called "guy movies" ''can'' be intelligent without sacrificing their coolness. However, he recommends seeing it "''before'' it's ruined by douchebags claiming Ryan Gosling as their new god." He first mentioned it at the end of his ''StrawDogs'' remake review, then did a proper review of it two weeks later (he felt that none of the movies that came out that week were worth his time), and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/DungeonsAndDragons'': The only redeeming factor is Creator/JeremyIrons' [[LargeHam supremely hammy]] performance as the villain. The fact that the sequel premiered on SyFy says all that needs to be said about this film's quality. Didn't review it, but he mentioned it in his discussion of ''TabletopGame/DungeonsAndDragons'' adaptations. * ''Film/TheEagle'': Bob was "bored stupid" by it, to the point of [[IsThisThingStillOn snoozing off during the review]]. While there's nothing truly ''bad'' about it, [[SoOkayItsAverage nothing stands out either]], with one-dimensional characters, bland action scenes, and a story that's been done a hundred times before and better. As for claims that professional critics like him are [[CriticalDissonance out of touch with the average moviegoer]], having seen so many movies that [[ItsBeenDone they become jaded]], he responds by saying that "it's good if you don't know any better" shouldn't be a mark in a film's favor. * ''[[Film/EdgeOfDarkness2010 Edge of Darkness]]'': While he notes that it follows the Creator/MelGibson [[YouKilledMyFather "you killed my family"]] revenge movie formula to a tee, it's still a very good, grown-up thriller that doesn't go too over the top, feeling like a modernized MickeySpillane movie. Plus, despite what one may think of him as a person, Gibson is still a good actor, and he did his role well. * ''Film/{{Elysium}}'': In his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said that it looked badass and was enthusiastic about it being made by the director of ''District 9''. He edged it into a discussion of films slated to come out in the fall and winter simply because of how excited he was for it. When it came time to review it, he said that, while this film didn't quite live up to ''District 9'' (which was a ''very'' ToughActToFollow), it's still great, serving as both a killer action movie and a thought-provoking (albeit fairly {{anvilicious}}) ScienceFiction film, in particular praising how its many plot threads interact and Sharlto Copley's performance as Kruger. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/EndersGame'': Said that the film risked suffering from SeinfeldIsUnfunny syndrome given how many other films have borrowed key elements of [[Literature/EndersGame its source material]]. He also said that the producers are probably hoping to God that Creator/OrsonScottCard doesn't spout off his outspoken political and religious views in a public venue before the film is released. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/EnemyOfTheState'': A very good late '90s paranoid thriller, but looking back, it's something of an UnintentionalPeriodPiece. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''{{Entourage}}'': The mere thought of a film adaptation caused him to react (at the start of his ''Warm Bodies'' review) with a horrified "what did I do to deserve this?" * ''Franchise/EvilDead'' (the original trilogy): Bob feels that, while the films themselves are horror masterpieces (particularly the first one), the series' success may have done lasting damage to the horror genre, causing a wave of [[BloodyHilarious gore-soaked comedies]] that put slapstick and FX gags above actual scares and paving the way for the generation of moviegoers that laughs during legitimate horror films because they think they're supposed to. Didn't review them, but he discussed them in his ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Creator/SamRaimi's career, and in his review of the first film's remake. ** ''The Evil Dead'' (the first film): What it lacked in polish, it made up for in enthusiasm and Raimi's talent behind the camera, producing what is arguably one of the most important indie horror films ever made. ** ''Evil Dead II'': The moment at which the {{signature style}}s of both Raimi and the ''Evil Dead'' series truly crystallized, combining graphic horror and slapstick comedy into a great funhouse experience. He particularly praises Creator/BruceCampbell's charismatic and comic performance as Ash. ** ''Army of Darkness'': One of the most insanely quotable movies ever made, and an utter blast to watch, with Bob calling it an antecedent to '90s adventure shows like ''Series/HerculesTheLegendaryJourneys'' and ''Series/XenaWarriorPrincess'' (both of which were produced by Raimi, incidentally). ** ''Evil Dead'' (the remake): Its similarity to the (intended-to-be-)gritty first film rather than its more comedic and better-known sequels will likely throw some viewers off, but it's still a good enough movie to justify its existence with more than just {{fanservice}}. It has its "off" moments, particularly when it comes to CharacterDevelopment (or lack thereof), but when it's being a balls-out, hard-R horror movie, it's phenomenal. It's one of the best mainstream horror movies in recent memory, with Bob comparing it to the remake of ''Film/TheHillsHaveEyes'' in the sense of it being a big-budget remake of a NoBudget exploitation film that still manages to do justice to the original. * ''Film/TheExorcismOfEmilyRose'': Called it the low point in the history of exorcism movies (a genre that he doesn't like to begin with), saying that it "plays out like a drunken game of ''TabletopGame/{{Clue}}'' where the solution is '{{God}}, in the barn, with a {{plan}}." Didn't review it, but he mentioned it in his review of ''Film/TheRite''. * ''Film/TheExorcist'': He feels that it's the only film ever that managed to pull off the task of making the exorcism ritual look compelling on screen... and its success meant that audiences had to spend several decades watching lesser filmmakers trying (and invariably failing) to recapture that magic. Didn't review it, but he mentioned it in his review of ''Film/TheRite''. * ''Film/TheExpendables'': Hated it, calling it one of the worst action movies in recent memory, and saying that it was pandering to nostalgia for its stars' prior, better films. The whole thing comes off feeling like a poor imitation of the '80s action flicks that it desperately wants to be like, with the action scenes and deaths all being rather unmemorable and tame -- a grave sin for a film like this. The fact that this film was a hit while ''Film/ScottPilgrim'' flopped became a major BerserkButton for him for weeks after the fact. Also, he strongly rejects the idea that the era of [[SylvesterStallone Stallone]], [[Creator/ArnoldSchwarzenegger Schwarzenegger]], et al. was a golden age for the action genre, feeling instead that action movies got ''better'' as choreographed fight scenes and gunplay replaced big dudes in muscle shirts beating and blasting the snot out of mooks. ** ''TheExpendables2'': He had to wait a week to review it due to the fact that it [[NotScreenedForCritics wasn't screened for critics]] (instead reviewing ''[=ParaNorman=]'' that weekend), and when he finally saw it, he hated it even more than the first one. While the original (directed by Stallone) at least ''felt'' like a bad '80s action movie, with most of the action scenes having at least some payoff, here it doesn't even have that, feeling as though nobody involved even tried to put any effort in. In his opinion, the ''Expendables'' movies don't seem to realize why '80s action movies were so watchable and remain so popular in the first place, taking themselves way too seriously rather than relishing in the inherent [[SoBadItsGood cheese]] of their inspiration (like ''Machete'' or ''Hobo With a Shotgun'') or trying to elevate the genre (like Stallone's own ''Rambo'' a few years prior). At the end of 2012, he listed it as one of his ten worst movies of the year. [[/folder]] [[folder:Films F-L]] * ''The Fan'': An unimpressive riff on ''FatalAttraction'' ([[AC:[[RecycledInSpace with celebrities!]]]]) that, while very well-shot, took itself too seriously and was often rather {{narm}}-y. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TheFastAndTheFurious'': Never liked the series, feeling that the first film was SoOkayItsAverage and only successful because of macho, [[PrettyFlyForAWhiteGuy gangsta-wannabe]] teenage boys who idolized VinDiesel. ** ''Fast Five'': Felt that it was a couple of cool (but not spectacular) car chases bookending an overly long and boring story that's too caught up in phony machismo. He also expressed surprise at how the franchise has still been going strong for a whole decade. ** ''Fast & Furious 6'': The first film in the series that Bob enjoyed unironically. It's a phenomenal action movie that, while silly and dopey, never overstays its welcome, and possesses more depth than the rest of the series put together. The stunts here are amazing, and unlike the last movie, the action here is non-stop rather than being loaded at the beginning and end with a dull second act in between. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/TheFighter'': The world didn't really need another inspirational boxing movie in the vein of ''Film/{{Rocky}}'', but when it's this good, one can forgive it. ChristianBale steals the show with the best performance of his career, and Bob (who is from the UsefulNotes/{{Boston}} area) was totally convinced by the film's portrayal of working-class Massachusetts. He also discusses why so many OscarBait movies get released during the holiday season when nobody's in the mood for those kinds of films. * ''Film/FinalDestination'': Found the first movie to be an amazingly imaginative and original change of pace for the horror genre... so of course, they had to run that idea into the ground with {{sequel|itis}}s. ** ''FinalDestination5'': "If you're trying to watch this for any reason other than [[JustHereForGodzilla to see what kind of crazy crap]] [[RubeGoldbergHatesYourGuts they'll use to kill people this time]]... well, in that case you shouldn't be watching ''FinalDestination '''5''''' to begin with." Overall, if you're looking for a decent movie to see in the doldrums of August, you could do a lot worse, but don't expect any real changes to the series' formula (though he did find the ending to be a hell of a twist). * ''For Love of the Game'': Sam Raimi's most "out there" movie in terms of it being the last thing you'd expect him to direct (a light, modest, coming-of-middle-age drama?). It's still a good movie, though, and a great Father's Day gift. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/FourLions'': An audacious and hilarious satire in the vein of Creator/MelBrooks that works best in the contrast between its bumbling main characters and the horror of what they are planning to do, while giving viewers a surprisingly deep look into the mindset of a terrorist. However, some of the British pop culture jokes might be lost on American viewers, and director ChrisMorris' background in TV comedy is obvious. * ''WesternAnimation/{{Frankenweenie}}'': All of Creator/TimBurton's usual strengths and weaknesses -- his solid eye for style and mood, his unsure hand with narrative and plot -- are on full display here. This film doesn't do nearly enough to capitalize on the big ideas that it raises, instead becoming a more conventional riff on classic monster movies, and the main story is fairly unfocused. However, it's still one of Burton's better films, with Bob arguing that Burton is at his best when he has a personal connection to the material (like with this film). The basic concept of remaking ''Film/{{Frankenstein 1931}}'' with a boy and his dog is still golden, even with all the fluff added to pad the film to feature-length. He also discusses the {{irony}} of how Disney rejected Burton's original ''Frankenweenie'' short in the '80s for being too dark and creepy, only to fund a big-budget remake of it (with the creepiness cranked UpToEleven, mind) decades later once Burton became a superstar. Reviewed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9959-Old-Dog "Old Dog"]]. * ''Film/FrightNight2011'': "One vampire, [[YourVampiresSuck no sparkling]], great summer movie." Even though it's just cashing in on ''Literature/{{Twilight}}'' and the nostalgia appeal of [[Film/FrightNight the original film]], it's still a pretty good movie that holds up well compared to the original, with great performances, lots of humor and everything that one could want from a vampire horror flick. In particular, he praised it for being the first "modernized" horror remake that he'd seen that actually ''feels'' modern, updating the original plot for the present day. * ''Film/{{Gamer}}'': Nice to see a movie about videogames that doesn't demonise games and gamers, but still a waste of your time and money. Don't bother. * ''Film/GangsterSquad'': Bob had been looking forward to this movie thanks to director Ruben Fleischer (maker of ''Zombieland'') and its great cast, but what he got was a mess of bad decisions, shallow characters, some questionable performances, and a story that feels rushed and meandering. He attributes some of this to the film's hasty editing [[TooSoon in the wake of the Aurora theater shooting]], but many of its problems run much deeper than that. It tries to combine old-school gangster movie tropes with the feel of a modern action movie, ultimately failing at both and coming off as [[FollowTheLeader derivative]] of countless other, better gangster flicks. * ''Film/{{Getaway}}'': A decent idea on paper that could've been a great car chase flick in the vein of ''Film/VanishingPoint'', but terrible execution drags it down. The casting of Music/SelenaGomez as a tough, street-wise hacker chick is as laughable as it sounds, while the bland, repetitive action does nothing to liven up the proceedings. He also opened the review with a discussion about [[TeenIdol teen pop stars]] suddenly [[ContractualPurity becoming more "adult"]] as they get older, saying that this has been going on since Music/ElvisPresley's appearance on ''Series/TheEdSullivanShow'' in TheFifties and that we should stop being shocked by it. * ''Film/GIJoeTheRiseOfCobra'': This movie was enjoyable, surprising even Bob himself. He lays the praise singularly on the fact that the movie acknowledges its roots (unlike ''Transformers: ROTF'' or ''Star Trek'') and does its best to keep things mostly within that territory. It's a very goofy film with a lot of AdaptationDecay and a mess of a plot, but it gets the ''tone'' of the '80s cartoon right, and that produced a very fun time at the movies for him. ** ''Film/GIJoeRetaliation'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], he said that the film's sudden delay from June 2012 to March 2013, whatever the reason may be, was a bad omen for the prospect of it being a good movie. When it came time to review it, he called it a letdown due to its smaller scale and lower budget. Its toning down and dropping of the first film's more fantastic elements doesn't make sense given that it still tries to maintain continuity with that film, and it also reduces the fun factor. They also missed a golden opportunity to have Wrestling/DwayneJohnson playing his pro wrestling persona as a ShoutOut to the cartoon featuring Wrestling/SgtSlaughter AsHimself, rather than a different character. * ''The Gift'': Finds it to be overrated and one of Sam Raimi's lesser efforts, especially compared to his other later-career films. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/GingerSnaps'': "Have you ever looked at a bad movie [''Film/JennifersBody''] and thought, [[BetterByADifferentName 'man, I wish I could see a]] ''[[BetterByADifferentName good]]'' [[BetterByADifferentName movie version of this']]? Well, in this particular case, ''you can!''" Didn't review it, but he mentioned it at the end of his ''{{Surrogates}}'' review. * ''[[TheMillenniumTrilogy The Girl with the Dragon Tattoo]]'' (the remake): The directing and filmmaking quality are as great as one would expect from a DavidFincher film, and he feels that RooneyMara's version of the title character is more fleshed out than NoomiRapace's "{{Terminator}} who shops at Hot Topic" (though he did enjoy that version of Lisbeth too). Ultimately, though, its story has several major weaknesses, all of which trace back to the source material, which Bob (admittedly removed from the book's Swedish context) regards as overrated and comparable to "a late '90s Ashley Judd vehicle written by DanBrown." It's still a good movie, and recommended by Bob, as long as you don't go in expecting a great one. * ''Film/GodBlessAmerica'': It's a bit of a mess, coming off as [[{{Anvilicious}} overly preachy]], awkwardly plotted and having more ideas than its tiny budget can provide for, though Bob still liked it due to its passion and how [[BrutalHonesty brutally honest]] it was. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9609-Bless-This-Mess "Bless This Mess"]], where he interviewed the film's writer and director, Bobcat Goldthwait. * ''Film/{{Godzilla|2014}}'' (the 2014 reboot): What little he's seen of this film has him intrigued, but he hated the director's previous film ''Film/{{Monsters|2010}}'', so he's cautious about it. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/GoodFellas'': Didn't review it, but he discussed it in his review of ''The Master'' as an example of a film that is loved by critics and mainstream moviegoers for two very different reasons. Critics love the direction, the acting, and the tone of the film, but your average moviegoer loves it for its [[DamnItFeelsGoodToBeAGangster swaggering gangster machismo]] and for the brutal PistolWhipping scene. * ''Film/{{Gravity}}'': The premise (which he calls "''Film/OpenWater'' [[RecycledInSpace in space]]") had him interested, as did Creator/AlfonsoCuaron's presence as director. When it came time to review it, he said that it was as amazing as everybody had been saying it was. The plot is thin, with Bob referring to it as "eighty minutes of [[WesternAnimation/ToyStory falling out of the sky]]", but it is amazingly well-done and gripping, with Cuaron showing off his less-recognized skill at shooting thrilling action scenes, and both Creator/GeorgeClooney and, surprisingly, Creator/SandraBullock making for great leads. The only thing that really threw him off was a sudden bit of MagicRealism towards the end that came out of nowhere. He wonders, however, if critics would've been as open to praising such a film if it hadn't been made by a director as acclaimed as Cuaron, noting that the film is pretty much ''all'' action. * ''Film/TheGreatGatsby'': Suffers from many of the same problems that plague Creator/BazLuhrmann's films in general, namely "artifice for the sake of artifice" that strips the characters of the depth that they had in [[Literature/TheGreatGatsby the original novel]]. That said, the film does an excellent job of making Jazz Age decadence look intensely glamorous on screen, Creator/LeonardoDiCaprio makes for an excellent Gatsby, and it succeeds where other adaptations failed by throwing viewers directly into the mindset of its characters. Overall, it's a fun time, as long as you don't think about how much better it could have been. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/GreenZone'': Gets points for being audacious enough to try and make a left-wing version of ''Franchise/{{Rambo}}'', but loses those points for being boring while delivering a very simplistic version of the events leading up to [[TheWarOnTerror the Iraq War]]. Bob also goes off on a tangent about America's sense of importance in the world, and how, whether it's as [[AmericaSavesTheDay the hero]] or the villain, it's always portrayed as a direct cause of whatever's going on in the world (and never a minor player). * ''Film/TheGreenHornet'': Its laid-back tone and sense of humor prevent it from being a bad movie, but overall it's forgettable, with crappy [[ThreeDMovie 3-D]] and none of its elements coming together into a cohesive whole. * ''Film/GreenLantern'': He despised it, saying it's as bad as ''Film/BatmanAndRobin'', ''Film/{{Daredevil}}'', the ''Film/FantasticFour'' movies, ''Film/{{Steel}}'', and the first ''Film/{{Transformers}}'' movie in terms of "mishandled geeky sci-fi properties". It angered Bob so much that he completely dropped the usual opening so that he could skip straight to ripping it apart. The story is a smattering of poorly-put-together superhero {{cliche|Storm}}s, the special effects look unforgivably cheap given the film's huge budget (with Hal Jordan's CGI costume being one of the worst examples), RyanReynolds and Creator/BlakeLively both turn in awful performances, the failed attempts at drama consist mainly of crappy ripoffs of ''Film/TopGun'', the Green Lantern Corps is completely wasted, the relationship between the villains and the main characters is given no setup until an hour into the film... and that's just what Bob was able to fit into five minutes.\\ \\ Months later, he came back to it to discuss the extended Blu-Ray version (and, by extension, the trend of "extended cuts" of films on home video). He felt that, while it corrected one of the film's problems, in doing so it only spotlighted the film's UnfortunateImplications regarding its portrayal of alpha-male culture vs. intellectualism. * ''Film/TheGrey'': Bob called it "the first great movie of 2012", a hard-nosed "man movie" that provides crowd-pleasing thrills without giving viewers an easy ride or insulting their intelligence. He argues that director Joe Carnahan has the potential to be the next great action director a la RidleyScott or MichaelMann, and that one scene in particular involving [[PrimalFear heights]] was the first time in years where he had to close his eyes in fear during a movie. * ''Film/GuardiansOfTheGalaxy'': Says that this film, an action-comedy that he compares to ''Series/{{Firefly}}'' featuring an anthropomorphic raccoon as one of the main characters, is the riskiest thing that Marvel Studios has done since it started the MCU in the first place. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''[[Manga/{{Guyver}} The Guyver]]'': Prefers the first live-action film over the second one, which he finds to be boring. The first film had a great sense of humor about itself, and features a memorable scene of Creator/MarkHamill turning into a giant bug, so what's not to love? Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/{{Halloween 2007}}'' (the remake): The first half was an excellent film that did a great job exploring the series' mythology and its characters' backstories. Unfortunately, the second half, an abbreviated remake of the original film, completely fell apart, perhaps making this the first example of a horror remake that sucked due to it hewing too closely to the original. Didn't review it, but he was compelled to discuss it in his review of its sequel... ** ''Film/HalloweenII2009'': It's ''Halloween'' InNameOnly and has an incoherent tone that's all over the place, but damn if it's not a fresh and original take on the series, combining SlasherMovie tropes with real-world SerialKiller mythos while examining [[IfItBleedsItLeads the media's role]] in such crimes. It doesn't work all the way through, but it's easily the best film in the series since the 1978 original (though that may be [[DamnedByFaintPraise damning it with faint praise]]), and much better than most other horror remakes thanks to RobZombie's singular, if flawed, vision. * ''HaloLegends'': Bob makes it clear he's contemptuous at best about the ''Franchise/{{Halo}}'' franchise as a whole, though he finds that a few of the shorts rather interesting, particularly the ones that deviate the most from the normal RatedMForManly tone of the series. * ''Film/TheHangover'': Loved it, despite it being the kind of "dude-bro" movie that he usually hates, saying that it was worth owning on DVD to watch over and over again. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''The Hangover Part II'': On the other hand, he hated the sequel, calling it a cash grab that lazily rehashed the original's story and jokes while throwing in a ton of UnfortunateImplications and failing to understand what made the first film work. ** ''The Hangover Part III'': '''"DON'T ASK."''' Didn't review it, but he mentioned it at the end of his ''Fast & Furious 6'' review, with the strong implication that he hated it. * ''Film/{{Hanna}}'': "Proof that the ''[[Film/TheBourneSeries Bourne]]'' movies probably would've been a lot better if you simply replaced Creator/MattDamon with [[SaoirseRonan a little girl]]." Its premise sounds like a parody of ''Bourne'' (a teenage girl caught up in a morally ambiguous spy game?), but it pulls it off with a straight face, a great cast, and awesome music. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review, and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/HanselAndGretelWitchHunters'': A one-note joke that isn't that funny to start with and which gets old by the end of the first act, its few good parts (the troll, the R-rated violence, Gemma Arterton's badass heroine) not enough to save it from being bad. Bob also finds it pretty messed up to see a movie where [[BurnTheWitch medieval witch hunters]] are portrayed as the heroes, given the real-life atrocities that they perpetuated, and between that, the heavy violence against women, and the fact that Gretel came off to him as a FauxActionGirl, he felt it to be [[UnfortunateImplications more than a bit misogynistic]]. * ''Film/TheHappening'': The spot is mostly about Creator/MNightShyamalan and the increased egocentricity in his films. Bob found this to have the trappings of a good film, and felt it to be Shyamalan's best since ''Film/{{Signs}}'', but that it was still boring and too [[{{Anvilicious}} heavy-handed]] and {{narm}}ful, while cribbing too much off of Shyamalan's previous works. Discussed it in his review and, years later, in the ''Intermission'' editorial [[http://http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/HarryPotter'': Taken as a whole, the film series is very, very good, one of the grandest accomplishments in cinematic history, and quite possibly ''the'' defining film franchise of the TurnOfTheMillennium. However, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7201-The-Boot-Part-Two "The Boot, Part Two"]], he said that most of the individual ''Harry Potter'' '''films''' are quite disposable, varying wildly in quality and not holding up the way that individual entries in other series (like ''Star Wars'', ''The Lord of the Rings'', and the Marvel Cinematic Universe) do. In particular, the films from ''[[Film/HarryPotterAndTheChamberOfSecrets Chamber of Secrets]]'' through ''[[Film/HarryPotterAndTheOrderOfThePhoenix Order of the Phoenix]]'' come off as filler, with one only needing to watch the beginning and end in order to understand the plot. He attributes this to the fact that the films were being made before [[Literature/HarryPotter the book series]] was finished, and argues that a reboot of the series would flow a lot better and have a lot less filler now that the most important story beats are known. ** ''Film/HarryPotter and the Deathly Hallows Part 2'': Regards the film itself as a bit anticlimatic, and containing a couple of {{Adaptation Induced Plot Hole}}s, but feels it works a lot better as an extended climax to the entire series, and that, if you've seen all the previous movies, you're practically obligated to see this. * ''Film/{{Haywire}}'': Gina Carano makes for a great action heroine (and is Bob's pick to play WonderWoman), and the high-caliber supporting cast is a treat to see in a movie like this. Overall, recommended. Didn't review it, but he mentioned it in his ''Film/RedTails'' review. * ''WesternAnimation/HeavyMetal'': Doesn't see why it's become a pop-culture icon, outside of the fact that it came out before the Internet was huge and bare boobs were tough to find back in those days. Still worth checking it out if only to get the references in that one episode of ''WesternAnimation/SouthPark''. * ''Film/TheHelp'': While it's not a bad movie (he feels that Viola Davis and Octavia Spencer deserve Oscar nods for their performances), he sharply criticized it for [[UnfortunateImplications inserting]] a WhiteMansBurden plot into the CivilRightsMovement. "Rosa who? Martin Luther what? Nah, it was [[EmmaStone that chick]] from ''Film/{{Zombieland}}'' who [[MightyWhitey really got the freedom ball rollin']]!" Didn't review it, but he mentioned it at the beginning of his ''Film/FrightNight2011'' review, then thoroughly dissected the UnfortunateImplications in his [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9079-MovieBob-Helpless weekly editorial]]. * ''Film/{{Hercules}}'': Discussed how the old Italian movies rested chiefly on their EstrogenBrigade for their popularity and appeal. On the 1983 movie by Cannon starring Lou Ferrigno, he described it as "so bad, yet bad in [[SoBadItsGood such a completely, uniquely, one-of-a-kind, what-the-hell-were-they-thinking way]]" that it took him two ''[[http://www.escapistmagazine.com/videos/view/the-big-picture/5550-Hercules-Part-One Big Picture]]'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/5551-Hercules-Part-Two episodes]] to describe it. It's chock full of {{big lipped alligator moment}}s that must be seen to be believed, does a very poor job of explaining its plot and [[CanonDefilement makes mincemeat]] of ClassicalMythology, yet it's strangely watchable. * ''Film/HereComesTheBoom'': "The Creator/AdamSandler-produced movie with [[Series/TheKingOfQueens Kevin James]] as a teacher becoming an [[UsefulNotes/MixedMartialArts MMA]] fighter is a more thoughtful and uplifting movie about [[SaveOurStudents saving troubled students]] than the "saving troubled students" movie starring two Oscar nominees[[note]]''Won't Back Down'', starring Viola Davis and Holly Hunter[[/note]]. Mull that one over for a bit." Didn't review it, but he mentioned it at the end of his ''Argo'' review. * ''Hider in the House'': Talked about how the idea of Gary Busey in your house is a simple yet effective setup for a horror film, and how its distributor's financial problems have kept it on TheShelfOfMovieLanguishment. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/TheHobbit: An Unexpected Journey'': It could never be as amazing as ''[[Film/TheLordOfTheRings Lord of the Rings]]'', but Creator/PeterJackson has once again managed to craft a great fantasy epic. By expanding on the source material's fairly straightforward plot with material from some of Creator/JRRTolkien's other books (including the ''[[Literature/TheLordOfTheRings Rings]]'' books and ''[[Literature/UnfinishedTalesOfNumenorAndMiddleEarth Unfinished Tales]]''), and by pumping up the action and fight scenes, it provides an optimistic start to what looks to be another great trilogy. At the end of 2012, he listed it as one of his top ten movies of the year.\\ \\ As for the controversy over the decision to shoot the film in 48 FPS rather than the industry standard of 24 FPS, Bob waited until the following week's ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6639-Frame-Rate "Frame Rate"]] to discuss it. Regarding its application in this film, he says that the technology isn't yet perfect (it produces an UncannyValley effect that makes the props and sets look more like the artificial constructs that they are) but has a lot of potential, and that the film's worth seeing once in that format just to see what everyone's talking about. ** ''The Hobbit Part II: The Desolation of Smaug'': If it's as much fun as the first film, he's sold. He also talks about how the ''Hobbit'' films are a lot more lighthearted than the fairly solemn ''Lord of the Rings'' trilogy. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/HoboWithAShotgun'': An incredibly faithful {{homage}} to the not-so-classic output of Cannon Films and Creator/{{Troma}} that rises above its inspiration thanks to its dark humor, its sense of humanity, and one of Rutger Hauer's best performances. He opens the review by examining the trend of {{Genre Throwback}}s throughout the last several decades, and shudders at the thought of some of the horrifying directions that this can take in the coming years. * ''Film/{{Hostage}}'': Said it was Creator/BruceWillis' last truly great film and a better ''Franchise/DieHard'' film than the last two ''Die Hard'' sequels, and that it was puzzling why this didn't do better at the box office. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/HowardTheDuck'': He doesn't find it as bad as its reputation suggests, but he still thinks that it didn't do justice to what was otherwise a pretty cool "{{Underground Comi|cs}}x meets Marvel superhero" character, and that it could go for a remake or reboot. Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] * ''The Horrors of Malformed Men'': A movie so gruesome and depraved that it's still effectively banned in Japan, which, given that country's standards for what constitutes depravity, is truly saying something. The '60s special effects are dated, but it loses little of its visceral impact. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Literature/TheHost'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], he said that he was excited for it in spite of its Creator/StephenieMeyer pedigree, mainly because it was written and directed by Andrew Niccol, the maker of ''Film/{{Gattaca}}'' and the (in his opinion) underrated ''Film/InTime''. Later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10260-Host-Haste "Host Haste"]], he argued that, while Meyer was an unquestionably bad writer, and that ''The Host'' fails for many of the same reasons that the ''Literature/{{Twilight}}'' series did, some of the criticisms levied at Meyer (including some that he had given, admittedly) went over the line, comparing it to the "outsider art" phenomenon. * ''Film/HotTubTimeMachine'': Described it as "really, really, ''really'' funny", though couldn't really go into detail without ruining the movie and the jokes. He then talks about how awesome ''{{Chloe}}'' is for the LesYay and how a new ''Film/BackToTheFuture'' movie would suck. * ''HotelTransylvania'': "Actually pretty good." It's got the feel of an old-fashioned character comedy with little in the way of plot, but it's still a funny, solid, well-acted film with a clever premise. Didn't review it, but he discussed it in his review of ''The Master''. * ''House on the Edge of the Park'': Called it a ripoff of ''Film/TheLastHouseOnTheLeft'' and an excuse to show horrible things being inflicted on, and by, horrible people. He also found the twist at the end to be "groan-inducing." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/HowToTrainYourDragon'': Only a few brief thoughts, was okay compared to other Dreamworks movies, human character designs could have been better in traditional animation, great ending. * ''Film/{{Hugo}}'': A very good film that has some of the best use of 3D in history, and should definitely be seen, but which ultimately falls short of greatness for reasons that Bob couldn't explain without spoiling the whole movie. [[spoiler:About halfway through, the film changes from a Dickensian children's fantasy film into a biopic of visionary French filmmaker [[ATripToTheMoon Georges Melies]], told from a child's point of view. It's a good twist, but it's clear that this part of the film is where MartinScorsese was focusing most of his attention, and once it reaches that point the scenes with Hugo feel tacked on, given that his story is wrapped up by this point.]] * ''Film/TheHunger'': Called it groundbreaking in terms of its visual style and its depiction of female sexuality, especially as early as 1983. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheHungerGames'': A "cheap, generic and lifeless" film with a plot that's been [[Film/BattleRoyale done]] [[Film/TheRunningMan better]] [[Film/{{Rollerball}} before]], ridiculous stupidity on the part of its villains (who really shouldn't be keeping their underclasses perpetually trained for combat), an inability to mine the social commentary it sets up, and production values and action scenes more in line with a '90s {{Nickelodeon}} pilot than a big-budget feature film. Only worth watching for fans of the book or the actors involved. He also makes fun of [[AerithAndBob the characters' funny-sounding names]] throughout the review. Later on, though, he did admit that Katniss Everdeen is a much better role model for girls than ''Twilight''[='=]s Bella Swan. ** ''The Hunger Games: Catching Fire'': As long as it's better than the first one, he doesn't care. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/IAmLegend'': Didn't review it, but in his ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2012/04/episode-69-aftermass.html "AfterMass"]], he used it as an example of the kind of negative effect that the "Retake ''[[VideoGame/MassEffect3 Mass Effect]]''" movement could have on gaming. To wit: what was a pretty good survival-horror film for most of its runtime was completely ruined by a FocusGroupEnding that was put in because the original DownerEnding -- which fit the film's themes and tone a whole lot better -- was loudly criticized by test audiences as too depressing. * ''Film/IAmNumberFour'': Bob found the first hour to be torture, with a woefully miscast protagonist and a horribly generic TeenDrama storyline, but felt that [[SoCoolItsAwesome a killer third act]] saved it from being a waste of his time. Overall, it's worth watching if you're in the target audience, with Bob comparing it to the '80s live-action ''Film/MastersOfTheUniverse'' movie in terms of teenage WishFulfillment fantasies. * ''I Declare War'': In the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2013/07/episode-86-stop-talking-to-me-about.html "Stop Talking to Me About Ludonarrative Dissonance"]], he talked about the film's narrative hook of juxtaposing a group of kids' playground war games, "fought" with sticks and fruits for weapons, with the ''Franchise/{{Rambo}}''-esque fantasy that was playing out in their heads. He uses this as an example of how games should be striving to engage players as opposed to immersing them, saying that, if a game is fun, then players will use their imagination to immerse themselves. * ''WesternAnimation/IceAge'': The first film was a really good, well-written kids' movie, with great voice actors (especially [[Series/EverybodyLovesRaymond Ray Romano]] as the woolly mammoth Manny) and a surprising amount of depth and weighty subject matter that isn't often seen in modern children's entertainment. The sequels, on the other hand, are SoOkayItsAverage and fairly inconsequential, being funny on their own merits but [[FirstInstallmentWins never measuring up to the original]], feeling more like {{sitcom}} spinoffs than successors. Didn't review it, but he discussed it in his review of the fourth film... ** ''Ice Age: Continental Drift'': Reviewed it solely because nothing else came out that week, meaning that his review was much shorter than normal. Bob feels that, by this point, the series has run out of gas entirely; despite having a lot of talented voice actors involved, everything just feels pointless. The subplot involving Manny's BrattyTeenageDaughter is particularly cringeworthy. However, the funnier bits and [[SelfDeprecation self-deprecating nods]] to the last movie's implausibility save it from being truly bad. * ''IlsaSheWolfOfTheSS'': The mother of all {{Nazisploitation}} flicks. Bob also finds it funny that this grisly film shot on the same prison camp sets once used by ''Series/HogansHeroes''. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Immortals}}'': A "crowd-pleasing, gonzo action movie" that, while lacking in narrative depth, more than makes up for it with its over-the-top, fetishized style and ridiculous violence. Bob wishes that more mainstream action flicks took stylistic chances like this rather than embracing the same cookie-cutter macho fantasies. * ''Film/InTime'': Highly recommended. It's more interested in ideas than plot, and it's not quite as good as the director's previous film ''Film/{{Gattaca}}'', but it's still well-made and [[DoesThisRemindYouOfAnything extremely relevant]]. * ''Film/{{Inception}}'': Overwhelmingly positive, calling it the best non-{{Pixar}} movie of the summer and the best movie of ChristopherNolan's career, though he noted that the plot may come off as rather emotionally cold due to its focus on story over CharacterDevelopment. Coined the description "Film/JamesBond [[XMeetsY meets]] [[Franchise/ANightmareOnElmStreet Freddy Krueger]]". As for fears that the LowestCommonDenominator wouldn't "[[ViewersAreMorons get it]]", he cites ''Film/TheMatrix'' and ''Film/{{District 9}}'' in that, if there's enough [[StuffBlowingUp fireworks]], you'll be [[JustHereForGodzilla too busy having fun]]. * ''Film/TheIncredibleBurtWonderstone'': A movie that should've been a lot funnier than it is. It's too insubstantial for him to call it bad, but given the talent involved, it should've been a lot better than mediocre. The main character's transformation into a jerk is never explained, and his characterization is all over the place, as is the film's tone. Worst of all, most of the jokes just aren't funny. You'd be better off going to an actual magic show. * ''Film/InglouriousBasterds'': [[NeverTrustATrailer The marketing campaign is highly misleading]] as to what the film is actually about, painting it as a typical QuentinTarantino bloodbath instead of the spy thriller that it actually is, but it's still a great film on its own merits. It's the culmination of Tarantino's movie geekery, an exploration of the power that cinema has over people for both good and ill. And for those complaining about the MoralDissonance of the heroes' actions: "[[ThoseWackyNazis Nazi uniform]] makes ''anything'' [[AcceptableTargets the good guys do to you 'okay.']] It's an ironclad rule of filmmaking." * ''Film/{{Insidious}}'': "Proof that the ''Film/{{Saw}}'' guys weren't one-trick ponies after all." He called it "sharp, fun, and joyfully scary" and loved its use of "old-school spook show tropes" rather than graphic special effects. He particularly loved the fact that its protagonists were GenreSavvy enough to actually leave the house almost immediately, even if it [[WrongGenreSavvy didn't do them much good]] in the long run. Didn't review it, but he mentioned it at the beginning of his review of ''Your Highness'', and went into further detail in his review of its sequel... ** ''Insidious: Chapter 2'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], Bob voiced his excitement for it given his love of the first film, though he wondered how they were going to pull off a sequel given how the first film ended. When it came time to review it, he said that its biggest problems are that it largely feels like an extended third act for the first film, while its exploration of the ghost's backstory and use of worn-out horror cliches sapped a lot of the tension and mystery from the film. Furthermore, while most of the cast is rock-solid, Patrick Wilson's BumblingDad persona, which worked so well in the first film, isn't really well-suited to the more menacing direction that his character takes. Still, it's an effective film, and much better than one would expect for a horror film released in [[DumpMonths September]]. * ''Film/TheInternship'': "That was so bad, I think I'll switch to Bing." It's got no real jokes outside of its "wacky" premise, the leads Vince Vaughn and Owen Wilson are outshined by their co-stars at every turn, and its idea of what the tech industry is like is [[TwoDecadesBehind rooted more in the days of AOL]] than Website/{{Google}}. Speaking of Google, it feels like that company bought and paid for this film, with the work environment shown here being made to look like the best place in the world to have a job. Overall, it's one of the worst comedies Bob's ever seen in theaters. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10369-Intern-Minable "Intern-Minable"]]. * ''Film/TheIronLady'': MerylStreep is great as usual, but the film suffers from a refusal to examine its subject matter in any real depth, instead taking a by-the-numbers "greatest hits" approach to MargaretThatcher's government that leaves those who don't know much about the time period out in the cold. Bob ultimately found it to be a mediocre OscarBait {{biopic}} that will only appeal to fans of Thatcher -- her {{hatedom}} will likely leave the theater with steam coming out of their ears, and those who don't know or care about her won't be impressed by the film. * ''Film/IronMan'': Loved it. It's a kick-ass movie on its own, but what truly made it great was that it was a property that had never been adapted before, meaning that it didn't have the weight of previous adaptations on its shoulders. That, and NickFury. The only real issues it had were a rather uninteresting villain and a disappointing final action scene. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Film/IronMan2'': Liked it even more than the original. It doesn't change the winning formula of the first film, instead fixing only the parts that needed fixing (like the original's lackluster third act), allowing it to bear the weight of the much higher expectations that it has. However, the second act did tend to drag, feeling like "narrative wheel spinning" that was only there because of the need to build up to ''The Avengers'', and in his review of ''Iron Man 3'' he said that he had been too kind to this film upon his initial review. ** ''Film/IronMan3'': Discussed his thoughts on the film in his ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10006-Lets-Watch-The-Iron-Man-3-Trailer "Let's Watch the 'Iron Man 3' Trailer"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]]. After ''The Avengers'', he felt that it would be difficult for Marvel to return to smaller-scale films that focus on one superhero at a time, and will have to offer something very different from that film.\\ \\ When it finally came out, he thought it was easily the best ''Iron Man'' movie yet and the best individual film in the Marvel Cinematic Universe after ''Captain America''. It's great as a sequel to both ''Iron Man 2'' and ''The Avengers'', and as a standalone film in its own right, with Shane Black's direction (reuniting him with Creator/RobertDowneyJr after ''Kiss Kiss Bang Bang'') helping to make it stand out and the plot being surprisingly dark and subversive for a mainstream superhero film. The fight sequences compare well to classic Creator/JackieChan movies with their improv action, and Gwyneth Paltrow manages to be a standout in an amazing cast. The success of this film offers solid hope that Marvel knows what it's doing with "Phase Two" of the MCU. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013.\\ \\ The following week, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7231-The-Big-Spoiler-Iron-Man-3 "The Big Spoiler: 'Iron Man 3'"]], he discussed the film's big twist compared to the comic-book storylines it was based on. He discussed how a faithful adaptation of the Mandarin would not only run into UnfortunateImplications due to the character being based heavily on YellowPeril iconography, but says that it would've been too similar to SelfDemonstrating/DoctorDoom or a James Bond villain to be all that interesting. Without spoiling anything, he loved the twist that Marvel pulled with the MCU version of the Mandarin, saying it was both unexpected and smart while producing a very memorable character and story arc. * ''Film/{{Irreversible}}'': A grueling film that's impossible to truly "enjoy", chiefly due to its infamous and chilling rape scene. The manner in which the film [[BackToFront runs its scenes in reverse chronology]] makes for an interesting commentary on how ManipulativeEditing can affect our perceptions of events on-screen... if you have the stomach to sit through it a second time. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/ItsAlive'': A film that many people [[PopCulturalOsmosis know more by reputation]] than by having actually seen it. What makes it work is the fact that it plays its EnfantTerrible plot completely straight rather than for {{camp}} value, and never actually tells the viewers why the monster baby turned out the way it did, though the hints that it ''does'' drop are chilling. The final scene was particularly memorable. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/JackTheGiantSlayer'': A bad piece of trash that's not even entertaining in a SoBadItsGood way (the way that the similar ''Hansel and Gretel: Witch Hunters'' was at times). The story feels like an unused outline for a [[TheRenaissanceAgeOfAnimation Renaissance-era]] Creator/{{Disney}} fantasy movie, it has an overly complicated mythology for a movie adapted from a fairy tale, and none of its disparate elements mesh together -- it can't seem to decide if it wants to be a [[{{Grimmification}} gritty reboot]] of ''Literature/JackAndTheBeanstalk'', or a family adventure movie. * The ''Film/JamesBond'' films: For a while, Bob felt that the films starring DanielCraig didn't feel like "true" Bond films, given how he feels that the main purpose of the franchise has long been to pull the viewer into a particular world, and that the Craig films lost a lot of that. However, ''Skyfall'' made him change his mind. ** ''Film/CasinoRoyale'': A "legitimately awesome movie", even if it felt more like a regular action film and less like a Bond film. Didn't review it, but he discussed it in his review of ''Skyfall''. ** ''Film/QuantumOfSolace'': A "pointless slog" that, to Bob, proves that DarkerAndEdgier and James Bond just doesn't work well together. Didn't review it, but he discussed it in his fall 2012 preview while discussing ''Skyfall'', as well as in his ''Skyfall'' review. ** ''Film/{{Skyfall}}'': Not only is it a great action movie, but it's the first Craig film to truly feel like a Bond movie as well, successfully combining the atmosphere and plots of Bond films past (Bob compares it to "James Bond vs. [[Film/TheDarkKnight the Joker]]") with the more grounded feel of ''Casino Royale''. It manages to pull the three Craig films into an origin trilogy that elevates the last two films by association, and Sam Mendez, given his background with dramas, is startlingly adept at shooting a big-budget action movie, avoiding the pitfalls that so many other such films fall into. * ''Film/JennifersBody'': Completely hated it, devoting most of the review specifically to [[AuthorFilibuster bashing Megan Fox]], while claiming that Creator/DiabloCody's SignatureStyle of [[TotallyRadical "hip" slang]] was almost unbearable. He later came back to it (at the end of his ''{{Surrogates}}'' review) to say that ''Film/GingerSnaps'' [[BetterByADifferentName did the same story much better]]. * ''Film/{{Jobs}}'': Called it a "sycophantic hagiography" of Steve Jobs that either glosses over or attempts to justify a lot of the real man's character flaws. The difference between this film and ''The Social Network'', a film that he sees this as a pale imitation of, is that the latter seemed to recognize how silly its subject matter was, while this film seems to fully buy into Jobs' cult of personality. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story.2 "Based on a True* Story"]]. * ''Film/JohnCarter'': It's alright, but given the revolutionary legacy and long shadow of [[JohnCarterOfMars the books it was based on]], it should've been a lot better. Great action scenes and what should be a star-making performance by Lynn Collins as the ActionGirl female lead are undermined by a miscast Taylor Kitsch as the protagonist and a seeming desperation by the filmmakers to avoid the novels' {{pulp}}y roots, often mangling the story in the process. * ''Justice League'' (the upcoming movie): Discussed in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6865-Enough-With-The-Batman-Already "Enough With the Batman, Already!"]] He feels that Creator/WarnerBros is worrying too much about trying to fit Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Dark Knight Saga]] in with the movie, and that they not only could, but ''should'' slack off on Batman, using him mainly as a way to get butts into seats rather than rehashing the character's arc. After all, audiences have just had a surge of high-quality Batman-related media in the form of both movies and [[VideoGame/BatmanArkhamSeries video games]], and there's a big risk that audiences could suffer Bat-burnout if Warner Bros. tries to use the ''Justice League'' movie to reboot the franchise. * ''Film/KickAss'': It greatly simplifies and [[LighterAndSofter sanitizes]] the story of [[ComicBook/KickAss the original comic]], but in doing so it removes a lot of Creator/MarkMillar's [[UnfortunateImplications worst excesses]] and injects the story with a degree of humanity that allows it to hold together much better. The casting and characters are perfect, the extreme, Creator/{{Troma}}-esque violence is shocking to see in a movie like this, and it's hilarious. Bottom line -- [[IncrediblyLamePun it kicks ass]]. ** ''Kick-Ass 2'': A lot of what Bob said about the original (particularly in terms of it being better than the source material) also applies here, earning his recommendation as one of the summer's better action flicks. The lack of Creator/NicolasCage is sadly noticeable, but the supporting cast (particularly Creator/JimCarrey as Colonel Stars & Stripes and Olga Kurkulena as Mother Russia) largely makes up for it, while he also appreciated its embrace of SilverAge heroics (especially in light of ''Man of Steel''[='=]s DarkerAndEdgier tone) and the interplay of its "sick, dirty, and vile" sense of humor with its otherwise light tone. If he had a real problem with it, it's that the story is more predictable this time around, losing some of the original's chaotic energy. * ''Film/KillList'': "You should see this movie... but I can't tell you ''why''." Didn't review it, but he mentioned it in his double-review of ''Detention'' and ''Lockout''. * ''Film/KillingThemSoftly'': A character-focused exploration of the banality of criminal life that can seem slow, but that's the entire point. The acting and directing are uniformly excellent (even if it can feel that Creator/BradPitt is just playing an evil version of his ''Film/OceansEleven'' character; not that Bob's complaining), and while film's politics and background commentary on the recession may come off as pretentious, Bob enjoyed the bluntness and sincerity with which they were presented. * ''Film/KingKong'' (the 1976 version): Discussed the film's TroubledProduction, the publicity stunt/debacle in which the producers claimed to have actually built a life-size King Kong robot, the manner in which {{Universal}} tried to enforce its dubious claim to the ''King Kong'' copyright, and how the film's climax, moved from the Empire State Building to the then-new World Trade Center, is now [[HarsherInHindsight pretty hard to watch]]. Overall, it's not a very good movie, trying to imitate the epic {{disaster movie}}s of [[TheSeventies the time]] but just feeling rather dull. Didn't review it, but he discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6365-Schlocktober-2012-King-Kong 2012 "Schlocktober" special]] for ''The Big Picture''. ** ''Film/KingKongLives'': A bad movie, but [[SoBadItsGood more enjoyable]] than the '76 remake that it's a sequel to, thanks to such crazy moments as the ''GulliversTravels''-esque heart surgery scene and the romance between a pair of 50-foot gorillas. He also notes how producer Dino De Laurentiis had an obsession with creating his own answer to ''Film/{{Jaws}}'', trying to turn his ''King Kong'' remake into a franchise. Discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6380-Schlocktober-2012-King-Kong-Lives 2012 "Schlocktober" special]]. * ''Film/TheKingsSpeech'': Bob found it to be little more than pandering (though admittedly well-made) OscarBait, even going so far as to make his review of it into a "How To Make Oscar Bait" instruction video. * ''Film/KissKissBangBang'': Describes it as Creator/RobertDowneyJr's ''real'' CareerResurrection as opposed to ''Iron Man'', and said it was fitting that director Shane Black reunited with Downey, Jr. for ''Iron Man 3''. Didn't review it, but he discussed it in his review of ''Iron Man 3''. * ''Film/KnightAndDay'': Nothing objectively wrong with it -- it's got good actors with good chemistry, a breezy pace, and fun action and stuntwork -- and if you're looking for ninety minutes of escapism, it'll fit the bill admirably enough. Bob, on the other hand, felt that it was bland and formulaic, having seen more movies like this than he can count, and uses that as a launch pad to explore [[CriticalDissonance the disconnect between professional critics who see tons of movies and "normal" moviegoers who don't]]. Since there's not much more he can talk about regarding the movie, he decides to spend the second half of the review talking about ''Film/TheSmurfs'' movie. * ''Film/LadyInTheWater'': Marks the nadir of Creator/MNightShyamalan's [[PrimaDonnaDirector ego-tripping]], which results in a mess that stands as one of his worst films. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/LakeviewTerrace'': Not bad, but still basically a BMovie about an interracial couple dueling with a bigoted, possibly psychotic neighbor who happens to be a cop, "goosed" by [[StereotypeFlip making the evil bigot a black guy]]. Well-performed and subtle up to a point, but hard to distinguish from any other potboiler outside of the hooks. * ''Film/TheLastAirbender'': It's not ''as'' bad as you've heard, but it's still not at all a good movie. Its biggest problem is that it tries to compress the entire mythology and first season of ''WesternAnimation/AvatarTheLastAirbender'' into a ninety-minute feature film without any [[AdaptationDistillation distillation]], producing a film that, while ambitious and downright beautiful, is an total disaster when it comes to narrative and pacing, spending far too much time in exposition rather than moving the story forward. It's worth a watch just for the cinematography, special effects, and action, but Bob cannot recommend it otherwise. Years later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], Bob admits that he was too kind to the movie in his initial review, and calls it "the go-to example of how ''not'' to adapt a property to the screen." * ''Film/TheLastBoyScout'': An entertaining "guy movie" that combines Tony Scott's signature style with '90s values and cynicism. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheLastStand'': It's good, and if you liked Creator/ArnoldSchwarzenegger's past action movies, you'll probably like this one too. Bob didn't feel that there was enough to say about it to justify a full review, though, so instead he briefly discussed it at the start of his ''Broken City'' review. He later came back to it, along with ''Bullet to the Head'', in the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] (he felt that nothing that came out that week was worth reviewing) to discuss its failure at the box office and what that means for the action genre, particularly the sort of RatedMForManly beefcake action movies that characterized TheEighties and TheNineties. * ''Film/{{Lawless}}'': [[ClicheStorm Far from original]] as far as gangster movies go, and probably destined to live forever in late-night rotation on basic cable, but the solid cast (particularly TomHardy, Guy Pearce, JessicaChastain and, yes, ShiaLaBeouf) helps elevate the film. It's the kind of unoriginal yet solidly entertaining movie that makes the late summer DumpMonths bearable. * ''Film/{{Legion}}'': Unimpressed, seeing the whole "OurAngelsAreDifferent because they're {{Badass}}es" concept as incredibly overdone. * ''Film/{{Leprechaun}}'': Bob did an overview of the series for his St. Patrick's Day special [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9487-Little-Green-Man "Intermission" editorial]]. He found that the films got progressively better from the first (which was SoBadItsGood) through the fourth (''[[RecycledInSpace Leprechaun In Space]]''), that the fifth film (''Leprechaun In the Hood'') was pretty average and couldn't live up to the fun of its premise due to its low budget, and that the sixth film (''Leprechaun: Back 2 tha Hood'') did everything that the previous one didn't. * ''Film/LesMiserables2012'': What worked great on Broadway is nearly unwatchable in the context of a feature film. While Creator/AnneHathaway was amazing (even if it's one of the most blatantly pandering OscarBait roles he's ever seen) and most of the songs were good (with the notable exception of RussellCrowe's singing), the direction was a trainwreck, and the {{compress|edAdaptation}}ion of Creator/VictorHugo's [[Literature/LesMiserables sprawling novel]] renders the characters one-dimensional and reduces the story to what feels like a Cliff's Notes version. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Literature/LifeOfPi'': "One of the most frustrating movies of the year." It's visually stunning, especially in 3-D, but the film is undone by a main character who Bob found to be extremely annoying, comparing him to that friend everyone seems to have who always wants to show others how interesting and quirky he is. On top of that, without spoiling anything, he found the film's big twist to be self-indulgent pseudo-philosophy. Still, the visuals alone make the film worth at least one watch, as long as you can tune out whenever the main characters start talking. * ''Film/{{Lincoln}}'': Didn't review it, but in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10030-Thinkin-Lincoln "Thinkin' Lincoln"]], he said that it's not only a great film, but also one of the most radical political dramas Hollywood has ever made, especially coming from the usually milquetoast Creator/StevenSpielberg, of all people. It takes what many would think of as rather sleazy politics (dirty backroom deals, double-crosses, LoopholeAbuse) and holds it up as the ''real'' reason [[ScrewTheRulesImDoingWhatsRight why America was able to make so much progress]], a far cry from the ''MrSmithGoesToWashington'' plot of the one honest politician cleaning up UsefulNotes/{{Washington|DC}}. He compares it to ''Film/OceansEleven'' in its portrayal of AbrahamLincoln as a MagnificentBastard in getting slavery abolished, instead of the idealized picture of Lincoln that many were expecting. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Lockout}}'': A decent [[GenreThrowback throwback]] to mid-late '90s sci-fi/action thrillers like ''Film/{{Soldier}}'' and ''Film/EscapeFromLA''. It would've been a lot better if Americans didn't get a [[{{Bowdlerise}} butchered PG-13 cut]] that takes out all the brutal violence, which, in a film like this, is really the only selling point. * ''Film/TheLoneRanger'': "A spectacular misfire, a failure on every conceivable level of moviemaking." He hated it so much that he filled the review with tons of unmarked spoilers for it, stating in the opening that it was all the better to keep people from seeing it. Creator/JohnnyDepp in redface as Tonto was merely the starting point of a mountain of terrible decisions that, to Bob, represented yet another symbol of everything wrong with blockbuster Hollywood moviemaking. It's an insult to [[Franchise/TheLoneRanger its source material]] that almost seems ashamed of the association, spending a good chunk of its runtime mocking it, and it's unnecessarily dark and gruesome to a degree that makes ''Man of Steel'', at the time the chief touchstone for criticizing DarkerAndEdgier in film, look like nothing. The protagonists come across as doofuses and nutcases, the plot is one AssPull after another and feels ripped off from ''Pirates of the Caribbean'', and worst of all, the film is simply boring. An easy contender for the worst film of 2013.\\ \\ After the film had become a certified BoxOfficeBomb, he returned to it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7735-The-Lone-Ranger-What-Happened "'The Lone Ranger': What Happened?"]], discussing the film's TroubledProduction, and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], a post-mortem of the summer 2013 movie season. He feels that most of this film's problems trace back to Johnny Depp as Tonto, arguing that this film's version of Tonto was not only more offensive than the one from the original radio show (who was at least played by an actual American Indian) despite being made eighty years later, but that the decision to put such a character in the film, played by Depp, was indicative of the broken logic that Hollywood seems to operate on. Not only did Disney shamelessly recycle the ''Franchise/PiratesOfTheCaribbean'' formula in the hopes of having lightning strike twice, but they allowed Depp to run rampant with his eccentric character decisions for the same reason, and what worked in ''Pirates'' crippled this film. He argued that the film's failure seems to be an indication that audiences' love of Depp may be running out. * ''Film/{{Looper}}'': The same people who recommended ''Dredd'' to him (a film that he loved) are also recommending this, so he takes that as a call to go see it. Didn't review it, but he discussed it in his review of ''The Master''. * ''WesternAnimation/TheLorax'': {{Bowdleris|e}}ing one of Creator/DrSeuss' darkest stories a bit was probably necessary in order to sell it to kids and avoid "''Literature/OldYeller'' conversations" on the way home, but not when it [[DramaticallyMissingThePoint completely misses the point]] of the book, chickening out on its socially conscious message and refusing to criticize its viewers. It indulges in all of the worst cliches of family cartoons, to the point where Bob was RootingForTheEmpire just so he wouldn't have to put up with the heroes' annoying shtick. The fact that it featured ProductPlacement for an SUV was particularly insulting. Didn't review it, but he discussed it in his "Intermission" editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9467-Unless "Unless"]], and at the end of 2012 he listed it as one of his ten worst movies of the year. * ''TheLosers'': A safe, generic actioner that's been done better many times before, and plays the cheeseball, '80s and '90s action movie formula so straight that one would think it was a parody, but it sadly isn't. The only reason to see it is so you can sneak into a better, R-rated movie. * ''Film/LoveAndOtherDrugs'': Proof that the Hollywood RomanticComedy formula doesn't have to suck. Unlike many films of its ilk, this one is completely frank and honest about the sexual urges that drive many relationships, giving audiences a visceral connection to its two sexy romantic leads that the average [[{{Bowdlerise}} PG-13]] "ChickFlick" doesn't have. * ''Film/TheLoveGuru'': Liked the character of Guru Pitka, and felt that the film was at its best when lampooning New Age pseudo-Eastern spiritualism, but felt that the rest of the film (apart from JustinTimberlake, whom he grudgingly admits that he's a fan of) was a dud, and that it's the worst film of Mike Myers' career. [[/folder]] [[folder:Films M-R]] * ''Film/{{Machete}}'': Even without its underlying message, it's one of the best action movies of the year. However, its angry, un-subtle righteousness regarding its subject matter makes it that much better. It may have been riffing on the [[{{Anvilicious}} ham-handed]] social justice messages of '70s {{blaxploitation}} movies, but it still felt like Creator/RobertRodriguez's most substantial film to date. Discussed it in his review of it and in his review of its sequel... ** ''Machete Kills'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said he was looking forward to it as a trashy breather from the prestige pictures of the fall, though he wonders how it can top the first one. When it came time to review it, he said it was "just as much fun, not as much impact," disappointed that it lacked the first film's angry tone and ultra-gory violence but otherwise enjoying himself with a "fun goof" at the movies. He particularly praises the cast, saying that they're great on both a meta level and with regards to how they serve the film itself. * ''Film/MachineGunPreacher'': "Whatever [[BasedOnATrueStory the real Sam Childers]] may or may not be, we can now add 'deserving of a better movie' to the list." While the true story it's based on is admirable and inspiring, overall Bob found the film itself to be a mess that was too in awe of its subject matter to be able to tell a good story. * ''MammaMia'': "Bottom line -- ''bad, bad, bad!''" Calls it "shallow, base and hinged on meaningless spectacle" and "suitable only for use as an [[JackBauerInterrogationTechnique interrogation]] [[CoolAndUnusualPunishment technique]]," while opening his review with a rant against {{jukebox musical}}s in general. * ''Film/ManOfSteel'': "Or, as it's known around my house, ''Please Don't Suck, Please Don't Suck, Please Don't Suck, Please Don't Suck''." Before it came out, he discussed his thoughts on it in the ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9921-And-Who-Disguised-as-Clark-Kent "And Who, Disguised as Clark Kent"]], [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10096-Lets-Watch-The-Man-Of-Steel-Trailer his]] [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10292-Lets-Watch-Another-Man-Of-Steel-Trailer analyses]] of the film's trailers. He felt that it was a good idea to go back to ComicBook/{{Superman}}'s origin story -- even though everybody knows it, it had been 36 years since it was last depicted on the big screen. He also felt that the film should take advantage of Superman's [[InvincibleHero effective invincibility]] and go for broke with the action scenes, as well as bring some genuine romance and sex appeal to the character, which are reasons why he was excited about Creator/ZackSnyder's involvement with the film but discouraged by Creator/ChristopherNolan's. The first trailer's Nolan-esque tone had him worried, as does WarnerBros' historic track record of having a hard time making good films based on their non-Batman DC properties, but the second trailer raised his spirits.\\ \\ When it came time to review it, he called it "solid but profoundly problematic," his enthusiasm about Snyder being perfect for the material and fears about Nolan being all wrong for it both being confirmed. It failed when it came to plot and writing, largely due to Nolan and David Goyer's love of intricate plot mechanisms and over-explanations that, in this film, only weigh down the plot and don't go anywhere. They seem to completely miss the point of Superman[=/=]Clark Kent as a character, turning him into something close to a NinetiesAntiHero meets their take on Batman, with Bob calling this "a Superman movie for people who never liked Superman." On the other hand, he felt that it was "damn near a masterpiece" when it came to Snyder's eye for great visuals and action, and the cast largely rises above the material (particularly Creator/MichaelShannon doing an amazing General Zod). Overall, while he hopes that the inevitable sequel finds ''much'' better writers and throws out this film's DarkerAndEdgier attitude, he still recommends it.\\ \\ Over time, however, he came to like the film less the more he thought about it, concluding that his initial review was far too generous. He discussed his reasons why in the ''Big Picture'' episodes [[http://www.escapistmagazine.com/videos/view/the-big-picture/7541-Man-of-Tomorrow "Man of Tomorrow"]] and [[http://www.escapistmagazine.com/videos/view/the-big-picture/8067-The-Big-Letdown "The Big Letdown"]], and the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10453-Super-Dark "Super Dark"]] (warning: spoilers). He criticized what he felt was a nearly unrecognizable depiction of Superman, including the decision to have him [[spoiler:break his ThouShaltNotKill rule]], and worried about the omnipresence of DarkerAndEdgier attitudes in modern blockbusters. He argued that, while a better film (like Nolan's own ''The Dark Knight'') could've overcome all of these problems, ''Man of Steel''[='=]s glaring storytelling problems and lack of understanding of what it wanted to be only made them stand out more. He named it the most disappointing film of summer 2013, and said that he wasn't all that enthusiastic for a sequel. ** ''Man of Steel 2'': Discussed the film in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con, in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10489-Worlds-Finest "World's Finest"]], and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7987-Batfleck "Batfleck"]]. He felt that Creator/WarnerBros was missing the point of all of the criticism that ''Man of Steel'' had been handed, and that simply throwing Batman into the next Superman movie would only reinforced the underlying problems with the last film's DarkerAndEdgier attitude. He also feels that their plans for the Justice League movie are all wrong without Wonder Woman. That said, the mere idea of a "Batman vs. Superman" movie, while fairly cynical from a business perspective, is something that has his attention, while the casting of Creator/BenAffleck as Batman caused his anticipation to jump for a number of reasons (and left him wondering why so many other people hated it). He concluded that a Batman/Superman crossover will likely have the two of them fighting at some point, given both ''Man of Steel''[='=]s example and the long-standing dark attitude of recent Batman films and comics alike. * ''Film/ManOnFire'': One of Tony Scott's most successful and visually aggressive films, which Bob calls the blueprint for ''Film/{{Taken}}''. He also notes the UnfortunateImplications of its caricaturing of its Mexican villains. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TheManWithTheIronFists'': Didn't review it, but he discussed it in an interview with the film's director and star, [[Music/{{Wu-Tang Clan}} The RZA]] (in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10023-Enter-The-36th-Chamber "Enter the 36th Chamber"]]). They discussed why Hong Kong {{martial arts movie}}s were [[GermansLoveDavidHasselhoff so popular in black inner-city America]], as well as The RZA's experiences working around China's CulturePolice (the film was shot in UsefulNotes/{{Shanghai}}) and how his experience mediating the clashing egos in the Wu-Tang Clan prepared him for a film shoot. * ''Film/{{Maniac}}'' (the 2013 remake): Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]] he listed it as one of his top ten movies of summer 2013. It breathes new life into the seemingly played-out [[SlasherMovie slasher genre]] by telling the story from the killer's perspective, and a terrifying performance by Creator/ElijahWood as the titular maniac and an unflinching brutality make this one of those films that you'll never forget no matter [[BrainBleach how hard you try]]. * ''Film/TheMaster'': Probably going to wind up as Creator/PaulThomasAnderson's least popular movie due to the fact that it's also his least showy and visually elaborate, lacking many of the memorable scenes, moments and setups that make the rest of his filmography so popular with mainstream moviegoers. It's a shame, too, because it's at least as good as ''Film/ThereWillBeBlood'', with Creator/JoaquinPhoenix delivering his best performance to date. And no, despite what you may have heard, it's not the anti-[[ChurchOfHappyology Scientology]] hit piece that everybody was predicting it would be -- though it does take a few digs at the movement, the Cause feels like it could be a stand-in for any abusive {{cult}} and not a specific one in particular. * ''Film/MazesAndMonsters'': A terrible attempt to cash in on the anti-''TabletopGame/DungeonsAndDragons'' [[YouCanPanicNow moral panic]] of the '80s that feels like what would result from Jack Thompson writing and directing ''Film/TheWizard''. Didn't review it, but he mentioned it in his discussion of ''Dungeons and Dragons'' adaptations. * ''Film/MenInBlack'': The first film was a very good movie, combining a clever premise with a witty script that parodied the sci-fi blockbusters of the late '90s. Unfortunately, the second film ruined what could've been a promising franchise by recycling the first film's plot in a failed attempt to recapture its character dynamic rather than building upon its foundation. He feels that, at this point, rebooting the franchise with a focus on the rest of the agency would be the best idea. Didn't review them, but he discussed them in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] and in his review of the third film... ** ''MenInBlackIII'': "You'll come out looking for the neuralizer." JoshBrolin's impeccable performance can't save a film that makes all the same mistakes the second one did, while at the same time doing nothing with the ideas it brings up and clashing with plot points and character beats from previous films. * ''Film/MidnightInParis'': Creator/WoodyAllen's best film in a long time, one of the best comedies of the year, and a great exploration of our current [[NostalgiaFilter nostalgia-obsessed]] pop culture. Didn't review it, but at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/MirrorMirror'': "Probably gonna top a lot of 'year's worst' lists." Specifically singles out JuliaRoberts' inability to carry the film as one of his biggest criticisms. Didn't review it, but he mentioned it during his ''Wrath of the Titans'' review. * ''Film/MissionImpossible'': Felt that none of the films ever rose above average. Regarding the fourth film, ''[[Film/MissionImpossibleGhostProtocol Ghost Protocol]]'', he feels that it "kinda sucks", and was let down by shallow writing and characters, but that it was saved by BradBird's eye for action. While he hasn't done video reviews of any of the movies, he did mention them in his "The Look Ahead" special on ''Escape to the Movies'' while discussing ''Ghost Protocol'', and he later compared ''Ghost Protocol'' to ''Film/SherlockHolmesAGameOfShadows'' in his weekly ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9283-Double-Vision editorial]]. * ''Film/TheMonsterSquad'': In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7201-The-Boot-Part-Two "The Boot, Part Two"]], he said it was good, but [[NostalgiaFilter overrated by his generation]], and doesn't hold up as well as similar movies like ''Film/TheGoonies''. He says that it deserves to be remade, calling it one of those movies that's better remembered for the basic idea behind it than the actual execution. * ''Film/{{Monsters|2010}}'': Hugely disappointed, feeling that the unlikable lead characters made it an utter slog to sit through. * ''WesternAnimation/MonstersInc'': Says that it's, together with ''WesternAnimation/FindingNemo'', the Creator/{{Pixar}} film "least in need of a sequel". He also argues that it was their most subversive film until ''WesternAnimation/WallE'', seeing the monsters' job of scaring children for their "fear energy" as a metaphor for the oil industry. Didn't review it, but he discussed it in his review of its prequel... ** ''WesternAnimation/MonstersUniversity'': It's not as good as the original, and in fact your enjoyment of it will likely be undercut if you've seen the original and its big reveal, but it's still a very funny movie, certainly better than another ''Cars'' film or the "noble misfire" that was ''Brave''. It's a great homage to '80s college comedies like ''Film/RevengeOfTheNerds'' (only a lot more G-rated, obviously) that doesn't quite knock it out of the park, but which still has some great characters and very funny and thrilling moments. * ''The Monuments Men'': Feels that a movie about the [[https://en.wikipedia.org/wiki/Monuments,_Fine_Arts,_and_Archives_program Monuments, Fine Arts, and Archives Program]] during WorldWarII is long overdue. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/MoonriseKingdom'': Called it "raw, exposed-nerve humanity" and a more affecting romance than any "grown-up" film that year. Anderson's trademark strengths are on full display, helped along by the fact that the main characters are children, a natural fit for his sensibilities. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9773-Under-the-Radar "Under the Radar"]]. * ''Literature/MortalInstruments'': Hasn't reviewed it yet, but he discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]]. Having looked up the books and spoiled the plot for himself, he wonders just ''how'' they're going to be able to put the first book's big twist on screen without causing a firestorm of outrage. * ''Film/MortalKombat'': Didn't review it, but in the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2012/08/episode-73-return-aka-going-hollywood.html "Going Hollywood"]], he cites it as an example of how to do a video-game-to-film adaptation right, adapting both the storyline of the series specifically and the mechanics of fighting games in general (basically, non-stop fight scenes that drive the plot forward). The only real problem it had was that it removed [[{{Gorn}} the one thing that the games are best known for]], something that he felt could've been solved with a HandWave about the island granting its inhabitants a HealingFactor or Shang Tsung bringing dead fighters BackFromTheDead after each fight. * ''Mr. Go'': "Can somebody ''please'' bring [this film] to U.S. theaters? ''Pretty please?''" Didn't review it, but he mentioned it at the end of his review of ''The Wolverine''. * ''Film/TheMuppets'': Bob compares it to the recent reboots of ''Film/TheSmurfs'' and ''Film/AlvinAndTheChipmunks'' in terms of {{human focused adaptation}}s of classic kids' shows, with one key difference: it doesn't suck. Instead, it's one of the funniest family films in a long while, and although it's not as good as the original ''[[TheMuppetMovie Muppet Movie]]'', it's still a worthy comeback for JimHenson's classic characters. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/NaturalBornKillers'': Didn't review it, but in the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2013/10/episode-87-gtav-is-not-satire-probably.html "'GTA V' Is Not A Satire (*Probably)"]], he used the film to demonstrate the difference between {{parody}} and {{satire}}. The flashback scene showing Mallory's upbringing, done in the style of a ''Series/MarriedWithChildren''-esque {{sitcom}}, was a satire of how that style of television often trivialized the abusive events that happen to its characters by [[PlayedForLaughs playing them for laughs]]. * ''Film/NightOfTheLepus'': Calls it SoBadItsGood and a masterpiece of [[NeverTrustATrailer misleading advertising]]. He said that no joke he could make about it could be funnier than the film itself, so he just spent a third of his time showing clips of it. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture''. * ''Film/ANightmareOnElmStreet2010'' (the remake): Casting JackieEarleHaley as Freddy Krueger was the only thing this film did right, and his great performance is put to waste by a total mess of cop-outs and cheap scares. It's a disgrace to [[Film/ANightmareOnElmStreet1984 its namesake]], and it's down there with ''[[Film/ANightmareOnElmStreet2FreddysRevenge Freddy's Revenge]]'' and ''Film/FreddysDeadTheFinalNightmare'' as one of the worst films in the franchise. * ''Film/NinjaAssassin'': The action scenes were awesome, but it's overall a ClicheStorm not worth caring too much about. * ''Film/NoStringsAttached'': While the rom-com formula prevented it from examining its themes in any real depth, Bob still found it to be a good movie, with a funny script, likable leads and a very welcome (given the subject matter) R rating. * ''Film/OBrotherWhereArtThou'': One of the greatest films that Creator/TheCoenBrothers ever made, even if it's to blame for digital color-correction and, with it, the annoying trend of the OrangeBlueContrast. Didn't review it, but he mentioned it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences".]] * ''Film/{{Oblivion 2013}}'': Impressive visual design and solid direction can't save a bad movie that felt like "five or six Creator/MNightShyamalan screenplays smushed into one." Without spoiling anything, the film telegraphs that something is wrong from a mile away, it's derivative of other, better sci-fi films, the twists pile up and produce a mountain of FridgeLogic, and the LoveTriangle [[ArsonMurderAndJaywalking is annoying]]. Bottom line: if you want a visually stunning but nonsensical sci-fi movie, rent ''Prometheus'' instead. He also analyzes Creator/TomCruise's career trajectory, describing it as a string of reactions to insecurity. * ''Film/{{Oldboy}}'' (the remake): Only looking forward to it due to Creator/SpikeLee's involvement, as even his worst films tend to at least be interesting to watch. * ''Film/OrcaTheKillerWhale'': Not only the best of the many ''Film/{{Jaws}}'' ripoffs of the late '70s/early '80s, but also a good movie in its own right, albeit a completely crazy one. It combines a high-brow NatureDocumentary style, with tons of footage of killer whales and a great score by EnnioMorricone, with a gory '70s exploitation/monster movie vibe, the two going together surprisingly well. Didn't review it, but he discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6411-Schlocktober-2012-Orca 2012 "Schlocktober" special]] for ''The Big Picture''. * ''Film/TheOtherGuys'': Pretty funny, but it never really adds up to anything, and it's been done better before. He also goes into an analysis of the roots of the "buddy cop" genre. * ''Film/OzTheGreatAndPowerful'': An "unabashedly old-fashioned family blockbuster" that's a great fit for Creator/SamRaimi's retro style, feeling at times like a big-budget, family-friendly version of ''[[Franchise/EvilDead Army of Darkness]]'' meets the original ''Film/TheWizardOfOz'', and which succeeds at every point where Tim Burton's ''Alice in Wonderland'' went wrong. Grown-ups are going to figure out the plot twists pretty early, but it can still be quite shocking to see a Hollywood blockbuster go in the directions that this film does. The cast is great -- James Franco's hipster persona goes perfectly with his sleazy con artist protagonist, while RachelWeisz, Michelle Williams, and especially MilaKunis are all at the top of their game as the witches. Throw in some absolutely stunning CGI that's used for more than just flash, and you have an incredible film whose only real flaw is the lack of songs (because what is a ''Wizard of Oz'' prequel without musical numbers?).\\ \\ Bob also doesn't find much wrong with the fact that it's not following ''Theatre/{{Wicked}}''[='=]s mythology, given that Creator/LFrankBaum, the man who wrote ''Literature/TheWonderfulWizardOfOz'', himself wrote a long series of Literature/LandOfOz novels with often-contradictory mythologies that ''Wicked'' was itself throwing out. * ''Film/PacificRim'': Hugely excited for it given that it's made by Creator/GuillermoDelToro's, but in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], he said that he fears that, without a franchise name backing it up, it could run into trouble at the box office. He hopes it's a hit so that it breaks Hollywood's dependence on sequels and licensed properties, as well as to give Del Toro the break that he has long deserved. The week it came out, he devoted an entire ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/7674-The-New-Originals "The New Originals"]], to telling people to see the film sight unseen not just because it looked good, but so that they could send a message to Hollywood that they want more than just sequels, remakes, and adaptations for their big-budget blockbusters.\\ \\ When it came time to review it, he said it was SoCoolItsAwesome and that it lived up to every expectation he put on it and then some. It was, in his opinion, the best SummerBlockbuster since ''Film/IndependenceDay'', a film that he compares this to in terms of it being an amped-up version of a classic BMovie genre (in this case, Japanese {{kaiju}} movies and mecha anime), without the bloat, pretension, and exposition that infests so many other big summer tentpoles. It has deep, well-rounded characters whose interactions actually drive the plot rather than feel like drama for the sake of it, the giant monster vs. robot battles are absolutely mind-blowing and feel more real than any number of "gritty and realistic" action movies, and even the stuff that shouldn't work still works in the context of this film's homage to classic anime and sci-fi. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013.\\ \\ Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], he argued that the film's overall box office performance shows how American audiences are no longer the be-all, end-all decider of success or failure in Hollywood. While the film disappointed at the American box office, its success overseas (especially in China) was more than enough to rescue it and produce talk of a sequel. * ''Film/PainAndGain'': It's a SpiritualSuccessor of sorts to ''Bad Boys II'', and quite an enjoyable film at that, with Creator/MichaelBay's detachment from the material rather than exploration of deeper themes being well-suited to its [[BlackComedy darkly comic]] exploration of the true story it's based on. He compared it to ''Film/{{Fargo}}'' in the sense of it being about really stupid criminals, only coming from someone who is more annoyed than amused by that stupidity. He also makes the case that nihilism and "to hell with humanity" is the defining trait of Bay's work, only unlike Creator/LarsVonTrier, he uses this nihilism as an excuse to blow it all up. Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], he argued that it's Bay's best film yet, the fulfillment of the promise he showed in the ''Bad Boys'' films, and a sign of what he's capable of when he's not bound by the franchise requirements of ''Transformers'' or trying for respectability like with ''Film/PearlHarbor''. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/ParanormalActivity'': Despite the fact that he usually hates [[FoundFootageFilms found-footage movies]], he loved this one, for one simple reason: "tripod." In other words, rather than using the "handheld camera" setup as an excuse to cover up a lack of talent and budget, this film used it to make sure that the audience saw everything that was happening, while avoiding the "shaky-cam" pitfall of so many other found-footage films. ** ''ParanormalActivity 2'': Not impressed. He felt that the larger scale and the greater explanation of the backstory, combined with the fact that it's a sequel to a film that relied on surprise for its scares, all diluted the tension compared to the original. * ''WesternAnimation/ParaNorman'': Quite possibly Bob's favorite movie of 2012 up to that point -- even next to ''Film/TheAvengers''. Unlike many other animated family films that go for epic bombast and rollercoaster-esque thrill rides in order to keep the wee ones entertained, this movie is smaller in scope and focuses on building its characters, story and mood, all to great effect. Admittedly, though, he feels that part of the reason why he loved it so much was because it was practically WishFulfillment for him -- after all, it's about a socially outcast horror-movie buff from [[HollywoodNewEngland New England]] who can see ghosts and uses that skill to fight a ZombieApocalypse, and it's got a dark story and some biting and thoughtful social commentary about bullying, self-esteem, and the conformity of suburban Middle America. Outside the review, he also discussed the technology and themes behind the film in that week's ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9869-Puppet-Masters "Puppet Masters"]]. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Paul}}'': The movie that ''Film/{{Fanboys}}'' should've been but wasn't, a love letter to American nerddom and Comic-Con culture that's still gut-bustingly hilarious even if you're not a geek. The team of SimonPegg and Nick Frost is great as usual, the material is still funny if you take out the sci-fi references, and it gives a much-deserved TakeThat to [[TheFundamentalist religious fundamentalists]] and creationists. He opened his review with a little mini-review of ''BattleLosAngeles''. * ''Film/ThePeopleUnderTheStairs'': Called it a "home invasion movie in reverse," and noteworthy for being one of the few truly successful black-themed horror films. He finds it strange that this film doesn't get more attention today, despite it being one of Creator/WesCraven's bigger hits. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/Piranha3D'': "Just about the best pure fun, R-rated movie to come out this summer." * ''Film/PiratesOfTheCaribbeanOnStrangerTides'': Calls it a lazy cash grab and declares the franchise to be in [[FranchiseZombie zombie mode.]] * ''{{Ponyo}}'': "It's good! Go see it, so you too can spend weeks on end trying to figure out what the hell this guy's deal is. Weird dude." Didn't review it, but he mentioned it at the end of his ''{{Surrogates}}'' review. * ''Film/{{Predators}}'': A great throwback to TheEighties that feels like the kind of sequel that ''Film/{{Aliens}}'' was to ''Film/{{Alien}}''. It's the best ''Film/{{Predator}}'' movie since the original, and a testament to producer [[RobertRodriguez Robert "Mr. One-Man Studio" Rodriguez's]] work ethic. * ''Film/PremiumRush'': Not a particularly ''good'' movie, but Michael Shannon steals the show as the villain, and it makes for a nice [[GenreThrowback throwback]] to the old ExtremeSportExcusePlot movies of the '80s like ''Film/{{Rad}}'' and ''Film/BMXBandits''. Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Film/PrinceOfPersiaTheSandsOfTime'': While he does call this perhaps the first genuinely good film based on a video game, Bob is ultimately underwhelmed that it doesn't mean so much a successful translation of videogame conventions, but merely a decent ''Literature/ArabianNights''-themed action film. * ''Prisoners'': Greatly exceeded his expectations. He went in expecting a good, but not great, thriller whose trailers [[TrailersAlwaysSpoil gave away too much of the plot]], but what he got was a lot darker and more complex than that. It's a {{deconstruction}} of the outlandish pot-boiler mysteries of Thomas Harris, [[Literature/TheMillenniumTrilogy Stieg Larsson]], and various TV police dramas, and of the [[ActionDad hyper-competent badass father figure]] ''a la'' [[Film/{{Taken}} Bryan Mills]] or [[Series/TwentyFour Jack Bauer]]. It runs a bit long, and it's occasionally a bit too ambitious for its own good, but it's otherwise one of the best films out in theaters at the time. * ''Film/{{Prometheus}}'': Called it a smart and well-made (if not great) sci-fi/horror film without any serious flaws beyond some clunky transitions between the three acts, with the lead actors all turning in great performances and the {{Abusive|Precursors}} AncientAstronauts idea being a rather scary thought (if hardly original by this point). However, he couldn't help but feel underwhelmed, which he attributes to how the internet has created a movie-geek culture where everybody knows everything about the behind-the-scenes details of a film (a subject he had discussed in the prior week's ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9660-Hype-er-Time editorial]]). He went in knowing that the film was a {{prequel}} to ''Film/{{Alien}}'', which colored his expectations of the project and prevented him from enjoying it on its own merits. * ''Film/{{Psycho}}'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. In this film's case, the entire first half of the film existed so that Creator/AlfredHitchcock could shock the viewer at the halfway mark by killing off the heroine and [[HalfwayPlotSwitch turning]] what had been a FilmNoir up to that point into a {{horror}} movie. * ''Film/PublicEnemies'': A return to form for MichaelMann which went a great way towards improving the otherwise limp output of summer '09. It's suspenseful and action-packed (Mann knows how to do shootouts) without requiring you to leave your brain at the door, and its application of an ultra-modern aesthetic to a PeriodPiece makes it a thrill to watch. The worst he could say about it was that it ran a bit too quickly and there wasn't enough of it, which in his opinion, is a sign of a damn good movie. * ''Film/{{Pulgasari}}'': Bob devoted an entire ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/5273-Monsters-Movie "Monster's Movie"]], to the film and, by extension, the crazy world of the UsefulNotes/{{North Korea}}n film industry that produced it. To put it bluntly, the circumstances behind the production of this film (a surprisingly good ''Franchise/{{Godzilla}}'' clone) may just be more interesting/bizarre than the film itself. * ''Film/PuppetMaster'': Didn't review any of the films, but he discussed the series in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8191-Schlocktober-2013-Puppet-Master "Schlocktober" special]] in 2013. The first film wasn't particularly good, and felt constrained by its tiny budget, but the first few sequels were big improvements, owing to their great stop-motion effects and their ambitious (by BMovie standards) plot. However, from the sixth film on the series [[FranchiseZombie just didn't know where to stop]], falling victim to a KudzuPlot and [[MerchandiseDriven its own merchandising]]. Overall, while no one film in the series is a masterpiece, taken as a whole it's quite impressive. He also talked about the film's creator, home video schlockmeister Charles Band and his studio FullMoonFeatures. * ''Film/ThePurge'': It's got a great premise that could've been used to make a really twisted satire, but [[TheyWastedAPerfectlyGoodPlot then it squanders it]] with a generic {{slasher|Movie}}[=/=]home invasion plot, with poor characterization, a big twist that's obvious in the first ten minutes, and a political message that Bob, despite [[DontShootTheMessage agreeing with it]], found to be {{anvilicious}}. Given the deeper ideas that the film touches on but never explores, Bob theorizes that this film suffered from [[ExecutiveMeddling heavy rewrites]] that greatly dumbed it down. * ''Film/TheQuickAndTheDead'': Creator/SamRaimi's most "mainstream" film before the ''Spider-Man'' trilogy and probably his worst film, being stylistically overloaded and lacking the sincerity of Raimi's earlier work. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Raimi's career. * ''Film/TheRaid'': If you haven't seen it yet, and you're a fan of action movies, look up where it's playing near you and go seek it out, because it's awesome. It's thin on plot and not that different from most other martial arts movies, but it more than makes up for that by having more kickass action scenes per minute than any other film you'll see this year. Even its occasional use of JitterCam is forgivable, as said action scenes are still coherent and easy to follow even with the camera moving about. He first mentioned it at the end of his ''Wrath of the Titans'' review, then did a proper review of it the following week. * ''{{Rango}}'': Called it the best-looking animated film he's ever seen, even beating out movies from {{Pixar}}, but felt the storyline was lacking and that it didn't do much with its metanarrative ideas. * ''Film/{{The Raven|2012}}'' (the 2012 film): "A complete wash. An utter waste of time and money." Bob specifically points to JohnCusack's performance as one of the bigger problems, with him being too plain to convincingly play the [[LargeHam manic and unhinged]] Creator/EdgarAllanPoe -- a role that someone like NicolasCage, GaryOldman, or even JohnnyDepp would've pulled off much better. In addition, the central murder mystery is poorly put together, the film has nothing interesting or new to say about Poe or his writing, the allusions to his poems are shallow and surface-level at best, and the entire thing just feels cheap. He had so little to say about the film that he finished the review with a minute to spare, so he went off on a weird tangent about ''Franchise/StarTrek'' and the future just to fill time. * The films of Creator/RayHarryhausen: Devoted an ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10325-Master-Of-Monsters "Master of Monsters"]], to his work after he passed away in 2013. He talks about how Harryhausen was a filmmaker [[BornInTheWrongCentury both ahead of and behind his time]], and how his work and ideas have been VindicatedByHistory and now form part of the foundation of geek culture. * ''Film/RealSteel'': A movie that Bob was spending all year preparing to rip to shreds, but which surprised and humbled him by actually being a solid film with a lot of heart. If you have a young son who's into Legos or robots, he is going to think it's the ''bestest movie ever!!!'', and you'll probably love it too. * ''Film/RealityBites'': Feels that, looking back, it's practically unwatchable. Didn't review it, but he discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6962-The-90s-Didnt-Suck "The '90s Didn't Suck"]]. * ''Film/{{Red}}'': Great cast and action scenes, and just the kind of movie to ease the transition from SummerBlockbuster season to OscarBait season, especially if you've got an older relative who still likes to have fun. In his review of its sequel, he said that he couldn't much remember the plot of this one, but he still remembered enjoying this film's setup and how it pulled it off. ** ''Red 2'': The plot is pointless, forgettable, and doesn't make a whole lot of sense, but it's still an enjoyable diversion, with a cast that was clearly having just as much fun here as in the last film. After a mediocre summer at the movies, this was a much-needed breath of fresh air. * ''Film/RedDawn1984'': Its politics may have been ridiculous, but it was made by somebody who genuinely believed in those politics, meaning that it worked as both an action film and as a "message movie". ** ''Film/RedDawn2012'': "A boring, dumb, uninspired heap" made simply to cash in on the name recognition of the original film. Didn't review either the original or the remake, but he discussed them in his review of ''Life of Pi''. * ''Film/RedRidingHood'': Found it gloriously {{camp}}y and silly to the point of [[SoBadItsGood awesomeness]], with great directing and a refreshing, anti-''Literature/{{Twilight}}'' feminist message, though he felt that the plot was too convoluted and that the LoveTriangle was unnecessary. He also bemoaned how the rampant success of ''Literature/{{Twilight}}'' has lowered the standards for female-focused genre fiction. * ''Film/RedState'': "[[PunctuatedForEmphasis What. The.]] '''[[PrecisionFStrike F***]]''' did I just watch?" Called it "one of the most god-awful films of the year", saying that it was even worse than ''Film/GreenLantern''[[note]]"Worse than me?? Wow."[[/note]] and comparing it to ''Film/TheRoom'' and ''{{Birdemic}}'' in terms of sheer inept filmmaking. The only bright spot is Michael Parks' great performance as the [[TheFundamentalist Fred Phelps]]-esque villain, and that's not nearly enough to save the film from its mess of plot, writing and character problems. Bob devotes a good chunk of the review to exploring KevinSmith's career and his [[DarthWiki/FallenCreator fall from grace]] in the last several years, and hopes that he's gotten over whatever compelled him to make this movie. * ''Film/RedTails'': Not quite a great film (it's got some [[ConspicuousCG dodgy CGI]] and a script that's a bit too reliant on war movie clichés), but a fun, solid and well-made one that [[GenreThrowback hearkens back]] to the "golden age" of WorldWarII movies, and gets points for finally giving the Tuskegee Airmen the recognition they they didn't get during that time. He also takes time to vent at jaded ''StarWars'' fanboys who will likely rag on the film just because GeorgeLucas produced it. * ''Film/RepoMen'': While it cribs liberally from many other dystopian sci-fi films[[note]]And that's not even getting into the comparisons to ''RepoTheGeneticOpera'', which he hadn't heard of until fans started pestering him about it.[[/note]], it's good nonetheless, with some of the {{Gorn}} scenes alone making it worth a watch. However, he did note that there may just be a case of RootingForTheEmpire. * ''Film/RepoTheGeneticOpera'': Called it a "third-rate ''[[TheRockyHorrorPictureShow Rocky Horror]]'' knockoff", and didn't understand why it had such a large cult following. Didn't review it, but he mentioned it at the beginning of his ''Film/HotTubTimeMachine'' review, noting that he hadn't heard of it until after he did his ''RepoMen'' review and got messages wondering why he didn't mention the similarities between the two. * ''Film/ResidentEvil'': A bad movie that doesn't know whether to be a Romero ripoff or an ''Film/{{Aliens}}'' ripoff. However, MillaJovovich (who Bob describes as "[[DistaffCounterpart the female]] Creator/JasonStatham" in terms of being a BMovie action star) was a bright spot, making for a surprisingly convincing ActionGirl given her background as a supermodel, and Bob found her Alice to be the most interesting character in either the films or the games. He doesn't hate it as much as he did when it first came out, feeling that the reason why he and so many others loathed it was because of [[AdaptationDecay its lack of connection]] to [[Franchise/ResidentEvil the games]], even though, in his opinion, the games have very subpar stories that make the films (far from paragons of storytelling themselves) look brilliant in comparison. He didn't devote a full review to it, but he discussed it (along with the second and third films, ''Apocalypse'' and ''Extinction'') during his review of the fourth ''Resident Evil'' movie, ''[[Film/ResidentEvilAfterlife Afterlife]]'', and came back to it in his review of the fifth film, ''Retribution''. ** ''Film/ResidentEvilApocalypse'': "... A laughably awful mess, but at least it was so consistently terrible that [[SoBadItsGood it was kind of compelling and watchable]]." He also notices that, from this point forward, Jovovich was married to producer Paul W. S. Anderson, which makes the sequels feel like they should all just be called "''Resident Evil: Check Out My Ridiculously Hot Wife''". ** ''Film/ResidentEvilExtinction'': Sure, it rips off ''MadMax'', but it's still a surprisingly competent action film given the trash that came before it. To Bob, this was the point where the films stopped even pretending to have anything to do with the games, which he feels is for the better -- after all, ''VideoGame/ResidentEvil4'''s departure from series tradition produced, in his opinion, the best game in the series. ** ''Film/ResidentEvilAfterlife'': It's a ClicheStorm of every zombie movie trope around, but if you're in an action mood, you could do worse. If possible, see it in 3-D for some awesome effects. The series seems to be getting better with each installment, so he's hopeful that they eventually make one that's unquestionably good. ** ''Film/ResidentEvilRetribution'': Feels like a bad ''RE'' fanfic, with awful acting all around (especially from Sienna Guillory and Shawn Roberts as Jill and Wesker) and a plot that's largely a "greatest hits" collection of moments from the last four films. Still, it's alright, and it's hard to do much better in the [[DumpMonths September doldrums]], especially if you're an action fan. The review was about a minute shorter than usual since Bob had a cold while filming it. * ''Revenge'': Remembers having liked it at the time, though he also mentions the criticism of the film's values. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late TonyScott's career. * ''WesternAnimation/RiseOfTheGuardians'': One of those movies that Bob is surprised wasn't thought of sooner. It's a very fun movie to watch, and typical of the modern Creator/DreamWorksAnimation formula -- lots of big action scenes that hit the ground running and never let up, without the ''Shrek''-era reliance on pop culture humor, even if it does come at the expense of characterization and weightiness (though with iconic characters like SantaClaus and the Easter Bunny, it isn't hard to fill in the blanks). In addition, ChrisPine, whom Bob had previously thought little of as an actor, shows a surprising amount of range here. * ''Film/RiseOfThePlanetOfTheApes'': While not perfect (the human side of the story was a mixed bag), Bob still loved the hell out of it, feeling that it succeeded where the previous week's ''Film/CowboysAndAliens'' failed, taking a ridiculous sci-fi premise and making it serious and believable, but not to the point where the fun is sucked out of it. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/TheRite'': Falls into the same trap as countless other retreads of ''Film/TheExorcist'', due to the fact that it's difficult to present a staged exorcism ritual without making it look silly (Bob compares it to "[[Film/TheLordOfTheRings Gandalf versus the Balrog]] with all the effects taken out"). In addition, the "believer vs. skeptic" dynamic doesn't work, due to the fact that ReligiousHorror movies, by their very nature, rely on the believer being vindicated in his or her beliefs, thus removing any chance that the skeptic could be right. It's not a terrible movie, and is quite well-acted and well-shot, but it is a dull one that would've been livened up by some cheesiness and {{narm}}. * ''[[Film/RoboCop2014 RoboCop]]'' (the 2014 remake): Felt that it looked terrible based on the PG-13 rating and the design of the [=RoboCop=] suit. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/TheRoad'': What worked great as a novel fails in the transition to the screen, as the book's lengthy chapters of atmosphere building are something that can be done with just a few minutes of film. The result is an emotionally empty movie with a threadbare plot and no reason to care about the characters. It would've worked great as a short film or a ''[[Series/TheTwilightZone Twilight Zone]]'' episode, but there's just not enough material to build a feature film out of. * ''Film/RobotAndFrank'': One of the best science fiction movies in years. Called it "''WesternAnimation/{{Up}}'' if Russell was Mega Man." Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Theatre/RockOfAges'': A terrible movie that's crippled by the same problem that many {{jukebox musical}}s suffer from, which is that writing the story around the music (rather than the other way around) forces the story to be incredibly generic and one-note. In addition, the big, loud '80s hard rock that the production is built around doesn't really carry much of any sort of meaning beyond SexDrugsAndRockAndRoll, which is the reason why it's so great to listen to but also the reason why it's nigh-on impossible to use it to tell a story. Lastly, while TomCruise is a great actor, he can't sing worth a damn, which makes it very hard to take him seriously as a rock god. * ''Film/{{Rocky}}'': In the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]], Bob compared it to ''Star Wars'' in terms of it being a "bridge" film between NewHollywood and the {{Blockbuster Age|OfHollywood}}. ** ''Creed'': Hasn't reviewed it yet, but at the end of his review of ''The Wolverine'', he said that he's very excited about it, given its plot and the fact that it's being made by the director of ''Film/FruitvaleStation''. * ''Film/RobinHood2010'': All of the technical aspects (acting, directing, cinematography, even the writing) are very good, but they can't save a plodding, unfocused, overly-long snoozer of a story that has almost nothing to do with the RobinHood legend. Whatever good ideas were in the original ''Nottingham'' script are buried under the weight of its many rewrites. * ''Rush'': Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10627-Rushing-With-Ron-Howard "'Rush'ing with Ron Howard"]], which also served as a discussion of director Creator/RonHoward's career. He counts it as one of Howard's better films, praising it for its amazing racing scenes, the fleshed-out characterization of its two protagonists, and its refusal to make a judgment call on them, instead letting viewers decide who the better (or worse) man was. He also notes that its plot would be considered unbelievable to the point of hackery if not for the fact that the rivalry between the main characters [[RealityIsUnrealistic really was that heated and media-driven]] in real life. [[/folder]] [[folder:Films S-Z]] * ''Film/SaloOrThe120DaysOfSodom'': To this day, still a very difficult film to watch. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Salt}}'': Casting AngelinaJolie in a role originally written for a ''male'' action star turned out to be a brilliant decision. Plus, the plot works a lot better than it should, and the action scenes are slickly done -- and unlike the ''[[Film/TheBourneSeries Bourne]]'' movies, you can actually tell what's going on in said action scenes. * ''Film/{{Savages}}'': "Good, not great, in case you were wondering." Didn't review it, but he mentioned it at the end of his second video on ''Film/TheAmazingSpiderMan''. * ''Saving Mr. Banks'': He's intrigued by the premise of a film about the clash between Creator/WaltDisney and P. L. Travers on the set of ''Film/MaryPoppins'', and between this and ''Tomorrowland'', wonders if "Disneystalgia" might become a new subgenre. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/ScaryMovie 5'': "Don't. Even. Start." It wasn't screened for critics, so he didn't bother to review it, but he discussed it at the beginning of his review of ''42'', saying that the fact that only one other movie (the aforementioned ''42'') was released against it, seemingly out of fear of its inevitable box office domination, shows how little faith Hollywood has in the intelligence of moviegoers. * ''Film/ScottPilgrimVsTheWorld'': One of the best films of the year. He noted that, if you're seeing it just for the action, you'll probably be disappointed, but you'll appreciate it a lot more if you go in knowing that it's also a RomanticComedy -- not unlike EdgarWright's previous genre film, ''Film/ShaunOfTheDead''. He also praised it for having a much better grasp on love, romance and relationships that any number of formula rom-coms, particularly the concurrent ''EatPrayLove''. * ''Franchise/{{Scream}}'': Bob has hated the series for a very long time, feeling that its "insightful satire" of {{slasher movie}}s was nothing more than Jamie Kennedy making lazy wisecracks about the genre he was in, and that the suspense was undone by the winking, self-aware nature of the films. He says that the hip, trendy attitude that the series popularized has ruined mainstream American horror, and views it as one more reason why "[[TheNineties the '90s]] [[TheWrestler sucked]]." He also has personal reasons for hating the series -- namely, he feels that it made his movie geekery into "just another douchebag party trick".[[note]]Though admittedly, he did enjoy getting compared to Randal Graves from ''Film/{{Clerks}}''.[[/note]] ** ''[[Film/{{Scream 4}} Scre4m]]'': All of the above criticisms apply, and it doesn't even have any good, original kills to smoothen the ride. Bottom line: if you want a great, insightful [[SlidingScaleOfComedyAndHorror horror-comedy]], watch ''Film/ShaunOfTheDead'' instead. He also mocks the film's [[Letters2Numbers numerical title]] by referring to it as "''Scre-Four-m''" throughout the review. * ''Film/SexAndTheCity'': With quite a bit of "WTF?". He felt that the plot was incomprehensible and a wee bit misandrist, and that it felt like several episodes of the series strung together and then labeled a movie, though he noted that he was as far from the film's target audience as one could get. He also wondered what kind of black magic Kim Cattrall was using to [[GrandmaWhatMassiveHotnessYouHave keep looking that good into her 50s]]. * ''Film/TheSheCreature'': Said that the titular monster was way ahead of its time, looking more like something from a modern ''Franchise/KamenRider'' series than a '50s BMovie. He also made fun of how the film's plot mashed up then-contemporary pop ideas of hypnosis and EvolutionaryLevels. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/SherlockHolmesAGameOfShadows'': "Really sucks." The plot rips off the ''[[Film/TheLeagueOfExtraordinaryGentlemen League of Extraordinary Gentlemen]]'' movie, the action scenes are awful, and NoomiRapace is wasted. While Bob didn't do a video review of it, he did discuss it in his weekly ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9283-Double-Vision editorial]], where he compared it to ''Film/MissionImpossibleGhostProtocol''. * ''Film/{{Shooter}}'': "The boring version of ''Machete''." Didn't review it, but he mentioned it in his ''Broken City'' review. * ''{{Shrek}}'': The first movie was great, a refreshing, character-focused parody of the overblown, corporatized DisneyAnimatedCanon with a great cast. Sadly, the sequels wound up turning the film into [[HeWhoFightsMonsters everything that the original had mocked]], while {{Disney}} itself managed to turn itself around from its DorkAge. Didn't review it, but he was compelled to mention it in his review of... ** ''Shrek Forever After'': A pointless retread of the last movie that proves that the series has completely run out of ideas, while highlighting all of the biggest problems with the Creator/DreamWorksAnimation formula. * ''Film/ShutterIsland'': You'll see the twist coming from a mile away, but MartinScorsese still knew how to make it work, and work extremely well. * ''Film/{{Signs}}'': The film that, to Bob, proved that Creator/MNightShyamalan could make legitimately good movies when he wanted to, and didn't merely get lucky with ''The Sixth Sense''. This film particularly shines on a technical level, with the cinematography looking downright beautiful and the whole cast turning in great performances, though it's the writing where it ultimately stumbles and is held back from greatness with a mess of third-act silliness. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/SilentHill'': It's not perfect, but it's still one of the best video game adaptations yet. Didn't review it, but he discussed it in his fall 2012 preview while discussing its impending sequel, ''Silent Hill: Revelations''. * ''Film/SilverLiningsPlaybook'': Yet another ManicPixieDreamGirl indie rom-com of the kind that's been done a hundred times before. He feels that it isn't anywhere close to deserving of the near-universal praise and Oscar buzz that it received, comparing it to a cheap {{sitcom}} and going so far as to say that most of his fellow critics had lost their minds. Didn't review it, but he discussed it in his review of ''Literature/LifeOfPi'' and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10136-Gold-Bugged "Gold Bugged"]]. * ''Film/ASimplePlan'': A dark, dramatic effort that is arguably Sam Raimi's strongest overall film, proving him as more than just a "genre" director, though don't read about the plot before you see it. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/TheSitter'': Very well-written on the character and story side of things, but it was written and marketed as a comedy, and on that front it just falls flat. * ''Film/TheSixthSense'': Even with the famous TwistEnding being [[ItWasHisSled common knowledge]] by now, this is still a legitimately great thriller, playing out like a really good, feature-length episode of ''Series/TheTwilightZone''. Its real genius is not the big twist, but how it hides the foreshadowing of said twist in time-worn conventions (such as the SatelliteLoveInterest) that a first-time viewer wouldn't think twice about, but which becomes noticeable upon repeat viewing. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Creator/MNightShyamalan's career. * ''Film/TheSmurfs'': He didn't review it, but during the second half of his ''KnightAndDay'' review, he talked about his opinion of it going by the trailer. He felt that moving the setting to [[BigApplesauce New York]] sucked out the magic of the original cartoon and replaced it with ProductPlacement and the sort of Gen-X humor that's only funny in brief snippets, and also insulted the source material (which is [[{{Franco-BelgianComics}} Belgian]]) by Americanizing it. ** ''Film/TheSmurfs2'': At the start of his review of ''2 Guns'', he pretended that he was actually going to be reviewing this instead, only to cut to a "hell no" explaining that there was no way he was going to even consider watching it, let alone reviewing it. * ''Film/SnowWhiteAndTheHuntsman'': "It only sort of makes sense if you force yourself to never, ever ask the question 'why?'" It's a cynical attempt by Hollywood to cash in on the fact that female-focused genre films have proven themselves to be box office titans just as grand as your average superhero movie. The script jumps all over the place and feels like it went through several rewrites, the main characters are underwritten and are often just "there", and the love triangle is especially jarring. CharlizeTheron's LargeHam performance as the evil queen is the only thing that stands out -- and she feels like she belongs in a much better movie. Overall: not worth your time. At the start of the review, he also discusses how the Literature/{{Snow White|AndTheSevenDwarfs}} story can be read as a metaphor for female puberty and our culture's obsession with beauty, and how this may explain why the story has been so popular with women for such a long time. * ''Film/TheSocialNetwork'': One of the most exciting, watchable and well-made movies of the year even if, like Bob, you're not a fan of {{Facebook}}, and proof that you can make a great movie out of any subject matter. * ''Society'': The graphic violence that the film is infamous for doesn't kick in until the end, but once it does, it goes completely crazy. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/SourceCode'': Very good, though a bit too long. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review. * ''Film/SpiderManTrilogy'': Didn't review any of the films, but he discussed them in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. ** ''Film/SpiderMan'': Talks about the massive nerdgasm that occurred across the internet when it was announced that Raimi was going to be directing, and how he and the ''Spider-Man'' films proved to be a match made in heaven. While it lags a bit in the second act, the rest of the film is "damn close" to perfect. ** ''Film/SpiderMan2'': Calls it the greatest superhero film of all time. Having gotten the origin story out of the way, this film was free to take on a bigger and better story and special effects. Raimi felt more assured directing blockbuster action, the returning cast members felt more at home in their roles, and Doctor Octopus is the best villain the series has had. ** ''Film/SpiderMan3'': While it's a very flawed film and easily the worst in the original trilogy, he doesn't think it's as bad as its reputation suggests. In particular, he finds the film's version of ComicBook/{{Venom}} to be a more interesting character than the one in the comics, and he was one of the few people who liked the "emo Peter Parker", feeling that to have been a better decision than the cliche of having the symbiote turn him into a {{badass}} AntiHero. After all, it's ''[[HollywoodNerd Peter Parker]]''; having him act like what he imagines a cool badass to be like (and failing miserably) is far more in-character than actually making him cool. * ''Film/{{Splice}}'': Loved it on all levels, comparing it to ''TheFly'' and ''Film/{{District 9}}'' as both an intelligent sci-fi film and a character-focused drama, and appreciating how it didn't sink into the [[ScienceIsBad anti-intellectualism]] that often characterizes movies of this ilk. He also noted that [[HalfHumanHybrid Dren]] was "likely to keep DeviantArt busy for the rest of the year." * ''Film/SpringBreakers'': Compares it to "Creator/{{Disney|Channel}} [[XMeetsY meets]] ''Film/NaturalBornKillers''", and calls it one of the all-time great pop crime dramas and one of the best films of 2013. It's far more than just another teensploitation flick, a tale not of innocence lost, but of "existential emptiness found", and will likely go down as one of this generation's great cultural cinematic touchstones. * ''Film/SpyGame'': It's good, but it's easy to see why it disappointed at the box office -- it's a spy movie with a worldview rooted in the ColdWar released just two months after [[TheWarOnTerror 9/11]] made that worldview obsolete. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/StarTrek'': Bob went in with the lowest of expectations, since the film had been written by the writers of ''Film/{{Transformers}}'' (which he hated) and seemed to be marketed towards the LowestCommonDenominator, almost to the point of insulting fans of the franchise. While the end result didn't suck like he had feared, it never rises above [[SoOkayItsAverage strictly average]] either, with ChrisPine giving a wooden performance as Kirk and the screenplay being too reliant on coincidences moving the plot forward. He never understood why so many other critics were gushing over the film, and he came back to it in his review of ''District 9'' to argue that that was the kind of movie that this one should've been like. ** ''Film/StarTrekIntoDarkness'': Commented during his review of ''Killing Them Softly'' on how similar the film's marketing seemed to be to that of Christopher Nolan's ''Dark Knight'' films. Later, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7295-Mystery-Bonks "Mystery Bonks"]], he expressed concern over what he felt was the reason why the studio was holding out on screening the film for certain critics despite the fact that it's already been released in some other countries -- that Creator/JJAbrams was once again employing his "mystery box" marketing strategy, putting a big twist into the movie to build hype over while making it difficult for critics to have a spoiler-free discussion of any problems the film might have.\\ \\ In his eventual review, he felt that his fears about Abrams' mystery-heavy marketing were confirmed, though obviously, he couldn't say why without spoiling the film. He found this film to be inarguably worse than the first, ironically because it was trying to be a deeper film than just the "big dumb action flick" that the original was, and fumbling miserably. Its big twist not only comes off as winking, pandering fanservice that doesn't mean anything, but invites many unfavorable comparisons to one of the greatest ''Star Trek'' movies ever made, making it look that much worse in comparison. * ''Franchise/StarWars'': A big fan, but that's to be expected. Didn't review it, but in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences"]], he discussed how chaste and masculine the movies were compared to prior bodice-ripping SpaceOpera stories. The ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6509-Thats-No-Moon "That's No Moon"]] also discussed Creator/{{Disney}}'s buyout of Lucasfilm, and what Bob felt that meant for the future of ''Star Wars'' -- namely, re-releases of the original trilogy without Creator/GeorgeLucas' later edits, a lack of recognition of the Franchise/StarWarsExpandedUniverse (Disney spent big money for Lucasfilm, so it's likely that the direction they take will be far more mass-market than that), and the hopeful possibility that they'll take similar risks with the new ''Star Wars'' films that they did with the Franchise/MarvelCinematicUniverse. ** ''Star Wars Episode IV: Film/ANewHope'': In another ''Intermission'' editorial with [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9995-Lets-Remake-Star-Wars a self-explanatory title]], he made the blasphemous case for remaking the film, stating that everybody now knows the plot of the series and what had worked in the other films, meaning that they could go back and fix the things that needed fixing. In addition, it might well protect the original trilogy from further tampering by Creator/GeorgeLucas, giving him a whole new sandbox for him to realize his ideas in. (Or not.) In the process, he argued that the plot of the film was, essentially, what WorldWarII would have looked like if it had been fought by the Baby Boomer generation in a sci-fi world. ** ''Star Wars Episode I: Film/ThePhantomMenace'': Did a retrospective review of the film for its 3-D rerelease in 2012. For a very long time, Bob counted himself among the ''StarWars'' fanboys who felt that ''The Phantom Menace'' had raped their childhood memories, though he's since changed his mind, coming to regard it as SoOkayItsAverage rather than the total disaster that the more vocal parts of the fandom proclaim it to be (and yes, he's seen the famous [[http://redlettermedia.com/plinkett/star-wars/star-wars-episode-1-the-phantom-menace/ Plinkett review]]). In fact, he feels that it's not even the worst ''StarWars'' movie, that "honor" belonging to ''AttackOfTheClones''. The reason why he feels so many people hate it is because it had the weight of sixteen years of anticipation on its shoulders, which turned a mediocre film into an awful experience for many old-school fans. ** ''StarWarsTheCloneWars'': "It keeps coming back; corrupted, evil, and out to harm us." ** ''Star Wars Episode VII'': Hasn't reviewed it yet, but he discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6763-A-Disturbance-In-The-Force "A Disturbance In The Force"]]. He feels that Creator/JJAbrams is a horrible choice to direct a ''Star Wars'' movie, one of the few people he could think of more ill-suited than late-period Creator/GeorgeLucas. Going through his filmography, Bob feels that Abrams, while a hard-working filmmaker who will probably turn in a pretty good movie, doesn't possess the kind of vision needed to elevate a movie from [[SoOkayItsAverage "pretty good"]] to truly great. He attributes some of this choice to fandom for demanding slavish, superficial dedication to the source material, saying that this is preventing potential visionaries from applying their own touch to the material and is instead producing safe films that are constrained by fear of AdaptationDecay. * ''Film/{{Stoker}}'': Called it "pretty nuts" and said it played out like a "really good Creator/BrianDePalma movie." Didn't review it, but he mentioned it at the beginning of his review of ''Jack the Giant Slayer'', telling people to go see it instead of that film. * ''Film/StrawDogs'' (the remake): [[CompletelyMissingThePoint Totally missed the point]] of the original film, turning a bleak, nihilistic thriller about [[BlackAndGrayMorality the breakdown of morality]] into a preachy, redneck-baiting, values-affirming WishFulfillment power fantasy. Without spoiling anything, the manner in which it handles a pivotal moment from the original not only removes the moral ambiguity that made that film such a classic, but leaves a ton of FridgeLogic in its wake. He admits that the ending is awesomely cathartic, but it's not worth sitting through the rest of the film to get to. * ''Film/TheStuff'': "It's pretty awesome." It's a mishmash of the monster from ''Film/TheBlob'' and the anti-consumerist satire of ''Film/TheyLive'', and he's surprised that it hasn't been remade yet. Didn't review it, but he discussed it at the end of his review of ''Branded'', a film that he felt to be a pale imitator of this film, and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/SuckerPunch'': It may look like [[NinjaPirateZombieRobot fanboy-bait]] and a {{fanservice}} vehicle on the surface, and it's often cluttered, unfocused and more ambitious than what [[Creator/ZackSnyder the filmmakers]] can actually pull off, but Bob found it to be a lot deeper than his fellow critics did. In his opinion, a lot of people missed the fact that the film is actually condemning, and not celebrating, the fetishism and objectification (particularly of women) that runs rampant through male geek culture, somehow ignoring that the film seems to [[{{Anvilicious}} scream out]] [[YouBastard its intentions]] to the viewer at every turn. He compares it to both {{burlesque}} and to ''Film/StarshipTroopers'', another film that was mistaken for exactly the opposite of what it actually was[[note]]In that case, militarist/nationalist propaganda rather than a satire of such.[[/note]].\\ \\ He also views the film as a criticism of third-wave or "sex-positive" feminism, in the sense that women like Baby Doll who allow themselves to be objectified for their own empowerment are portrayed as childish [[spoiler:and fail to escape the confines of the male-dominated asylum (i.e. patriarchy)]], while Sweet Pea, who is the least sexualized of the main characters and is often the voice of "traditional" feminism throughout the film, is portrayed as the most mature of the group [[spoiler:and is the only one who escapes]]. Ultimately, its main failing was that it tried to say something about some delicate subject matter and failed to successfully pull it off, meaning that its intended message getting lost and mistaken for exactly the opposite. He discussed his thoughts on the film both within the review and, a year and a half later, in a two-part ''[[http://www.escapistmagazine.com/videos/view/the-big-picture/6247-You-Are-Wrong-About-Sucker-Punch-Part-One Big Picture]]'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/6266-You-Are-Wrong-About-Sucker-Punch-Part-Two episode.]] * ''Suddenly'': A pretty good movie, but better known now for how it became a [[KeepCirculatingTheTapes "lost film"]] after the JohnFKennedy assassination due to its [[HarsherInHindsight unfortunate subject matter]] and, possibly, the demand of its star Music/FrankSinatra[[note]]Who was a personal friend of JFK, and ''did'' pull ''Literature/TheManchurianCandidate'' from circulation for the same reason[[/note]]. He also discounted the UrbanLegend that Lee Harvey Oswald had been watching this film before he shot JFK. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/{{Super}}'': "As awesome as you've heard." It's dark and brutal, but also hilarious and strangely uplifting, with RainnWilson and EllenPage knocking it out of the park. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review, and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/{{Super 8}}'': Bob went in viewing the film as a test of his integrity as a film critic -- it had been tailored to appeal to the twenty-to-thirtysomething geek audience that he counted himself as part of (he called it "weaponized nostalgia"), so he worried that he might let the geeky sci-fi references and {{Shout Out}}s to classic Amblin films overwhelm him to the point where he couldn't judge the film objectively.\\ \\ In the end, he said that the film was [[SoOkayItsAverage "not bad"]], but didn't really work all the way through, with the handful of great moments making the bad ones look that much worse. The narrative is overly complicated and doesn't come together in a cohesive whole; while the main story focusing on the kids making their movie is outstanding, the B-plot about the alien and the related GovernmentConspiracy falls flat, especially once it takes over the film in the second half. While it's clear that the makers of this film are huge fans of films like ''Film/TheGoonies'' and ''Film/ETTheExtraTerrestrial'', they don't quite get what made those films work. Bob also found the LensFlare to be so annoying that he filled a good stretch of the review with lens flare in order to riff on it. * ''Film/SuperMarioBros'' (rough cut of the reboot): A great way for Creator/{{Nintendo}} to kick off its new film studio project, with a hip, gritty sense of realism to its story, as well as [[WTHCastingAgency some surprisingly inspired casting]]. [[spoiler:Only none of it was real. The entire review was an AprilFoolsDay joke parodying just about every trend in modern Hollywood moviemaking, such as overuse of [[ChromaKey green-screen]] and [[ConspicuousCG computer animation]], exorbitant budgets and ticket prices, [[ThreeDMovie 3-D]] post-conversion, StuntCasting, the focus on sequels and franchises, and the attempt to shoehorn properties into the DarkerAndEdgier template popularized by ''Film/TheDarkKnight''.]] * ''Film/{{Superman}}: The Movie'': One of the three films that he counts in his "canon" of the greatest superhero movies of all time, the other two being ''Film/{{Spider-Man}} 2'' and ''Film/TheDarkKnight''. He discussed the film in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7449-Superman-Revisited "Superman Revisited"]], talking about how Creator/ChristopherReeve's portrayal of Superman defined the image of the character for decades to come -- no small feat, given how Superman was already a pop culture icon when this film came out -- and why ''Man of Steel'' is making a conscious effort to change various aspects of Superman's origin so as to make itself distinct from this film. It also still holds up amazingly well as an actual movie, largely due to Richard Donner's conscious effort to make a superhero film that respected the source material rather than indulging in {{camp}}, while drawing on the tropes of Hollywood movies rather than those of comic books or trying to make the film "realistic". * ''Film/{{Surrogates}}'': "Pretty Damn Good". A bit more than SoOkayItsAverage. Sets out some reasonably ambitious goals and hits them; Bruce Willis really carries the emotional core of the movie; an interesting exploration of its premise... and there's not much more you can say. "Pretty Damn Good". He ended the review by mentioning ''Film/GingerSnaps'' and ''{{Ponyo}}'' (he liked both of them). * ''Film/{{Taken}}'': "Ridiculous, but fun, I'll admit." Felt it to be shameless pandering and WishFulfillment for conservative middle-aged dads, calling it "not just ''FatherKnowsBest'', but ''Father Knows Everything''." However, it was still a very well-made action flick that didn't try to sugar-coat what LiamNeeson's character did to save his daughter, avoiding the hero worship and BlackAndWhiteMorality that so frequently comes with such films. He also said that there are likely to be a lot more BadassGrandpa action movies coming out not just because of this film's success, but because the lucrative Baby Boomers are growing older. Didn't review it, but he discussed it in his review of its sequel... ** ''Taken 2'': "A great premise, but not even [Liam Neeson] can save this one." It started out with a great setup -- Neeson's character's behavior in the first film [[YouKilledMyFather coming back to haunt him]] -- but then fell apart by breaking Bob's WillingSuspensionOfDisbelief while losing the moral ambiguity that made the first film work so well. The action scenes weren't nearly as effective, and the "evil foreigner" implications, which came off as ironic in the first film (partly because it was made by French filmmakers), were cranked UpToEleven and felt downright xenophobic here. Bottom line: you're better off rewatching the original. He opened the review with an imitation of Neeson's famous "I will kill you" speech from the first film, blasting this one. * ''TheTakingOfPelhamOneTwoThree'' (the remake): Bob didn't enjoy it as much as many others did. DenzelWashington is great as usual, but JohnTravolta is gratingly [[LargeHam hammy]] as the villain, and the action scenes, while quite nifty, sometimes feel shoehorned into the narrative. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TeamAmericaWorldPolice'': Mentioned in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5273-Monsters-Movie "Monster's Movie"]]. He regards its parodies of celebrity activism as {{shallow|Parody}} and [[UnintentionalPeriodPiece rather dated]], though its [[LargeHam hammy]] portrayal of [[UsefulNotes/NorthKorea Kim Jong-il]] wasn't far off from what the man was like in RealLife. * ''Film/{{Ted}}'': The plot follows the [[Creator/JuddApatow Apatow-style]] "bromance" [[StrictlyFormula formula]] almost to the point of self-parody, and your enjoyment of the film will depend on your tolerance for Creator/SethMacFarlane's blue-collar, pop-culture-obsessed Yankee humor, but Bob found it hilarious, calling it the best mainstream comedy of the year and one of his top ten movies of 2012. Ted is a great character, the house party scene will likely go down as one of the great comedy moments, and it's nice to see a "girlfriend" character in a male-oriented buddy film who's an actual character rather than a plot device.\\ \\ The real genius of the film, though, is in how it takes the "slacker best friend" of many modern buddy comedies who is holding the protagonist back and turns him into a literal representation of immaturity -- in this case, a walking, talking teddy bear who the main character has owned since childhood. The fact that this film, an R-rated comedy built around an original idea, was one of the big hits of that summer comes to Bob as a positive sign. And as a Massachusetts native, seeing the dinosaur statue at the mini-golf course in Saugus, MA in a movie "almost made [him] weep." A while after his review, he discussed it further in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9945-The-Tao-of-Ted "The Tao of Ted"]]. * ''Film/TeenageMutantNinjaTurtles'' (the original live-action trilogy): The first two were decent, but the third '''''MUST NEVER BE MENTIONED AGAIN'''''. Didn't review them, but he mentioned them in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5549-Shell-Shock "Shell Shock"]], during his discussion of... ** ''Film/TeenageMutantNinjaTurtles'' (the upcoming live-action reboot): Likely to suck by virtue of its production company [[Creator/MichaelBay Platinum Dunes]]' track record, though he thinks that the InternetBackdraft over the turtles being aliens is overblown, noting that the animated series that most of Generation X remembers was itself very different from the dark, gritty, satirical comics that it was based on -- but then again, to many fans, the cartoon was [[AdaptationDisplacement the defining version of the franchise]], so they do have a right to demand it stay faithful. Hasn't reviewed it yet (since there is no film to review yet), but he mentioned it in two consecutive ''Big Picture'' episodes, [[http://www.escapistmagazine.com/videos/view/the-big-picture/5525-Mutants-and-Masses "Mutants and Masses"]] and "Shell Shock" (the latter because, with the former episode, all any of his viewers wanted to talk about was the ''VideoGame/MassEffect3'' ending controversy that he had also discussed).\\ \\ Later on, after the project fell apart and after Bob had [[http://moviebob.blogspot.com/2012/08/michael-bays-postponed-tmnt-script-has.html read the leaked script]], he came back to it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10083-That-Also-Almost-Happened "That (Also) Almost Happened"]] to state his thoughts on it. In short, it would've been ''Ninja Turtles'' [[XMeetsY meets]] Michael Bay's ''Transformers'', a HumanFocusedAdaptation that Bob is happy to see stay buried, failing as both a ''Ninja Turtles'' movie and as a SummerBlockbuster. * ''Franchise/{{Terminator}}'': With the franchise now stuck in a ditch, Bob thinks it's time to reboot the whole thing, and that the series' use of TimeTravel and {{alternate universe}}s offers an easy way for them to do this. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] ** ''Film/TerminatorSalvation'': Didn't review it, but in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/8237-That-Almost-Happened "That Almost Happened"]], he discussed the [[WhatCouldHaveBeen original ending]] that was planned for the film, how it would've radically altered the foundation of the series, and how it was changed (to the film's detriment, in Bob's opinion) after it was leaked and caused a fan outcry. * ''Film/ThatsMyBoy'': "It's a vile, puerile, lowbrow, totally disposable junk movie, but I can't deny that it works as one." If nothing else, the film's R rating was a great thing for Creator/AdamSandler's brand of humor, allowing him to take it to its darkest extremes. On the other hand, Bob's always felt that Sandler works best in StraightMan roles rather than as wacky characters, and he often comes off as grating. He doesn't recommend it, but you can do far worse. He discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9746-What-It-Is "What It Is"]]. * ''Film/TheThing1982'': Finds it to be one of the best monster movies ever made. Didn't review it, but he discussed it in his review of its remake/prequel... ** ''Film/TheThing2011'': On the other hand, he felt the remake to be boring and dull, with [[ConspicuousCG obvious CGI]] and bland characters and directing. He ended the review by telling people to watch the original instead. He first mentioned both films in his "The Look Ahead" special on ''Escape to the Movies''. * ''Film/ThisIsTheEnd'': Said it will likely end up on his "best of 2013" list at the end of the year. This ''should've'' been one of the worst, most self-indulgent vanity projects to ever come out in theaters, but instead, it's both hilarious and brilliant, constantly taking its setup and cranking it up to the next logical conclusion every fifteen minutes. Whether it's from shock value, celebrity cameos, references to the stars' past films, or the interplay of the main characters, the gags come a mile a minute, and your gut will hurt from laughing even if only some of the jokes hit their mark. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10430-Apocalaughs "Apocalaughs"]]. * ''Film/ThisMeansWar'': "Not cute. Not funny. Not worth it." Yet another steaming turd trying to copy the success of ''Film/MrAndMrsSmith'''s action/rom-com hybrid, with a [[UnfortunateImplications misogynistic]] premise, no chemistry between the leads, and protagonists that act like {{stalker|WithACrush}}s. Bob wishes that it [[NotScreenedForCritics hadn't been screened for critics]] just so that he wouldn't have had to suffer through it. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/{{Thor}}'': Very positive review. He appreciates the more subtle [[ContinuityNod nods]] to the MarvelCinematicUniverse and notes that it's the most kid-friendly superhero movie since the first ''Film/SpiderMan'' film. ** ''Film/ThorTheDarkWorld'': Worried by reports of a TroubledProduction, but he's excited to return to the first film's world, as well as by the return of Loki. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10512-Lets-Watch-Thor-The-Dark-Worlds-New-Trailer his analysis]] of the film's trailer. * ''Film/TimAndEricsBillionDollarMovie'': Bob's a huge fan of Creator/TimAndEric, mainly due to the way that their parodying of corporatized [[FlyoverCountry middle America]] actually understands what it's like to grow up there (unlike Hollywood's frequent condescension), though he acknowledges that their humor is definitely an acquired taste.[[note]]The following week, he mentioned that he had received a ton of critical comments telling him to stop reviewing comedy films, since his enjoyment of Tim and Eric apparently "proved" that he had no taste in humor.[[/note]] Regarding their first feature film, it's quite funny, particularly with the huge [[HeyItsThatGuy supporting cast]], and is recommended for fans of both Tim and Eric and of surreal comedy in general, though it falls into much the same trap that many TV comics turned first-time filmmakers fall into -- namely, switching from a 15-minute TV show to a 90-minute, R-rated feature film causes them to rely too much on VulgarHumor and lose the rapid-fire comedy that made them famous. * ''Film/TopGun'': Didn't really like it, but he gets why so many people did, saying that it was pretty much an ExcusePlot designed for the sole purpose of putting tons of fancy fighter jets up on the screen. The fact that director Tony Scott was able to make it into a good movie is a testament to his skill. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/{{Total Recall|1990}}'' (the original): Either the last great action movie of TheEighties or the first great one of TheNineties, and a must-watch for any fan of Creator/ArnoldSchwarzenegger or science fiction, though Bob does admit that [[NostalgiaFilter his generation probably overstates how good it actually was]]. He regards it as a "bridge" of sorts between the machismo-heavy action flicks of TheEighties and the sort of "big idea" sci-fi/action blockbusters that ''Film/TheMatrix'' popularized. Didn't review it, but he was compelled to discuss it in his review of its remake... ** ''{{Film/Total Recall|2012}}'' (the remake): "A few good ideas, but not as good as the original." It's a boring movie whose action scenes, while very well-shot and slickly made, are uninvolving due to how thin the characters and story are. Its attempts to recapture the original's mind-bending, "is it real or just part of the simulation?" feeling likewise fall flat due to how dour and serious the entire affair is. In addition, while Kate Beckinsale is a standout as the DarkActionGirl villain, Colin Farrell can't really carry the film, making a much better character actor than a leading man. * ''Film/TowerHeist'': Bob found it to be utterly forgettable, lifeless and a symbol of all of the worst features of the studio system, with the only thing memorable about it being its role in the controversy that surrounded {{Universal}}'s on-demand release plans. Making it worse was that there was a lot in it that he felt [[TheyWastedAPerfectlyGoodPlot could've made for a great movie]] if it had a competent writer and director. * ''WesternAnimation/ToyStory3'': Couldn't have been made at a better time (the kids who grew up with the first two movies are now high school- and college-age, much like Andy), and an emotional rollercoaster that's both hilarious and heartbreaking. Part of the strength of the whole series, in Bob's opinion, is that it has never shied away from themes of mortality and obsolescence [[NeverSayDie the way that other kids' movies do]], and now, it's hitting those themes head-on. At the very least, the discomfort caused by the [[ThreeDMovie 3-D glasses]] will make a handy excuse for why you're [[TearJerker crying crocodile tears during the last 15 minutes]]. * ''Film/TheToxicAvenger'': More relevant now than ever, and just as enormously entertaining as it was back in 1984. He also found it funny how they made a MerchandiseDriven SaturdayMorningCartoon (''Toxic Crusaders'') out of a movie so violent that he couldn't even show that much of it for the episode. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture'', one day after Halloween[[note]]"As though Moviebob can be constrained by puny dates!"[[/note]]. * ''[[Film/{{Transformers}} Transformers: Revenge of the Fallen]]'': He ''loathed'' it more than mere words can describe. Pours searing venom onto Creator/MichaelBay, "the biggest hack since [[VideoGame/GrandTheftAutoSanAndreas Hot]] [[HotCoffeeMinigame Coffee]]." ** ''Transformers: Dark of the Moon'': Still sucks, though filming in 3D toned down most of Creator/MichaelBay's worst tendencies as a director, leading to more coherent action scenes and a (slightly) better movie than the last one. * ''TheTreeOfLife'': "[[TrueArt Pretentious?]] Possibly. [[MindScrew Strange?]] Definitely. Compulsively watchable? Absolutely." Bob didn't review it, but at the end of 2011 he named it his favorite film of the year, comparing it to ''Film/TwoThousandOneASpaceOdyssey'' in terms of films that "you don't just watch, you experience." * ''TheTrollHunter'': One of the best monster movies of the year, with great effects and a fun, satirical take on classic Norwegian mythology and the concept of the heroic monster hunter. Plus, it highlights one of the positive effects that CGI has had on modern filmmaking -- it has broken Hollywood's monopoly on blockbusters by reducing the budget needed to make them, allowing indie and non-American filmmakers to make such films as well. * ''Film/{{TRON}}'': Its visuals were certainly breathtaking by 1982 standards, but it was unevenly paced and didn't really capitalize on its bigger ideas. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Film/TronLegacy'': Bob gives it a B+ and calls it a fun nostalgia trip, saying it has many of the same strengths and weaknesses as the original -- it's got gorgeous visuals, SugarWiki/AwesomeMusic courtesy of Music/DaftPunk, stunning use of 3-D, and proof of God's existence in the form of Olivia Wilde, though it struggles when it's trying to balance the needs of being the start of a new franchise for {{Disney}} with those of being a standalone film. Still, if you loved the original, you'll love this one too. * ''TrueGrit'': Discussed both the 1968 version starring JohnWayne and the 2010 remake by Creator/TheCoenBrothers while reviewing the latter. Bob considers the original to be good, but not a classic, most notable for being the film that Wayne received his long-awaited and much-deserved Oscar for. Regarding the remake, the entire cast (including Josh Brolin, who is officially forgiven for ''Film/JonahHex'') all turn in great performances... and there's not much more he can say. Both versions are fairly straightforward [[TheWestern Westerns]] without much in the way of contrivance, and both are good, so go see them. Plus, seeing as how the episode was released on New Year's Eve, Bob opened the review pretending to be drunk. * ''Film/TrueRomance'': One of Tony Scott's best films. He also noted that the film played out like a WishFulfillment fantasy for writer Creator/QuentinTarantino (his first screenplay to be adapted to film), given how it's about a comic-shop clerk who falls in love with a HookerWithAHeartOfGold and goes on the run from the mob. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Literature/{{Twilight}}'': "Having to watch this movie is the most pain I've experienced at the hands of something beloved by preteen girls since I got kicked in the nuts by a pony." Bob is highly critical of both the movies and the books that they are based on, not only for their stilted writing and {{flat character}}s, but particularly for [[NeverASelfMadeWoman the message that]] [[StalkingIsLove they send to]] [[UnfortunateImplications impressionable tween girls]], which he feels is creating a generation of "DomesticAbuse victims waiting to happen." He views the series as, essentially, conservative Christian abstinence propaganda, and has said as much on multiple occasions.\\ \\ After ''Breaking Dawn -- Part 2'' came out, he discussed the series in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], talking about how it awakened Hollywood to the fact that the young female dollar can be just as lucrative as the young male dollar. He took a look at several {{young adult|Literature}} series that were being adapted to film in an attempt to cash in on ''Twilight''[='=]s success. "Point is, we might be through with this crap, but this crap ain't through with us." ** ''New Moon'': Just as bad as the first, though he thought [[FictionIdentityPostulate some of the plot points]] ''[[FictionIdentityPostulate could]]'' [[FictionIdentityPostulate make a good movie]], [[DarthWiki/SoBadItsHorrible even if they didn't]]. ** ''Eclipse'': "Two hours of TaylorLautner standing around not getting the message, briefly interrupted by a sad excuse for a monster battle." Found the rehashing of ''New Moon'''s LoveTriangle especially painful. ** ''Breaking Dawn -- Part 1'': Painfully slow, [[{{Bowdlerise}} overly tame]], [[{{Narm}} unintentionally hilarious]], and carrying an {{anvilicious}} pro-life message that made Bob cringe. By this point, he seemed hopeful that the franchise would finally die already, given that ''Breaking Dawn'' was the BlackSheep of the book series, and that the generation of tween girls that turned the books and films into blockbusters was growing up and leaving high school. ** ''Breaking Dawn -- Part 2'': "It took five movies, but they did it. They finally figured out how to make this crap ''work''." By indulging in all the worst aspects of the books and turning them UpToEleven, this film, the capoff to the ''Twilight'' saga, manages to be [[SoBadItsGood So Bad, It's Absolutely Hilarious]] and the most fun that Bob's had at the movies all year. It fixes the book's [[AntiClimax anti-climatic ending]] by adding in one of the most awesome action scenes he'd witnessed all year, while still (for better or worse, and Bob's leaning towards the latter) staying faithful to the novel. It's a masterpiece of awful cinema that begs to be seen in theaters. * The films of TylerPerry: While he's never done a proper review of any of his movies, Bob has stated on multiple occasions that he regards him as a hack, and a consequence of Hollywood's failure to pay attention to black audiences (and why, in turn, the games industry shouldn't make the same mistake). In the ''Game Overthinker'' episode [[http://www.youtube.com/watch?v=DhopxZqQrmo "Mississippi Pwning 2"]], he outlined what he felt was the reason Perry was so successful -- that black moviegoers had been left so alienated by the crappy, low-budget action movies and crude comedies that Hollywood sent their way that, in desperation, they latched onto Perry in order to have a filmmaker, ''any'' filmmaker, to call their own.\\ \\ That said, he does find himself fascinated by Perry's films, given that any film that is written by, directed by, produced by, and stars the same person usually has a very distinct feel, even if it turns out to be crap. He finds the films to be quite misogynistic, and possessing a great deal of MoodWhiplash between Perry's [[WholesomeCrossdresser comedic "Madea" character]] and the {{soap opera}}-esque {{melodrama}} that the films are loaded with, but Perry does have a very unique presence on screen, and for what it's worth, his fans love his work. * ''Film/{{Unbreakable}}'': Bob's favorite Creator/MNightShyamalan movie and the one he feels to be the most underrated, due largely to the fact that it was [[ToughActToFollow following]] ''The Sixth Sense''. He particularly liked how Creator/BruceWillis and Creator/SamuelLJackson were PlayingAgainstType, and how it deconstructed and played with {{superhero}} tropes. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/{{Underworld}}'': He really liked the first three movies, and was disappointed that the fourth one was NotScreenedForCritics (the reason why he didn't review it). Didn't review any of the films, but he mentioned them at the end of his ''Film/RedTails'' review. * ''Film/{{Unstoppable}}'': It's hardly all that original or meaningful, and ChrisPine is pretty bland, but Tony Scott knows his action, and it's got everything that Bob loves about {{disaster movie}}s. * ''WesternAnimation/{{Up}}'': This lifted Bob's spirits after an abysmal summer run. The video is less of a review and more or a treatise on the success of {{Pixar}} due to their choice of stories. * ''Venom'' (the 1981 film): Said that it takes the cake for demonstrations of FinaglesLaw in fiction, and talked about how Creator/KlausKinski passed up a role in ''Film/RaidersOfTheLostArk'' for this film. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''[=V/H/S=]'': "Somebody is going to try to tell you how great [this movie] is. Well... it's not. ''It's really, really not.''" Didn't review it, but he mentioned it in both his review of ''The Master'' and in that week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9945-The-Tao-of-Ted "The Tao of Ted"]], where he said that he "hated (almost) every minute of it." * ''Series/VeronicaMars'' (the movie): In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10234-Kickstopper "Kickstopper"]], he stated that the success of the film's Website/{{Kickstarter}} campaign, while inspiring, sets a bad precedent for the relationship between major studios and fans, and goes against the spirit of crowdfunding. * ''Film/VickyCristinaBarcelona'': Positive, in that it's the Creator/WoodyAllen spin on [[TheOldestOnesInTheBook a well-worn storyline]]. * ''Film/TheVillage'': The first MNightShyamalan movie that Bob truly hated. While well-shot and acted, the first half is dull and the second half, particularly the twist, is laughable. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/VisitorQ'': Called it "a brutal satire of Japanese middle-class family life" that, while lacking in the gore that characterizes many Creator/TakashiMiike movies, makes up for it with a {{squick}}y plot. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Wanted}}'': Neutral. "[[SoOkayItsAverage It's not good, but it's definitely not bad]]." * ''Film/WarHorse'': "It's simple, it's old-fashioned, it's brazenly corny, but in the end it earns the right to be just that." Bob declared it to be one of the best films of the year, saying that it should've sank under the weight of its schmaltz if not for the fact that Creator/StevenSpielberg is ''just that good'' at making these kinds of movies. * ''Film/WarmBodies'': A light, gentle sendup of zombie movies that's a bit too dopey and "precious" for its own good, and whose zombie [[OurZombiesAreDifferent "rules"]] don't really make sense, but which has a lot of fun digging into the tropes of the genre and why it is so popular while taking its central love story entirely seriously rather than playing it as a joke. A while before his review, he first discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], saying that he was excited by the idea of JohnMalkovich and Rob Corddry starring in a zombie movie. * ''Film/TheWatch'': It's a bad movie, with the great chemistry between the four leads failing to make up for a very rote story, lame jokes that are stolen from better movies, and a lack of understanding of who its target audience seems to be (teenage boys who want to see an AlienInvasion comedy, or suburban dads who can relate to the protagonists?). He also discussed the film's name change from ''Neighborhood Watch'' in the wake of [[TooSoon the Trayvon Martin shooting]] putting a less-than-rosy spotlight on neighborhood watch groups. At the end of 2012, he listed it as one of his ten worst movies of the year, noting just how quickly Vince Vaughn's star had fallen in just a few years. * ''Film/{{Watchmen}}'': He saw this movie four times and found it shattered all expectations (even if he couldn't remember what his were). It's a brilliant piece as either an adaptation or as a film on its own merits. Years later, he came back to it to say that, while he thinks that [[ComicBook/{{Watchmen}} the original graphic novel]] is the superior work, he preferred the film's ending over the comic's. * ''Film/WhereTheWildThingsAre'': Bob found the film "quietly brilliant, compared its tone to ''CalvinAndHobbes'', and stated that it ''almost'' revived his faith in humanity. * ''Film/WhiteHouseDown'': It ain't subtle in the slightest, but it works as both an over-the-top buddy action flick and as a shamelessly left-wing, anti-war WishFulfillment fantasy, its full commitment to its own craziness making for a far better "''Film/DieHard'' [[DieHardOnAnX in the White House]]" movie than its [[DuelingMovies direct competitor]], ''Film/OlympusHasFallen''. Bob praises Creator/RolandEmmerich's hand behind the camera and his willingness to push audiences' buttons rather than make generic, watered-down blockbusters. * ''Film/WhoCanKillAChild'': Brilliant in the way it manipulates its audience, making the children's maliciousness appear to be just normal "bratty kid" behavior instead of something demonic or zombie-like, making it harder to cheer on their deaths. Called the third act "one 'I can't believe what I just saw!' moment after another." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Wide Awake'': Not a bad film, but a fairly sterile and uninvolving one whose only real value now is in seeing how it contained, in embryonic form, many of Creator/MNightShyamalan's later trademarks as a director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/TheWolfOfWallStreet'': Doesn't care much about the plot (a modern-day version of ''Film/WallStreet'', basically); he was sold the moment he heard that Creator/MartinScorsese was doing another movie with Creator/LeonardoDiCaprio. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/TheWolfman2010'' (the remake): He notes that the change in directors ended up making the film a "hodgepodge" of MoodWhiplash, but ultimately decides it's a competent horror movie. * ''Won't Back Down'': Didn't review it, but at the end of his ''Argo'' review, he compared it to ''Here Comes the Boom'' and found it to be a worse SaveOurStudents movie despite it having two Oscar nominees in the cast and its competition being a low-brow comedy. * ''WorldOfWarcraft'' (the movie): Hugely excited by the idea of Creator/DuncanJones directing this, even if he wishes that a ''[[Franchise/TheLegendOfZelda Legend of Zelda]]'' movie were coming out first. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/TheWorldsEnd'': It's not quite as quotable or memorable as ''Film/ShaunOfTheDead'' or ''Film/HotFuzz'', but it's otherwise a rock-solid film and a great capoff to the [[Film/BloodAndIceCreamTrilogy "Cornetto Trilogy"]], taking the tropes of sci-fi horror movies and nostalgic "reuniting the gang" comedies and using them to tell a very funny and tragic story that bucks the cliches of both genres. The fact that the main characters get progressively drunker over the course of the film is a creative solution to the problem of otherwise smart people carrying the IdiotBall to drive the plot forward, while Creator/SimonPegg delivers the best performance of his career and goes to some very dark places with his character. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Disney/WreckItRalph'': Discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]]. He was very excited for it, having watched the trailer a few dozen times, and had referred to it as "''WesternAnimation/ToyStory'' for games." He didn't get people's complaints over the portrayal of Zangief from ''StreetFighter'' as a bad guy -- instead, can't we just focus on the fact that {{Disney}} managed to get all of these video game characters into a single movie?\\ \\ In his review, he said that, while it wasn't as good as ''Toy Story'' (and probably has more in common with ''WesternAnimation/TheNightmareBeforeChristmas'' than anything else), it was still a great film with engaging, well-casted characters (especially Jane Lynch as Sgt. Calhoun) that manages to throw treats to gamers without overdoing it on the inside jokes, even if he does worry that the marketing focused too much on this. It uses the programming of video games as a great metaphor for being trapped in a crappy life situation, and once it gets the slowly-paced world-building and exposition out of the way and settles in, it rivals the best that Pixar has to offer. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/TheXFilesIWantToBelieve'': "I want to be... blegh, ''I want my money back!''" He called it worse than ''Film/ThePhantomMenace'' in terms of attempted rejuvenations of classic sci-fi franchises, with a plot that went nowhere, poor production values all around, and a mean-spiritedness that he felt to be [[UnfortunateImplications offensive and extremely tasteless]]. * The ''Film/{{X-Men}}'' films: Said that the series "hold[s] the record for the longest that a franchise has managed to ride a wave of goodwill generated just by being 'good enough.'" Discussed the franchise in his reviews of ''X-Men: First Class'' and ''The Wolverine''. ** ''Film/XMen1'' (the first film): Felt it to be SoOkayItsAverage, criticizing the action scenes, the costume design, the lack of development for minor characters, and what he felt to be an overall cheap feel. That said, he praised the cast and the film's attempt to treat the source material seriously rather than a campy joke, particularly its updating of the comics' civil rights allegory. Overall, at a time when Sam Raimi's ''Spider-Man'' was still in development, this film being just decent rather than another ''Batman & Robin'' was enough for many fans. ** ''Film/X2XMenUnited'': Better than the first film, which allowed many ''X-Men'' fans to call it a great movie, even though Bob merely thought it was just very good. ** ''Film/XMenTheLastStand'': Hates it, going as far as to say that it was "traumatizing". ** ''Film/XMenFirstClass'': Not only is it the best ''X-Men'' movie yet (Bob called it "the perfect ''X-Men'' movie"), but also one of the best superhero movies ever made, with Bob putting it in the same [[IncrediblyLamePun class]] as ''Film/TheDarkKnight''. A welcome return to form after the [[FranchiseKiller franchise-killing]] duo of ''The Last Stand'' and ''Film/XMenOriginsWolverine'', especially given its rushed production schedule. At the end of 2011, he listed it as one of his top ten movies of the year. ** ''Film/TheWolverine'': Goes back to the tradition of ''X-Men'' movies being just "good enough" instead of great. The action scenes are very fun, Creator/HughJackman is great, there wasn't a lot that really annoyed him, and there's a degree of meta enjoyment to be had in watching this film strain to maintain a PG-13 rating. His big problem with the film is that he feels that it gets lost in an overly convoluted plot that's too reliant on twists and sudden reveals for their own sake rather than to serve the story. * ''[[Film/SpaceAmoeba Yog: Monster from Space]]'': Less a discussion of the film itself (which he called one of {{Toho}}'s better non-''Franchise/{{Godzilla}}'' films) than the giant cuttlefish monster, which is "infathomably stupid-looking" but still quite charming. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''[[WesternAnimation/YogiBear Yogi's Ark Lark]]'': "It's been a while since I've watched this all the way through, but... I remember its heart being in the right place, but it's ''really'' [[{{Anvilicious}} preachy]], and it's weird seeing characters who mainly existed for slapstick [[CluelessAesop suddenly trying to be serious and learn about social responsibility]]." Didn't review it, but he mentioned it in the ''Big Picture'' episode "Smarter Than the Average Bear", a retrospective on the HannaBarbera canon (focusing on ''WesternAnimation/YogiBear''). * ''Film/YoureNext'': "Go see [this movie]. It's kind of ''amazing''." Didn't review it, but he gave it his firmest recommendation at the end of his review of ''The World's End'' and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]], where he talked about the "home invasion" genre and why he felt it became popular. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013, citing its solid writing and scares and its amazing lead actress. * ''Film/YourHighness'': "How much of a movie can you make out of [[StonersAreFunny one joke]]?" He felt that it will probably be a footnote in the careers of all involved (though it must've been incredibly cathartic for NataliePortman after the ''StarWars'' prequels and ''BlackSwan''), and that your enjoyment will depend on your tolerance for stoner humor, but overall, he enjoyed it. He opened the review with little mini-reviews of ''{{Hanna}}'', ''SourceCode'', ''Film/{{Insidious}}'' and ''Film/{{Super}}'', stating that he didn't have time to review all of the movies that had just come out (he liked all of them, by the way). * ''Film/ZeroDarkThirty'': Went into detail on how the termination of OsamaBinLaden [[RealLifeWritesThePlot forced a last-minute plot change]] to give Creator/KathrynBigelow's dark, somber military thriller a happy ending, and remarks on how, as a result, the first big AmericaSavesTheDay movie to come out of bin Laden's death feels a lot more morally ambiguous and a lot less "{{Hollywood|Style}}" than one would expect. What ultimately emerged was one of the best movies of the year, with a magnificent, Oscar-worthy performance by JessicaChastain, equally impressive direction by Bigelow, action scenes that are thrilling while remaining firmly grounded in reality, and a fact-based tone that allows viewers to come to their own judgments about what happened.\\ \\ A few weeks later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10126-Tortured-Logic "Tortured Logic"]], he addressed the controversy over the film's depiction of EnhancedInterrogationTechniques. He wonders exactly where this controversy came from, given not only the film's BlackAndGrayMorality, but also the fact that it quite explicitly averts TortureAlwaysWorks, showing it failing to secure intel on an impending terrorist attack -- [[ComplainingAboutShowsYouDontWatch precisely the opposite of the claim]] that the film was an endorsement of the {{CIA}}'s use of torture. * ''Film/{{Zombieland}}'': Thought that, while predictable, it was still fun as hell and [[{{Troperiffic}} put its cliches to great use]]. He spends much of the review analyzing why he thinks the zombie genre has become so popular (short answer -- we all hate each other and the world we live in). He also insists that you should punch out anyone who tries to tell you about the "best thing in ''Film/{{Zombieland}}''" lest they spoil it for you. ** Oh, did he mean the bit whe- *** *WHACK* [[/folder]] ----
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[[folder:Films #-E]] * ''2 Guns'': It starts off with a clever hook -- two undercover cops working together who don't know that the other guy is also a cop -- and has two very well-cast leads in Creator/DenzelWashington and Creator/MarkWahlberg, who play well off of each other. However, the rest of the movie is [[SoOkayItsAverage just alright]] and not all that interesting, epitomizing the disposable {{dump month|s}} action movie/star vehicle. Only worth watching for fans of its stars. [[{{FilmsDiscussedByMoviebob/FilmsNumberToE}} # - E]] * ''Film/TwoThousandOneASpaceOdyssey'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. Many scenes have little bearing on the plot, instead serving to get us into the mindset of its protagonists. [[{{FilmsDiscussedByMoviebob/FilmsFToL}} F - L]] * ''[[Film/TwoThousandTwelve 2012]]'': The so-called "[[MayanDoomsday Mayan prophecy]]" the film's based on may be a load of crap, but it still gave Bob everything he could possibly want out of a large-scale, end-of-the-world disaster movie. He ''loves'' to see [[ClicheStorm stupid stuff]] like [[MonumentalDamage the destruction of landmarks]], [[{{Melodrama}} cheesy family drama]] and [[NoOneCouldSurviveThat improbable escapes]] in movies like this, and Creator/RolandEmmerich can [[{{Troperiffic}} really do it]]. It knows what kind of movie it is, and it delivers in spades. He feels that the difference between a "good" silly blockbuster like this and a "bad" one like ''Film/{{Transformers}}'' comes down to the technical proficiency of the director -- rather than engaging in "stylish" rapid cutting and JitterCam to wage war on the viewers' senses at the expense of coherence, this film maintains a uniform, coherent style that looks downright beautiful on screen. [[{{FilmsDiscussedByMoviebob/FilmsMToR}} M - R]] * ''Film/TwentyOneJumpStreet'': An extremely funny movie. Didn't review it, but he mentioned it in his ''Film/CasaDeMiPadre'' review, noting that the reason why he reviewed that film instead of this one was because ''Casa'' was trying something unique. * ''Film/FortyTwo'': A movie that "feels like it could have been made by a machine." If you know [[JackieRobinsonStory the story of]] JackieRobinson and have seen any other movie about UsefulNotes/{{baseball}}, you know exactly what to expect from this film, and [[StrictlyFormula you'd be exactly right to expect it]]. It's competently made, but HarrisonFord's great, larger-than-life performance as the Brooklyn Dodgers' owner is the only thing that elevates this film above being another SoOkayItsAverage inspirational sports movie. * ''[[WesternAnimation/{{Nine}} 9]]'': Bob found this one to be SoOkayItsAverage despite the breathtaking animation, filling the otherwise short review with a explanation of the difficulty of producing commercial adult-oriented animation films and a vent against hardcore {{anime}} fans who insist only Japan is capable of doing this. * ''Film/TheATeam'': Called it a fun action flick, made even better by the character's marked enjoyment at all the cool stuff they get to do, i.e. 'not every character needs to be Batman'. * ''Film/AbrahamLincolnVampireHunter'': Nothing can change the fact that the film is "a gimmicky joke of a movie," and it's got some problems with third-act pacing and the action scenes all seeming to blend together, but it's still a worthwhile watch, helped along by the fact that it plays its central premise as a straight-faced piece of historical fiction rather than an extended gag. He also found it interesting to see a movie that paints [[UsefulNotes/TheAmericanCivilWar the Confederates]] not only as villains, but downright monsters at that. * ''Film/ActOfValor'': The action scenes are amazing, thanks in no small part to the fact that [[BackedByThePentagon the US Navy was directly involved in its production]], ensuring realism and authenticity instead of phony Hollywood machismo. Unfortunately, [[ActionFilmQuietDramaScene the talkier, non-action bits]] aren't nearly as good, with a number of "movie-like" moments that break the film's sense of realism and some mediocre acting from the active-duty Navy [=SEALs=] in the lead roles. Military buffs will love it, but most others would probably have been better served by a straight {{documentary}}. In addition, both within the review and in the following week's [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9448-Pop-A-Ganda "Intermission" column]], he rebuked the widespread concern that the film was a jingoistic, pro-war propaganda piece/recruitment tool, saying that it was no worse in that regard than any number of recent Hollywood action films, and that people on both sides [[WhatDoYouMeanItsNotPolitical read too much politics into popular culture]].[[note]][[ShoutOut Yvan]] [[WesternAnimation/TheSimpsons eht]] [[TheStinger Nioj]]![[/note]] * ''Film/TheAdventuresOfTintin'': Great directing, great action, and the best (though [[UncannyValley still not perfect]]) use of performance capture technology in filmmaking history make a very worthwhile watch. Bob also comments on how the mere fact of the film's production, what with it being a big-budget adaptation of [[{{Tintin}} a property]] that's [[AmericansHateTingle never been big in America]], showcases Hollywood's growing recognition of the power of non-American moviegoers. * ''Film/AfterEarth'': "Creator/MNightShyamalan might '''really''' want to look into a change of careers." Bob found this to be an incredibly boring movie to watch, an ego trip for both Shyamalan and Creator/WillSmith that's among the worst of both their careers. He spent a good chunk of the review laughing at the film's dumber moments (namely, one of the main characters being named [[AwesomeMcCoolname Cypher Raige]]) while criticizing the film for having a plot structure that felt more suited to a video game than a film, including using a number of arbitrary gameplay tropes. Also, both Will Smith and his son Jaden give incredibly dull performances here, with Will's famous charisma nowhere to be seen and Jaden out of his depth as an ActionHero, and the film's backstory about humanity leaving EarthThatWas is never properly utilized and feels superfluous. * ''Manga/{{Akira}}'': Feels that it's a perfectly serviceable {{cyberpunk}} action film, nothing more, nothing less, and that most of its popularity comes from it being [[NostalgiaFilter most Americans' first "real" experience]] with {{anime}} rather than its own merits. In [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9204-Advice-From-a-Fanboy-Akira.2 one of his "Intermission" columns]], he offered some tips on how to do the American remake properly. * ''Film/AlexCross'': A terrible movie that can't even bring itself up to being entertainingly awful, with the clean-cut Creator/TylerPerry unconvincing as an ActionHero (though he could've been much better in a more conventional mystery drama) and Matthew Fox delivering a laughably one-note and [[LargeHam over-the-top]] performance as a villain who feels like he came out of a comic book more than a relatively grounded police movie. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/AliceInWonderland'': While it works in bits and pieces, and the art design, special effects and score are amazing, ultimately it fails spectacularly to come together as a whole movie. Bob felt that, story-wise, it was a mess that tried to shoehorn the RandomEventsPlot of Creator/LewisCarroll's novel into a "good vs. evil" narrative reminiscent of a MerchandiseDriven cartoon from TheEighties -- something that someone like Creator/TerryGilliam or Creator/AlanMoore might have done as a spoof of the Hollywood system. * ''Film/TheAmazingSpiderMan'': "A rancid, terrible, stiflingly inept, torturous-to-sit-through piece of [[CensoredForComedy s***]] whose every second of its unforgivably long running time feels like the worst kind of passionless, cynical, mechanical, soulless, assembly-line, commercially-focused corporate filmmaking." Bob went into the film having dreaded it for the past year, due to the fact that it was put into production for the sole purpose of allowing {{Sony}} to hold onto the ''Franchise/{{Spider-Man}}'' [[Film/SpiderMan film rights]] and prevent them from reverting back to Creator/{{Marvel|Comics}} -- who, [[Franchise/MarvelCinematicUniverse at this point]], will likely never be giving them back. The end result didn't even meet his rock-bottom expectations, irritating him enough that he put out '''two''' ''Escape to the Movies'' episodes that week to discuss all his problems with it.\\ \\ The only thing stopping him from hating it as much as ''Film/GreenLantern'' was that he found it just too boring and lazy to really stay angry at, what with it completely recycling the origin story that Creator/SamRaimi's film did far better just ten years prior. Most of the "new" twists and wrinkles that it inserted into the plot either ruined the character's mythology, shamelessly ripped off Creator/ChristopherNolan's ''[[Film/TheDarkKnightSaga Batman]]'' movies and/or ''Literature/{{Twilight}}'', or (often) both, while the action and special effects were crappy and the villain's motivations, personality changes and behavior made absolutely no sense whatsoever. It was bad enough to make him miss the "emo Peter Parker dance" from the third movie. It may not be the worst movie he's seen in 2012, but to him, it's the most contemptible. At the end of 2012, he listed it as one of his ten worst movies of the year.\\ \\ He returned to the film in the following week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9801-Conundrum "Conundrum"]] to discuss another problem he had with the film, the fact that plot threads that should've been resolved within the film itself to create a complete narrative were instead LeftHanging for the sequel. He felt that this was the dark side of the continuity-driven storytelling that ''Film/HarryPotter'', ''Film/TheLordOfTheRings'' and the MarvelCinematicUniverse had popularized -- it gives lazy screenwriters an easy way out of having to actually resolve major story points by simply promising that the film is the first in a franchise, and that the resolution is being saved for later. * ''Film/AmericanPie'': He hates the series with a passion, feeling that it isn't anywhere near as funny, edgy, or insightful as people proclaimed it to be, then or now. Didn't review any of the films, but he mentioned them in his review of ''The Raid: Redemption'', discussing why he chose not to review the fourth film, ''American Reunion'', which had come out that week. (He did see ''Reunion'', mentioning at the end of said ''Raid'' review that he thought it terribly generic and overly reliant on cameos from the old films and '90s pop culture references, and at the end of 2012 he listed it as one of his ten worst movies of the year.) * ''Film/AnAmericanCarol'' * ''Film/AnchormanTheLegendOfRonBurgundy'': Called it "a straight-up modern comedy classic" while discussing the sequel in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. ** ''Anchorman: The Legend Continues'': Having loved the first film, he's excited for this too, though he worries that Christina Applegate's role might be smaller than before, as she was a major part of what made the first film work. * ''Film/{{Anonymous}}'': He used his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9196-Shaken-Up "Shaken Up"]] to examine the UsefulNotes/{{conspiracy theor|ies}}y that the film was based on. He didn't review the film itself, but his thoughts on it were mostly positive, calling it "deliberately-paced, fiendishly smart [and] luridly ribald", and saying it'll appeal to fans of ''TheTudors'' or the ''Film/{{Elizabeth}}'' films. * ''Film/ApocalypseNow'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. In this film's case, the sheer length of the movie served to wear the viewer down, making them feel like Captain Willard and his men as they slogged their way to Kurtz's camp. * ''Appaloosa'' * ''Film/{{Argo}}'': An "exciting, engaging spy thriller" that avoids the trap that many films about the film industry fall into (i.e. becoming an excuse to indulge in inside jokes about Hollywood), instead wisely putting the focus squarely on the rescue mission that drives the main story. It's not very showy, but the lack of such theatrics works to its benefit. He opened the review giving a Cliff's Notes version of the Iranian hostage crisis and how it affected American politics. Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10204-Gold-Bugged-Mea-Culpa "Gold Bugged: Mea Culpa"]], he discussed how nearly every major professional film critic, himself included, had missed this film as a potential Oscar contender. * ''Film/TheArtist'': He liked it on a superficial level, but he didn't love it like so many other critics and moviegoers did (though he understands why many of them loved it). He found the story and characters to be rather shallow and overly reliant on [[SilenceIsGolden its gimmick]], and the film as a whole to be deeply rooted in [[ClicheStorm rom-com conventions]] and not quite as intelligent as it thinks it is. He felt its AcademyAward for Best Picture to be [[AwardSnub wholly undeserved]]. * ''Film/AtlasShrugged Part I'': Takes [[Literature/AtlasShrugged a book]] full of deep political philosophy and [[GenreBusting genre-bending]] sci-fi, and only covers the dull introduction while {{Bowdleris|e}}ing many of the edgier parts of Creator/AynRand's [[UsefulNotes/{{Objectivism}} belief system]]. The result: a boring film that feels like it was [[MadeForTVMovie made for TV]], and which could've been a lot better, especially given its production history. * ''Attack of the Super Monsters'': Not so much a film as it was a translated collection of a few episodes of a Japanese {{toku}} series called ''Dinosaur War Izenborg''. It's weird even by [[WidgetSeries Japanese standards]], combining live-action monster/robot rumbles (done with laughably obvious OffTheShelfFX), [[RogerRabbitEffect anime human characters]] that fit all the stock {{anime}}[=/=]toku archetypes, and creepy IncestSubtext, but it's watchable if you're into that kind of stuff. He also discussed the practice in the early days of home video of importers translating foreign (often Japanese) cartoons, toku shows and monster movies and releasing them DirectToVideo. Discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6442-Schlocktober-2012-Attack-of-the-Super-Monsters 2012 "Schlocktober" special]]. * ''Film/AttackTheBlock'': Loved it. While he hasn't reviewed it yet, he has recommended it on several occasions in his reviews, comparing it to old-school "JohnCarpenter high-grade BMovie asskicking" during his episode on films [[NotScreenedForCritics not getting screened for critics]], and noting that it was incredibly deep for what is essentially a B-grade monster flick. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/{{Avatar}}'': Ultimately very positive. He notes that while the plot itself isn't original, it helped in keeping the audience immersed in the fantastic world-building and theme-driven story. He also lampshades the FetishFuel potential behind it, noting that DeviantArt will probably go nuts with the movie and compares Neytiri to Jessica Rabbit as potential FetishFuelStationAttendant material. * ''Film/TheAvengers'': He'd been hotly anticipating and hyping up the very idea of it ever since TheStinger at the end of ''Film/IronMan''. In particular, as explained in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5622-Future-Assembly "Future Assembly"]], he's excited about the possibility of [[TheVerse shared continuity]] becoming part of the DNA of moviemaking, just as it is for comics and, to a lesser extent, television. However, he recognizes that it could easily have [[ContinuitySnarl some]] [[CashCowFranchise serious]] [[ContinuityPorn pitfalls]], and he later came back to this subject (in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9856-Avengers-The-Down-Side-Of-Up "Avengers: The Down Side of Up"]]) to say that Hollywood has drawn the wrong lessons from the success of the MarvelCinematicUniverse, continuity being among them.\\ \\ When it finally came time to review it, he loved the hell out of it, saying that it was a great film on its own merits and a downright miracle given [[MarvelCinematicUniverse what it took]] to make the film possible, and felt it was the new standard against which all future comic book movies will be judged. It marked the first time that a movie of its kind had managed to bring the full "comic book" experience -- the sprawling storylines, the disregard for genre, the [[LoadsAndLoadsOfCharacters massive cast]] -- to life on the screen without being too timid or serious. Much of the credit goes to writer/director JossWhedon, who is an expert at handling these kinds of large casts and group dynamics thanks to his experience with ''Series/{{Buffy|TheVampireSlayer}}'' and ''Series/{{Firefly}}'', and who takes a fairly simple and straightforward main plot and manages to elevate it head and shoulders above nearly anything like it.\\ \\ Later that summer, in the ''Intermission'' editorial "Avengers: The Down Side of Up", he commented that this one film's awesomeness was enough to single-handedly make up for what he saw as an awful summer movie season. Most of the summer's output ranged from good-but-disappointing to downright terrible in his opinion, with only a few hidden gems to liven it up, but it was possible for him to just go back and watch this movie again whenever he was in need of a great movie to see in theaters, and he'd forget about all of the other crap. At the end of 2012, he listed it as the best movie of the year. ** ''The Avengers: Age of Ultron'': Hasn't reviewed it yet, but in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con, he said that his interest in this film, already high to start with, shot through the roof when Ultron was announced as the villain. He compares it to "the Avengers vs. the Franchise/{{Terminator}}". * ''Film/BadBoys II'': Calls it "Creator/MichaelBay's masterpiece" and the exemplar of his filmmaking and nihilistic style. Its themes can be described as "nothing matters, everybody sucks, but watch how awesome it is when I blow it the f*** up!" Didn't review it, but he discussed it in his review of ''Pain and Gain''. * ''Film/BadLieutenantPortOfCallNewOrleans'': It's certainly not a forgettable film for its RefugeInAudacity, noting that Creator/WernerHerzog made good use of NicolasCage's LargeHam nature as the VillainProtagonist. * ''Film/{{Batman}}'' (the 1989 film): One of the most influential superhero movies ever made, with a pop culture impact that Bob sees as being as great as that of ''Franchise/StarWars''. He credits the film with proving to Hollywood that superheroes not named Film/{{Superman}} can be huge box office draws, as well as launching Creator/TimBurton's career and having its influence loop back into comic books. On the other hand, he feels that the film itself, while quite good, is also deeply flawed and uneven, with [[FridgeLogic large gaps in logic]] and it [[FranchiseOriginalSin kicking off a number of trends]] that plagued later Bat-movies, such as having [[StuntCasting stunt-cast]] villains who completely drive the story. Didn't review it, but he discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5973-Batman-Revisited-Part-1 "Batman Revisited Part 1"]], a retrospective on the pre-ChristopherNolan ''Franchise/{{Batman}}'' movies. ** ''Film/BatmanReturns'': Called it "a much more extreme version of its predecessor", in that the stuff that was good about the first movie -- Burton's artistic sensibilities, the set design, Creator/DannyElfman's music, the action scenes -- was better in this one, and the stuff that was bad in the last one becomes almost disastrous here. Between the two movies, Bob feels that, while Burton may have made a pair of incredibly stylish Batman movies, he didn't really "get" the character and his universe, seeing as how both of his Bat-movies (particularly the second one, which he had greater control over) "fell apart on a storytelling level" according to him. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/5979-Batman-Revisited-Part-2 "Batman Revisited Part 2"]]. ** ''Film/BatmanForever'': After the backlash by MoralGuardians against the dissonance between the last movie's dark, twisted atmosphere and its [[MisaimedMarketing kid-friendly]] [[MerchandiseDriven merchandising]], replacing Tim Burton with JoelSchumacher and going in a LighterAndSofter direction probably sounded like an excellent idea. The problem was that, by this point, ''Batman'' had become a CashCowFranchise for WarnerBros, and so the emphasis was more on managing the brand than in crafting a good film, with the (now-unavoidable) issue of [[StuntCasting stunt-cast]] villains dominating the film being among the biggest signs of this. That said, Bob appreciated how the film managed to develop Batman/Bruce Wayne as a character and set up a plausible new direction for the franchise, and he doesn't really see how Schumacher "destroyed" the series, given that the problems with ''Forever'' were many of the same problems that plagued the last two movies. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/6018-Batman-Revisited-Part-3 "Batman Revisited Part 3"]]. ** ''Film/BatmanAndRobin'': It's an awful movie, with a terrible script that makes no sense at all (even in comparison to prior films), bad casting and production design, and MoodWhiplash all over the place. It's a symbol of everything that was wrong with big, empty popcorn blockbusters in TheNineties, and the culmination of all the growing problems that had been plaguing this series in particular. However, it's not the toxic neutron bomb that many people see it as, with Bob viewing it as SoBadItsGood instead and comparing it to movies like ''Film/FlashGordon'' and ''Film/StreetFighter''. If nothing else, it holds a place in film history for having spurred on the rise and growing importance of internet film criticism, with all that came with that.\\ \\ He feels that there are two major reasons why this movie is so viscerally hated while comparable flops like ''Film/{{Showgirls}}'' are {{cult classic}}s. First, the film's {{camp}}y, LighterAndSofter, almost Creator/AdamWest-like take on the material clashed with the DarkerAndEdgier aesthetic that was popular in the ''Franchise/{{Batman}}'' comics of [[TheDarkAgeOfComicBooks the time]] -- many Bat-fans felt (wrongly, in Bob's opinion) that the '60s ''Series/{{Batman}}'' show had ruined the character, and that drawing from that well was tantamount to CanonDefilement. Second, and related to the above, he feels that there was also a homophobic undercurrent to the hatred of the film, given that many of the most vitriolic criticisms were against things like the nipples and cod-pieces on the protagonists' suits and the aforementioned camp sensibilities. Didn't review it, but he discussed it in [[http://www.escapistmagazine.com/videos/view/the-big-picture/6041-Batman-Revisited-Part-4 "Batman Revisited Part 4"]]. * ''Film/BattleLosAngeles'': He praises it for its realistic depiction of what a war between [[SemperFi the Marines]] and {{alien inva|sion}}ders would actually look like, but felt that its underwritten plot and characters made it hard for him to care. It's worth a matinee if you're in the mood for a gritty war movie, but overall, it doesn't get his recommendation. Didn't review it, but he mentioned it in his ''Film/{{Paul}}'' review. * ''Film/{{Battleship}}'': "Pretty much every bit as bad as everyone kind of assumed it was going to be all along." Bob was actually rooting for this one to be at least decent, just so that it could surprise those who felt it was a bad idea to adapt [[TabletopGame/{{Battleship}} a board game]] into a movie (he's of the school that there's no such thing as bad ideas, just bad execution). Its big problem is that it's got a director who is far smarter than the material (having made films like ''Film/FridayNightLights'' and ''The Kingdom'') trying to dumb himself down and make a Creator/MichaelBay-esque, empty-calorie popcorn blockbuster, and failing because he and the movie keep out-thinking themselves, comparing it to the UrbanLegend about the elite chef who couldn't make a Big Mac. He did like the last twenty minutes and some of the cheekier nods to the board game (even if nobody utters "the line"), and was surprised by how good an actress Music/{{Rihanna}} turned out to be, but it's not enough to save a crappy movie. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/BeastsOfTheSouthernWild'': Called it one of the best movies of 2012, combining MagicRealism, youthful adventure, outstanding acting (especially given that the two leads had never acted before) and social/political commentary that is always on point but never [[{{Anvilicious}} preachy]], and effectively saying that it was the film that ''Film/TheHungerGames'' wanted to be but failed. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9773-Under-the-Radar "Under the Radar"]]. * ''Literature/BeautifulCreatures'': While he did like the film's SouthernGothic vibe and the LargeHam performances by Creator/JeremyIrons and EmmaThompson, it does nothing new with its "light vs. dark" mythology, the ending is anti-climatic, and it carries some [[UnfortunateImplications awkward anti-female undertones]]. He first discussed his thoughts on the trailer in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], then reviewed it a week after it was released (nothing that week caught his interest). * ''Film/BeverlyHillsCop II'': Didn't so much discuss his thoughts on the film as opposed to its LoveItOrHateIt status among fans of the original. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott [[{{FilmsDiscussedByMoviebob/FilmsSToZ}} S - Part 1"]], a retrospective of the late Tony Scott's career. * ''Bio Zombie'': Didn't review it, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie "Schlocktober" special]] for 2013. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake of the handover. He was impressed by just how much time the film takes to develop its characters before getting to the "good stuff", though he feels that this probably had more to do with the film's low budget than artistic intent. He also notes how the film's non-Western take on the zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they were wise to keep the zombies in the background and focus chiefly on the human drama. * ''Film/BlackSwan'': "Bottom line: ''do not miss out''." Bob was absolutely blown away, with NataliePortman in particular deserving the Oscar that she received for her performance. He starts off the review speaking in a [[FakeBrit faux-stuffy-Brit]] accent listing off all the reasons why he liked it, then drops it for the second half, in which he talks about the LesYay and how enjoying such scenes isn't necessarily shameful or objectifying. * ''Film/BloodSuckingFreaks'': Takes the idea of the infamous Grand Guignol theater in Paris to its logical extreme, and notable for being something that even Creator/{{Troma}}'s Creator/LloydKaufman (who distributed the film) considers reprehensible. The special effects don't hold up well, but it's still a rough watch. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/TheBookOfEli'': Found the plot to be silly and overly reliant on literal DeusExMachina -- after all, if Eli is on a MissionFromGod, then there's no way he can lose, thus sucking out all the tension. Ultimately, the rest of the film is no different than any other AfterTheEnd movie, though he thinks the actors did a good job with their roles. * ''Born to be Wild'': "Monkeys and baby elephants in [=3D=]? That works for me." Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review. * ''Film/TheBourneSeries'': Bob's never liked the movies, finding them to be [[SoOkayItsAverage lukewarm]] and having a hard time recalling anything beyond the broadest story strokes. He attributes this to the films trying to straddle the line between the action-packed "Martini" and [[DarkerAndEdgier dark, gritty]] "Stale Beer" flavors of SpyFiction, and "doing a weaksauce version of both", with the two sides detracting from one another. He also felt that the manner in which the films portrayed their all-American, military-industrial complex villains came off as, in essence, telling viewers that the USA is so awesome that the only thing that can threaten it is itself. He's astonished at how so many of his fellow critics and moviegoers loved the series, and how it replaced JamesBond as the defining spy movie series of the TurnOfTheMillennium. Didn't review the first three films, but he discussed them in his review of the fourth film... ** ''The Bourne Legacy'': "Not bad, not great, but I guess it does the job." The film's big reveal was a great twist that really built the character, but then it abruptly ends at what feels like the end of the second act. It feels more like the pilot for a new series starring the new hero Aaron Cross than part of the ''Bourne'' series. On the other hand, it moves at a rapid pace, and while Bob was never all that interested in the proceedings (and had trouble remembering the story just six hours after watching it), he was never bored either -- the action scenes are few in number but very well-shot, and Jeremy Renner has the chops to be an action star. * ''Film/{{Branded}}'': "The worst movie of its kind I've been unfortunate enough to see since Richard Kelly's ''Film/SouthlandTales''." Bob felt it to be one of the few movies that truly deserves what he feels to be an often-misapplied adjective, "pretentious", coming off as a smug, stupid mish-mash of ''Series/MadMen'', ''Film/TheyLive'', and ''Film/TheStuff'' that thinks it's a lot smarter and more important than it actually is without coming anywhere close to its inspirations. Most of the film consists of either boring, {{anvilicious}} monologues about the evils of consumerism, or scenes that break the cardinal filmmaking rule of ShowDontTell (and then often [[{{Filler}} show it anyway]]), and without spoiling anything, its depiction of overweight people was [[UnfortunateImplications extremely insulting]]. The only reason to watch it is for its SnarkBait value. At the end of 2012, he listed it as the worst movie of the year. * ''WesternAnimation/{{Brave}}'': In his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]], he used the trailer's clip of the seams on Merida's fancy dress tearing open as she drew the bow as an example of how Creator/{{Pixar}} knows how to [[ShowDontTell show rather than tell]] -- in this case, showing how Merida is rebelling against the male-dominated world around her by symbolically destroying a symbol of femininity in the process of that rebellion.\\ \\ When it came time to review the movie (which he did in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9760-Near-Miss "Near Miss"]]), he found it to be a good, well-made movie that would've been seen as great coming from any other studio, but given Pixar's pedigree it should've been better. Notably, Pixar's traditionally rock-solid storytelling chops feel wobbly here, with an overly long first act, a bunch of one-note comic relief characters, and the main plot only really getting going about halfway through the film. He attributes much of this to the film's rocky (by Pixar standards) production cycle, with the creative team departing and being replaced during production, leading to what felt like a lot of loose plot threads. * ''Broken City'': One of those movies that often makes people say "they don't make 'em like that anymore" (Bob feels otherwise, saying that it's just that they don't make it to theaters anymore), a slow-paced crime drama/political thriller that feels like a ''Series/LawAndOrder'' episode fleshed out into a feature film, and feels almost novel by virtue of its ''lack'' of intense action scenes and its focus on characters and plot twists. It's good, but not great, with superb acting and solid directing but also an uneven, blunt script that is bogged down by plot holes and unnecessary subplots. * ''Film/BulletToTheHead'': Going by the trailer, it looks like the movie that ''The Expendables'' desperately wanted to be: a [[GenreThrowback love letter]] to macho '80s action movies that doesn't take itself at all seriously, and instead looks like great fun. He later came back to it, along with ''The Last Stand'', in the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] (because he felt that nothing that came out that week was worth reviewing) to discuss its failure at the box office and what that means for the action genre, particularly the sort of RatedMForManly beefcake action movies that characterized TheEighties and TheNineties. * ''Film/{{Buried}}'': A tight, suspenseful thriller with a great performance from RyanReynolds that, for some reason, is being treated by its distributors like a high-minded arthouse film (limited release, promotion to match) rather than the low-budget BMovie that it is. * ''Film/TheButler'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said he was excited to see Forest Whitaker in another big lead role, as well as Lee Daniels (the maker of ''[[Literature/{{Push}} Precious]]'') turning his eye for soapy melodrama towards TheWhiteHouse. He also discussed [[Series/TheOprahWinfreyShow Oprah Winfrey]]'s involvement and some of the film's [[WTHCastingAgency strange and provocative casting]]. He reviewed it (and discussed the legal fight that led the film to be called ''[[InCaseYouForgotWhoWroteIt Lee Daniels']] The Butler'') in another ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story "Based on a True* Story"]], where he said that the celebrity cameos were distracting and oftentimes poorly done, and that the convoluted plot too often consumed the film and the character that it's supposed to be focusing on. Later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10579-Summer-School-Part-II "Summer School - Part II"]], he used the film's success as a sign that Hollywood is finally waking up to the untapped gold mine that is black moviegoers, rather than allowing hacks like Tyler Perry to have a virtual monopoly on that market. * ''Film/TheCabinInTheWoods'': "Don't let anyone tell you ''anything'' about this movie. Just mark your calendar and make damn sure you ''do not'' miss it. ''[[SugarWiki/SoCoolItsAwesome Believe the hype.]]''" It's a triumph of [[SlidingScaleOfComedyAndHorror horror and comedy]] that succeeds where others have failed by going whole-hog with its meta-narrative ideas, and it's the best film Bob's seen all year up to that point. However, he recommends seeing the film ''before'' reading his review, opening it with a ninety-second warning that it was going to spoil the film's big twist (even if it happens at the very beginning of the film and was partially given away by the trailers). A few weeks after he reviewed it, he did an ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9561-Re-Take-The-Cabin "Re-Take The Cabin"]] (warning: huge spoilers), in which he discussed the film's TakeThat at moviegoers (specifically horror fans) who demand cliche and formula rather than anything new. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/CannibalFerox'': "Just about everything going on is in the worst possible taste, but I can't say it isn't effective." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/CannibalHolocaust'': Has only seen it once, and refuses to watch it again or to recommend it (even to fans of graphic horror/grindhouse films) due to its depictions of real wild animals getting brutally slaughtered. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/CaptainAmericaTheFirstAvenger'': He loved it. Video description was "Pretty much perfect in every way!". In the video itself, he elaborates "...it's basically perfect, at least to the degree that it's the most perfect CaptainAmerica movie I can conceive anyone having made." At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/CaptainPhillips'': Surprised and impressed about how it didn't go the obvious route and focus on the daring Navy SEAL rescue that the [[BasedOnATrueStory real-life incident]] is most famous for, as well as how it was "obsessively resistant to politics or symbolism" and refuses to let them take over its story. Creator/TomHanks as the title character and unknown actor Barkhad Abdi as the pirates' leader are excellent, their interplay coming off as both outmatched and equal, while director Paul Greengrass is one of the few people who Bob feels knows how to make the JitterCam style really work. It's an easy shoe-in for award season. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10649-Captain-Philips-Sympathy-for-the-Pirate "'Captain Phillips - Sympathy for the Pirate"]]. * ''WesternAnimation/{{Cars}}'': While he agrees that it's {{Pixar}}'s worst movie, he claims that it's not as terrible as most people make it out to be, feeling that the reason why geeks hate it is because it's about {{NASCAR}}, with [[DeepSouth all that entails]], rather than the geeky subject matter that Pixar films tend to embrace. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Cars 2'': Despite being the first Pixar film to be a [[MoneyDearBoy blatant]] [[CashCowFranchise cash grab]], it's a better film than the original, ironically because it seemed as though Pixar wasn't trying as hard. While the first film stumbled due to failed attempts at sentimentality, the sequel simply didn't bother with that and instead focused on [[RuleOfFunny being funny]] while sidelining the (in his opinion) bland character of Lightning [=McQueen=] to focus on Mater. * ''Film/CasaDeMiPadre'': "One of the funniest damn things I've seen in years." It manages to somehow mine astounding levels of hilarity out of just two real jokes -- WillFerrell [[FakeNationality playing a Mexican]], and [[StylisticSuck the cheesy production values]] of Latin American ''[[SoapOpera telenovelas]]'' -- without ever coming off as offensive or insulting to the shows it's parodying (or their fans). It's also a film that could only have been made at the precise moment when ''telenovelas'' and Latino pop culture in general were just on the cusp of the American mainstream, not quite part of it but not quite obscure either. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Centurion}}'': "Proof that making an action-oriented BMovie doesn't mean you also have to suck at it."[[note]]That last comment, for what it's worth, was spoken with a poster for ''TheExpendables'' [[TakeThat in the background]].[[/note]] * ''Film/{{Chloe}}'': If watching Creator/AmandaSeyfried and JulianneMoore having [[LesYay hot lesbian sex]] is your idea of a good time, then you're probably already in line to see this, and you won't be disappointed. Bob compared it to ''MulhollandDrive'' in terms of inappropriately-purchased art films. Didn't review it, but he mentioned it during his ''Film/HotTubTimeMachine'' review. * ''Film/AChristmasCarol2009'': Hyper-literal adaptation + wacky slapstick and 3D antics = confused and unsatisfied Bob. * ''Film/{{Chronicle}}'': It didn't really ''need'' to be a {{found footage|Films}} movie, and it doesn't take many narrative risks, but otherwise it's far better than its [[DumpMonths February release date]] suggests. Bob calls it "''Franchise/{{X-Men}}'' for a post-UsefulNotes/{{Columbine}} world" with its combination of TeenDrama and {{superhero}} action, and it comes with a third act that stands as one of the best action sequences he's seen in terms of both its inventiveness and its emotional investment. He thinks that director Josh Trank will be getting a lot of offers to make big-budget superhero movies after this. * ''Literature/TheChroniclesOfNarnia: Film/TheVoyageOfTheDawnTreader'': A reasonably good fantasy movie, though not as good as the [[Film/TheLionTheWitchAndTheWardrobe last two]] [[Film/PrinceCaspian entries]], mainly due to the fact that the book it's based on wasn't exactly the Hollywood-ready blockbuster adventure that the films thus far (including this one) have been. He spends much of his review discussing the giant elephant in the room that comes up in nearly every discussion of ''Narnia'' -- specifically, Creator/CSLewis' religious beliefs and the way that they are presented in the books. * Franchise/TheChroniclesOfRiddick franchise: ** ''Film/PitchBlack'': Called it a decent riff on ''Film/{{Aliens}}'' that likely would've been forgotten if not for the fact that it starred Creator/VinDiesel just before he became the [[HollywoodHypeMachine Next Big Action Star]] thanks to ''The Fast and the Furious''. Didn't review it, but he discussed it in his review of ''Riddick'', along with its sequel... ** ''Film/TheChroniclesOfRiddick'': Talked less about the film itself and more about how the film reflected Vin Diesel's [[OneOfUs surprisingly geeky interests]] for an ActionHero. ** ''Film/{{Riddick}}'': Pretty much a remake of ''Pitch Black'' in all but name, which isn't all that bad a thing, all things considered. The first act is by far the best thing in any of the films, and it works best when it's focusing on Riddick himself (in spite of Diesel's limited range as an actor). However, when the bounty hunters show up it turns into a subpar ''Aliens''/''Predator'' clone, with only [[Wrestling/{{Batista}} David Bautista]] and Creator/KateeSackhoff doing much to liven up the proceedings -- and even then, the subplot surrounding Sackhoff's character being a lesbian is handled in [[UnfortunateImplications an extremely tasteless manner]]. * ''Film/ClashOfTheTitans'': Discussed both the original and the remake in his review of the latter. He felt that both films were SoOkayItsAverage, though the original is ''slightly'' better, describing the remake as "a C+ remake of a B- film". Both films have cool action and effects, but suffer from cheesy human drama (or in the remake's case, a total ''lack'' of human drama) that keeps them from the upper ranks of their respective eras' great blockbusters. The remake's RageAgainstTheHeavens plot, however, did solve the DeusExMachina problem often faced by adaptations of ClassicalMythology. ** ''Wrath of the Titans'': A slightly better film than the last one, but not by much, with the JitterCam ruining several of the action scenes and not meshing well with the film's {{ancient Gree|ce}}k setting. He also notes how the ''Clash'' remake was one of those blockbusters that made a ton of money but was quickly forgotten (seemingly justifying the sequel's CharacterDerailment to the filmmakers), and gushes about how awesome ''The Raid: Redemption'' was and how much ''Film/MirrorMirror'' sucked. * ''Literature/CloudAtlas'': One of the best films of 2012. The fact that such an audacious and unconventional project was made at all was impressive enough, but the fact that it was made as a big-budget Hollywood blockbuster that actually ''worked'' is miraculous. However, that's about as much as he can say without potentially ruining the experience (though if you've read anything about it in magazines or on websites, there's nothing new he's going to spoil), so he recommended those who might be interested in the film to go see it before watching his review.\\ \\ The makeup on the actors to let them play characters of different races and genders in different time periods, while still remaining recognizable and without being [[UnfortunateImplications offensive]] (something that he went into further detail on in the ''Intermission'' editorial [[http://www.escapistmagazine.com/videos/view/the-big-picture/6488-Skin-Deeper "Skin Deeper"]]), deserves an Oscar. The film's editing, telling six separate stories of different genres and bringing them together into a cohesive whole, is equally amazing. The directors (all three of them) deliver some of the best work of their careers, making a visually stunning film with great performances from everyone involved. Bottom line: its structure means that it's gonna be one of those LoveItOrHateIt films, but either way, you should see it just so, at the very least, you have something amazing to talk about at the watercooler. At the end of 2012, he listed it as one of his top ten movies of the year. * ''WesternAnimation/CloudyWithAChanceOfMeatballs'': Said it was a "really great little movie", a highly imaginative parody of {{disaster movie}}s that caught people by surprise due to the fact that it wasn't made by Creator/{{Pixar}} (back when that studio was still seen as untouchable) and thus didn't have a lot of hype surrounding it. He compared it to ''Film/{{Ghostbusters}}'', ''Film/HoneyIShrunkTheKids'', ''Film/BackToTheFuture'', and ''Film/{{Evolution}}'' in terms of great sci-fi family comedies. Didn't review it, but he discussed it in his review of its sequel... ** ''WesternAnimation/CloudyWithAChanceOfMeatballs2'': Not as good as the original, lacking its more grown-up wit and heart in favor of a broader parody of Apple and modern tech culture that doesn't quite click. That said, it's still a very engrossing film on a purely visual level, and pretty funny on top of it. It's a good sequel that doesn't live up to its great predecessor, but if you have kids, it's still worth your time. * ''Film/{{Cloverfield}}'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7295-Mystery-Bonks "Mystery Bonks"]], he used it as an example of Creator/JJAbrams' skill at ViralMarketing, turning an otherwise straightforward [[FoundFootageFilms found-footage]] {{kaiju}} film into a great big mystery. * ''Film/ConanTheBarbarian2011'': On the remake: "By Krom, is this piece of shit ''awful''." [[Film/ConanTheBarbarian1982 The original]], on the other hand, still holds up today, and remains John Milius' best movie. Didn't review them, but he mentioned them in his ''Film/FrightNight2011'' review. * ''Film/TheConjuring'': "[This movie] got an R rating from the MPAA. It was shot to be PG-13. No nudity. Limited blood. But was still given an R. For being 'too scary.' Doesn't really need much more review than that." It's one of the best haunted house movies in years, elevated by the care that went into making it. Didn't review it, but he mentioned it at the end of his review of ''Red 2'', and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]] he listed it as one of his top ten movies of summer 2013. * ''{{Cosmopolis}}'': Runs a bit too long, but RobertPattinson's cold emptiness makes him perfect for the role, and it's one of those films that simply washes over you. Very good. Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Film/CowboysAndAliens'': Called it "[[SoOkayItsAverage dull and lifeless]]," two adjectives that he felt should not apply to a movie with such a premise. He felt that the characters were little more than [[WesternCharacters Western movie caricatures]], and that it could've gone a lot deeper with the historical irony of people in TheWildWest being [[DoesThisRemindYouOfAnything exterminated and driven from their land by a foreign, technologically-superior invader]] -- especially given that UsefulNotes/{{Native American|s}} characters featured into the plot. He ended the review by telling viewers to seek out ''Film/AttackTheBlock'', another just-released alien invasion movie, instead. * ''Crimewave'' (aka ''The X, Y, Z Murders''): Compared it to ''ComicBook/SinCity'', only without the UnfortunateImplications of FrankMiller's writing. Bob also mentioned how it was written by Creator/TheCoenBrothers and how Raimi hoped to use the film to break out of his post-''Evil Dead'' TypeCasting as a splatter film director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Creator/SamRaimi's career. * ''Film/CrimsonTide'': Called it "a stone-cold pop-drama masterpiece" and Tony Scott's best film. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheDarkKnight'': Enthusiastically positive, to a point where he compares most movies to it. He counts it as one of the three greatest superhero movies ever made, the others being ''Film/{{Superman}}: The Movie'' and ''[[Film/SpiderManTrilogy Spider-Man 2]]''. Flaws that would cripple lesser films (ChristianBale's gravelly Batman voice, one of the worst-looking Batman suits ever) become only minor quibbles due to how amazing the rest of the movie is. ** ''Film/TheDarkKnightRises'': "Disappointing, but not crushingly so." It's a good movie, but far from a fitting sendoff for Creator/ChristopherNolan's ''Batman'' trilogy. Bane's not a particularly interesting villain (though he's definitely a unique one), and its presentation of its themes feels heavy-handed and suffers from the problem of [[ShowDontTell telling rather than showing]], but its biggest problems lie with its messy story structure. It feels like two movies welded together, with the shift at the halfway point making the first hour of the movie feel like a waste of time, and it possesses quite a few major plot holes and poorly-thought-out plot twists (which he discussed in the following week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9825-Knightfail "Knightfall"]]).\\ \\ On the other hand, the score is excellent, Nolan's wizardry behind the camera keeps the film ''looking'' great, and Creator/AnneHathaway, GaryOldman and {{Joseph Gordon-Levitt}} are standouts in an AllStarCast that is rock solid all around. Given the massive buildup in terms of both the previous films and the hype train for this one, it should've been SoCoolItsAwesome, and falls well short of that goal. Still, it earns Bob's recommendation. Three weeks later, he did a ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/6118-Holy-Spoilers-Batman "Holy Spoilers, Batman!"]], that took a spoiler-filled look at the various plot twists in the film, and how it drew far more influence from the ''Batman'' comics than the past two films. * ''Film/DarkShadows'': It's far from TimBurton's return to form, but it's better than his last couple of movies by a long shot. Despite being a structural mess, the film still somehow works thanks to how game the cast (particularly Creator/JohnnyDepp) is for the material. * ''Film/TheDarkestHour'': Spent the opening of his ''FinalDestination 5'' review mocking the premise of it, saying that he didn't know whether to be offended or impressed by the fact that "somebody pitched, greenlit and produced an entire movie of guys shooting guns at, running away from, and getting grabbed up ''by nothing''." * ''Film/{{Darkman}}'': The best of the films to come out of the early '90s pulp hero boom in the wake of Tim Burton's ''Batman''. Bob also discusses how it emerged from Creator/SamRaimi's failed attempts to make a film adaptation of ''Radio/TheShadow'', and how it drew as much from UniversalHorror as from its pulpy inspiration. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Raimi's career. * ''Film/{{Daybreakers}}'': Absolutely loved it. Compared it to [[CoolVersusAwesome "Godzilla vs. Voltron"]]. Also dubbed it the "Anti-Twilight". * ''Film/DaysOfThunder'': Pretty much ''Film/TopGun'' [[RecycledInSpace with cars]], though that's not a bad thing, as director Tony Scott and star TomCruise make a very intense and interesting, if melodramatic, film. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late TonyScott's career. * ''Film/DeadHeat'': Didn't review it, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8275-Schlocktober-2013-Dead-Heat "Schlocktober" special]] for 2013. It's cheesy and has a KudzuPlot, but it's CrazyAwesome personified, largely due to the gore and the presence of ''[[Series/SaturdayNightLive SNL]]'' vet Joe Piscopo as one of the leads. Bob also longs for the days before the current boom in zombie-related media when the few zombie films that ''did'' come out were more unique. * ''Film/DeadSnow'': "The same director [as ''Hansel and Gretel: Witch Hunters''] also did this movie, which is a lot better." Didn't review it, but he discussed it in his review of ''Hansel and Gretel: Witch Hunters''. * ''Film/DejaVu'': Bob enjoyed this film, saying that it had a very cool sci-fi concept and one of the more inventive chase scenes that he's seen, and that it was unfairly overlooked when it came out. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Demon Seed'': Said that it was the only good film adapted from a DeanKoontz book (as well as [[WhatDoYouMeanItWasntMadeOnDrugs the weirdest]]), and laments that it got lost in the mid-'70s shuffle of [[DemonicPossession demon possession]] flicks and sci-fi movies. He also longs for the time in film history between ''Series/TheTwilightZone'' and ''Franchise/StarWars'' when you could take a fantastic SpeculativeFiction premise and play it with a completely straight face. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture''. * ''The Desperate Hours'': The TropeMaker for the "home invasion" genre that stands out due to its AllStarCast and director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/{{Detention}}'': "... an awful poster, but the movie is kind of ''amazing''. Not on your radar? ''Fix that.''" It's an entertaining [[PostModernism meta]] take on ''TheBreakfastClub'' that doesn't fully succeed in its satire of teenage life, but was still highly enjoyed by Bob, being a lot smarter and more coherent than it appears on the surface. It also gets points for accurately reflecting contemporary high school life rather than feeling TwoDecadesBehind. If only it hadn't had the misfortune of opening in limited release the same weekend that ''Film/TheCabinInTheWoods'' came out. He discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9533-Kids-Today "Kids Today"]], then did a proper review of it two weeks later (it was a slow week). * ''Film/{{Devil}}'': "''Devil'' should not be booed and maligned because of the tangential connection to Creator/MNightShyamalan. No, ''Devil'' should be booed and maligned on ''its own'' merits, because it's ''awful''." Bob calls it one of the dumbest movies he's ever seen in theaters, with an IdiotPlot that [[FridgeLogic makes no sense if you think about it]] for more than five seconds, as well as cheap scares and a total lack of suspense. * ''Franchise/DieHard'': In the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] and in his review of the fifth film, ''Film/AGoodDayToDieHard'', he discussed how [[Film/DieHard the original film]] was a reaction against the {{invincible hero}}es and exotic set pieces of action movies past, and Creator/BruceWillis' success as the "anti-ActionHero". He also used the success and critical praise of the original ''Die Hard'' trilogy to argue that action movies shouldn't be seen as CriticProof, since professional film critics can tell a good action movie the same way they can tell a good movie in any genre. And since he knew people were going to ask, he ranks the first film as the best in the series, followed by [[Film/DieHardWithAVengeance the third]], [[Film/DieHard2 the second]], [[Film/LiveFreeOrDieHard the fourth]], and finally, the fifth... ** ''Film/AGoodDayToDieHard'': He forgot pretty much everything about it not long after watching it. The series has become a FranchiseZombie by this point, this film being easily the dumbest and least interesting in the series and a disgrace to its namesake. The action feels cheap, with little use of the Russian setting and the bad CGI looking jarring against the practical effects/stunt work, and John [=McClane=] feels more like James Bond than the [[ActionSurvivor everyman hero]] that made the series so refreshing in the first place. * ''Film/{{District 9}}'': Next to ''WesternAnimation/{{Up}}'', Bob said this was possibly the best movie of summer 2009, finding it to do everything that the previous blockbusters of the season (most notably the ''Film/StarTrek'' reboot) didn't -- namely, combining kick-ass action sequences with the sort of "big idea" sci-fi storylines that the old ''Franchise/StarTrek'' movies excelled in. He finds it very fortunate that Neill Blomkamp got to work on this (a feature-length adaptation of his short ''Alive in Joburg'') instead of making a ''Franchise/{{Halo}}'' movie * ''Film/DjangoUnchained'': Creator/QuentinTarantino's "most grounded, unironically affecting, and human film" since ''Film/JackieBrown''. Bob attributes this to the fact that its subject matter -- the brutality of slavery in the [[AntebellumAmerica pre-Civil War]] [[DeepSouth Southern US]] -- didn't need any embellishment to come across as something out of an ExploitationFilm, which, combined with the fact that the film seems to be single-handedly making up for a century of films ignoring this history, provides it with a weighty sincerity. Jamie Foxx gives his best performance since ''Film/{{Ray}}'', Creator/LeonardoDiCaprio delivers a grotesque subversion of the cool, charismatic villains of many recent action films, and Christoph Waltz does a great, multi-layered performance as Django's mentor. He first discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]], and at the end of 2012 (three days before his review) he listed it as one of his top ten movies of the year, with just three words: [[PunctuatedForEmphasis "GO. SEE. DJANGO."]]\\ \\ A couple of weeks later, Bob returned to the film in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6714-Is-Django-Racist "Is Django Racist?"]] to discuss the controversy over the film's copious use of the N-word. Not only does he feel that those complaining are CompletelyMissingThePoint of the film, focusing on a superficial detail rather than broader themes, but also states that they are greatly underestimating Tarantino and taking his "hyperactive film geek" public persona at face value. The genius of this film is in how it takes TheWildWest, one of America's most mythologized periods of history, and juxtaposes it with the slavery that went on in that same period. * ''Film/DragMeToHell'': The best horror film in years, with Creator/SamRaimi keeping on form by using his trademark tone (that of a horror/humor mix seen in carnival ghost trains) and his love of '30s and '40s film. Several years later, though, he came back to it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]] (a retrospective of Raimi's career) to say that he might have overrated it a bit when it first came out. * ''Film/{{Dredd}}'': "Pretty damn awesome. Go see it, it deserves it." Didn't review it because there wasn't a showing for critics the first week, and when it was released later he was at the Escapist Expo, but he mentioned it in his reviews of ''Resident Evil: Retribution'' and ''The Master''. * ''Film/{{Drive}}'': Great movie, with Bob calling it a {{better|ByADifferentName}}, arthouse version of ''TheTransporter'', and proof that so-called "guy movies" ''can'' be intelligent without sacrificing their coolness. However, he recommends seeing it "''before'' it's ruined by douchebags claiming Ryan Gosling as their new god." He first mentioned it at the end of his ''StrawDogs'' remake review, then did a proper review of it two weeks later (he felt that none of the movies that came out that week were worth his time), and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/DungeonsAndDragons'': The only redeeming factor is Creator/JeremyIrons' [[LargeHam supremely hammy]] performance as the villain. The fact that the sequel premiered on SyFy says all that needs to be said about this film's quality. Didn't review it, but he mentioned it in his discussion of ''TabletopGame/DungeonsAndDragons'' adaptations. * ''Film/TheEagle'': Bob was "bored stupid" by it, to the point of [[IsThisThingStillOn snoozing off during the review]]. While there's nothing truly ''bad'' about it, [[SoOkayItsAverage nothing stands out either]], with one-dimensional characters, bland action scenes, and a story that's been done a hundred times before and better. As for claims that professional critics like him are [[CriticalDissonance out of touch with the average moviegoer]], having seen so many movies that [[ItsBeenDone they become jaded]], he responds by saying that "it's good if you don't know any better" shouldn't be a mark in a film's favor. * ''[[Film/EdgeOfDarkness2010 Edge of Darkness]]'': While he notes that it follows the Creator/MelGibson [[YouKilledMyFather "you killed my family"]] revenge movie formula to a tee, it's still a very good, grown-up thriller that doesn't go too over the top, feeling like a modernized MickeySpillane movie. Plus, despite what one may think of him as a person, Gibson is still a good actor, and he did his role well. * ''Film/{{Elysium}}'': In his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said that it looked badass and was enthusiastic about it being made by the director of ''District 9''. He edged it into a discussion of films slated to come out in the fall and winter simply because of how excited he was for it. When it came time to review it, he said that, while this film didn't quite live up to ''District 9'' (which was a ''very'' ToughActToFollow), it's still great, serving as both a killer action movie and a thought-provoking (albeit fairly {{anvilicious}}) ScienceFiction film, in particular praising how its many plot threads interact and Sharlto Copley's performance as Kruger. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/EndersGame'': Said that the film risked suffering from SeinfeldIsUnfunny syndrome given how many other films have borrowed key elements of [[Literature/EndersGame its source material]]. He also said that the producers are probably hoping to God that Creator/OrsonScottCard doesn't spout off his outspoken political and religious views in a public venue before the film is released. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/EnemyOfTheState'': A very good late '90s paranoid thriller, but looking back, it's something of an UnintentionalPeriodPiece. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''{{Entourage}}'': The mere thought of a film adaptation caused him to react (at the start of his ''Warm Bodies'' review) with a horrified "what did I do to deserve this?" * ''Franchise/EvilDead'' (the original trilogy): Bob feels that, while the films themselves are horror masterpieces (particularly the first one), the series' success may have done lasting damage to the horror genre, causing a wave of [[BloodyHilarious gore-soaked comedies]] that put slapstick and FX gags above actual scares and paving the way for the generation of moviegoers that laughs during legitimate horror films because they think they're supposed to. Didn't review them, but he discussed them in his ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Creator/SamRaimi's career, and in his review of the first film's remake. ** ''The Evil Dead'' (the first film): What it lacked in polish, it made up for in enthusiasm and Raimi's talent behind the camera, producing what is arguably one of the most important indie horror films ever made. ** ''Evil Dead II'': The moment at which the {{signature style}}s of both Raimi and the ''Evil Dead'' series truly crystallized, combining graphic horror and slapstick comedy into a great funhouse experience. He particularly praises Creator/BruceCampbell's charismatic and comic performance as Ash. ** ''Army of Darkness'': One of the most insanely quotable movies ever made, and an utter blast to watch, with Bob calling it an antecedent to '90s adventure shows like ''Series/HerculesTheLegendaryJourneys'' and ''Series/XenaWarriorPrincess'' (both of which were produced by Raimi, incidentally). ** ''Evil Dead'' (the remake): Its similarity to the (intended-to-be-)gritty first film rather than its more comedic and better-known sequels will likely throw some viewers off, but it's still a good enough movie to justify its existence with more than just {{fanservice}}. It has its "off" moments, particularly when it comes to CharacterDevelopment (or lack thereof), but when it's being a balls-out, hard-R horror movie, it's phenomenal. It's one of the best mainstream horror movies in recent memory, with Bob comparing it to the remake of ''Film/TheHillsHaveEyes'' in the sense of it being a big-budget remake of a NoBudget exploitation film that still manages to do justice to the original. * ''Film/TheExorcismOfEmilyRose'': Called it the low point in the history of exorcism movies (a genre that he doesn't like to begin with), saying that it "plays out like a drunken game of ''TabletopGame/{{Clue}}'' where the solution is '{{God}}, in the barn, with a {{plan}}." Didn't review it, but he mentioned it in his review of ''Film/TheRite''. * ''Film/TheExorcist'': He feels that it's the only film ever that managed to pull off the task of making the exorcism ritual look compelling on screen... and its success meant that audiences had to spend several decades watching lesser filmmakers trying (and invariably failing) to recapture that magic. Didn't review it, but he mentioned it in his review of ''Film/TheRite''. * ''Film/TheExpendables'': Hated it, calling it one of the worst action movies in recent memory, and saying that it was pandering to nostalgia for its stars' prior, better films. The whole thing comes off feeling like a poor imitation of the '80s action flicks that it desperately wants to be like, with the action scenes and deaths all being rather unmemorable and tame -- a grave sin for a film like this. The fact that this film was a hit while ''Film/ScottPilgrim'' flopped became a major BerserkButton for him for weeks after the fact. Also, he strongly rejects the idea that the era of [[SylvesterStallone Stallone]], [[Creator/ArnoldSchwarzenegger Schwarzenegger]], et al. was a golden age for the action genre, feeling instead that action movies got ''better'' as choreographed fight scenes and gunplay replaced big dudes in muscle shirts beating and blasting the snot out of mooks. ** ''TheExpendables2'': He had to wait a week to review it due to the fact that it [[NotScreenedForCritics wasn't screened for critics]] (instead reviewing ''[=ParaNorman=]'' that weekend), and when he finally saw it, he hated it even more than the first one. While the original (directed by Stallone) at least ''felt'' like a bad '80s action movie, with most of the action scenes having at least some payoff, here it doesn't even have that, feeling as though nobody involved even tried to put any effort in. In his opinion, the ''Expendables'' movies don't seem to realize why '80s action movies were so watchable and remain so popular in the first place, taking themselves way too seriously rather than relishing in the inherent [[SoBadItsGood cheese]] of their inspiration (like ''Machete'' or ''Hobo With a Shotgun'') or trying to elevate the genre (like Stallone's own ''Rambo'' a few years prior). At the end of 2012, he listed it as one of his ten worst movies of the year. [[/folder]] [[folder:Films F-L]] * ''The Fan'': An unimpressive riff on ''FatalAttraction'' ([[AC:[[RecycledInSpace with celebrities!]]]]) that, while very well-shot, took itself too seriously and was often rather {{narm}}-y. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TheFastAndTheFurious'': Never liked the series, feeling that the first film was SoOkayItsAverage and only successful because of macho, [[PrettyFlyForAWhiteGuy gangsta-wannabe]] teenage boys who idolized VinDiesel. ** ''Fast Five'': Felt that it was a couple of cool (but not spectacular) car chases bookending an overly long and boring story that's too caught up in phony machismo. He also expressed surprise at how the franchise has still been going strong for a whole decade. ** ''Fast & Furious 6'': The first film in the series that Bob enjoyed unironically. It's a phenomenal action movie that, while silly and dopey, never overstays its welcome, and possesses more depth than the rest of the series put together. The stunts here are amazing, and unlike the last movie, the action here is non-stop rather than being loaded at the beginning and end with a dull second act in between. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/TheFighter'': The world didn't really need another inspirational boxing movie in the vein of ''Film/{{Rocky}}'', but when it's this good, one can forgive it. ChristianBale steals the show with the best performance of his career, and Bob (who is from the UsefulNotes/{{Boston}} area) was totally convinced by the film's portrayal of working-class Massachusetts. He also discusses why so many OscarBait movies get released during the holiday season when nobody's in the mood for those kinds of films. * ''Film/FinalDestination'': Found the first movie to be an amazingly imaginative and original change of pace for the horror genre... so of course, they had to run that idea into the ground with {{sequel|itis}}s. ** ''FinalDestination5'': "If you're trying to watch this for any reason other than [[JustHereForGodzilla to see what kind of crazy crap]] [[RubeGoldbergHatesYourGuts they'll use to kill people this time]]... well, in that case you shouldn't be watching ''FinalDestination '''5''''' to begin with." Overall, if you're looking for a decent movie to see in the doldrums of August, you could do a lot worse, but don't expect any real changes to the series' formula (though he did find the ending to be a hell of a twist). * ''For Love of the Game'': Sam Raimi's most "out there" movie in terms of it being the last thing you'd expect him to direct (a light, modest, coming-of-middle-age drama?). It's still a good movie, though, and a great Father's Day gift. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/FourLions'': An audacious and hilarious satire in the vein of Creator/MelBrooks that works best in the contrast between its bumbling main characters and the horror of what they are planning to do, while giving viewers a surprisingly deep look into the mindset of a terrorist. However, some of the British pop culture jokes might be lost on American viewers, and director ChrisMorris' background in TV comedy is obvious. * ''WesternAnimation/{{Frankenweenie}}'': All of Creator/TimBurton's usual strengths and weaknesses -- his solid eye for style and mood, his unsure hand with narrative and plot -- are on full display here. This film doesn't do nearly enough to capitalize on the big ideas that it raises, instead becoming a more conventional riff on classic monster movies, and the main story is fairly unfocused. However, it's still one of Burton's better films, with Bob arguing that Burton is at his best when he has a personal connection to the material (like with this film). The basic concept of remaking ''Film/{{Frankenstein 1931}}'' with a boy and his dog is still golden, even with all the fluff added to pad the film to feature-length. He also discusses the {{irony}} of how Disney rejected Burton's original ''Frankenweenie'' short in the '80s for being too dark and creepy, only to fund a big-budget remake of it (with the creepiness cranked UpToEleven, mind) decades later once Burton became a superstar. Reviewed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9959-Old-Dog "Old Dog"]]. * ''Film/FrightNight2011'': "One vampire, [[YourVampiresSuck no sparkling]], great summer movie." Even though it's just cashing in on ''Literature/{{Twilight}}'' and the nostalgia appeal of [[Film/FrightNight the original film]], it's still a pretty good movie that holds up well compared to the original, with great performances, lots of humor and everything that one could want from a vampire horror flick. In particular, he praised it for being the first "modernized" horror remake that he'd seen that actually ''feels'' modern, updating the original plot for the present day. * ''Film/{{Gamer}}'': Nice to see a movie about videogames that doesn't demonise games and gamers, but still a waste of your time and money. Don't bother. * ''Film/GangsterSquad'': Bob had been looking forward to this movie thanks to director Ruben Fleischer (maker of ''Zombieland'') and its great cast, but what he got was a mess of bad decisions, shallow characters, some questionable performances, and a story that feels rushed and meandering. He attributes some of this to the film's hasty editing [[TooSoon in the wake of the Aurora theater shooting]], but many of its problems run much deeper than that. It tries to combine old-school gangster movie tropes with the feel of a modern action movie, ultimately failing at both and coming off as [[FollowTheLeader derivative]] of countless other, better gangster flicks. * ''Film/{{Getaway}}'': A decent idea on paper that could've been a great car chase flick in the vein of ''Film/VanishingPoint'', but terrible execution drags it down. The casting of Music/SelenaGomez as a tough, street-wise hacker chick is as laughable as it sounds, while the bland, repetitive action does nothing to liven up the proceedings. He also opened the review with a discussion about [[TeenIdol teen pop stars]] suddenly [[ContractualPurity becoming more "adult"]] as they get older, saying that this has been going on since Music/ElvisPresley's appearance on ''Series/TheEdSullivanShow'' in TheFifties and that we should stop being shocked by it. * ''Film/GIJoeTheRiseOfCobra'': This movie was enjoyable, surprising even Bob himself. He lays the praise singularly on the fact that the movie acknowledges its roots (unlike ''Transformers: ROTF'' or ''Star Trek'') and does its best to keep things mostly within that territory. It's a very goofy film with a lot of AdaptationDecay and a mess of a plot, but it gets the ''tone'' of the '80s cartoon right, and that produced a very fun time at the movies for him. ** ''Film/GIJoeRetaliation'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], he said that the film's sudden delay from June 2012 to March 2013, whatever the reason may be, was a bad omen for the prospect of it being a good movie. When it came time to review it, he called it a letdown due to its smaller scale and lower budget. Its toning down and dropping of the first film's more fantastic elements doesn't make sense given that it still tries to maintain continuity with that film, and it also reduces the fun factor. They also missed a golden opportunity to have Wrestling/DwayneJohnson playing his pro wrestling persona as a ShoutOut to the cartoon featuring Wrestling/SgtSlaughter AsHimself, rather than a different character. * ''The Gift'': Finds it to be overrated and one of Sam Raimi's lesser efforts, especially compared to his other later-career films. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/GingerSnaps'': "Have you ever looked at a bad movie [''Film/JennifersBody''] and thought, [[BetterByADifferentName 'man, I wish I could see a]] ''[[BetterByADifferentName good]]'' [[BetterByADifferentName movie version of this']]? Well, in this particular case, ''you can!''" Didn't review it, but he mentioned it at the end of his ''{{Surrogates}}'' review. * ''[[TheMillenniumTrilogy The Girl with the Dragon Tattoo]]'' (the remake): The directing and filmmaking quality are as great as one would expect from a DavidFincher film, and he feels that RooneyMara's version of the title character is more fleshed out than NoomiRapace's "{{Terminator}} who shops at Hot Topic" (though he did enjoy that version of Lisbeth too). Ultimately, though, its story has several major weaknesses, all of which trace back to the source material, which Bob (admittedly removed from the book's Swedish context) regards as overrated and comparable to "a late '90s Ashley Judd vehicle written by DanBrown." It's still a good movie, and recommended by Bob, as long as you don't go in expecting a great one. * ''Film/GodBlessAmerica'': It's a bit of a mess, coming off as [[{{Anvilicious}} overly preachy]], awkwardly plotted and having more ideas than its tiny budget can provide for, though Bob still liked it due to its passion and how [[BrutalHonesty brutally honest]] it was. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9609-Bless-This-Mess "Bless This Mess"]], where he interviewed the film's writer and director, Bobcat Goldthwait. * ''Film/{{Godzilla|2014}}'' (the 2014 reboot): What little he's seen of this film has him intrigued, but he hated the director's previous film ''Film/{{Monsters|2010}}'', so he's cautious about it. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/GoodFellas'': Didn't review it, but he discussed it in his review of ''The Master'' as an example of a film that is loved by critics and mainstream moviegoers for two very different reasons. Critics love the direction, the acting, and the tone of the film, but your average moviegoer loves it for its [[DamnItFeelsGoodToBeAGangster swaggering gangster machismo]] and for the brutal PistolWhipping scene. * ''Film/{{Gravity}}'': The premise (which he calls "''Film/OpenWater'' [[RecycledInSpace in space]]") had him interested, as did Creator/AlfonsoCuaron's presence as director. When it came time to review it, he said that it was as amazing as everybody had been saying it was. The plot is thin, with Bob referring to it as "eighty minutes of [[WesternAnimation/ToyStory falling out of the sky]]", but it is amazingly well-done and gripping, with Cuaron showing off his less-recognized skill at shooting thrilling action scenes, and both Creator/GeorgeClooney and, surprisingly, Creator/SandraBullock making for great leads. The only thing that really threw him off was a sudden bit of MagicRealism towards the end that came out of nowhere. He wonders, however, if critics would've been as open to praising such a film if it hadn't been made by a director as acclaimed as Cuaron, noting that the film is pretty much ''all'' action. * ''Film/TheGreatGatsby'': Suffers from many of the same problems that plague Creator/BazLuhrmann's films in general, namely "artifice for the sake of artifice" that strips the characters of the depth that they had in [[Literature/TheGreatGatsby the original novel]]. That said, the film does an excellent job of making Jazz Age decadence look intensely glamorous on screen, Creator/LeonardoDiCaprio makes for an excellent Gatsby, and it succeeds where other adaptations failed by throwing viewers directly into the mindset of its characters. Overall, it's a fun time, as long as you don't think about how much better it could have been. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/GreenZone'': Gets points for being audacious enough to try and make a left-wing version of ''Franchise/{{Rambo}}'', but loses those points for being boring while delivering a very simplistic version of the events leading up to [[TheWarOnTerror the Iraq War]]. Bob also goes off on a tangent about America's sense of importance in the world, and how, whether it's as [[AmericaSavesTheDay the hero]] or the villain, it's always portrayed as a direct cause of whatever's going on in the world (and never a minor player). * ''Film/TheGreenHornet'': Its laid-back tone and sense of humor prevent it from being a bad movie, but overall it's forgettable, with crappy [[ThreeDMovie 3-D]] and none of its elements coming together into a cohesive whole. * ''Film/GreenLantern'': He despised it, saying it's as bad as ''Film/BatmanAndRobin'', ''Film/{{Daredevil}}'', the ''Film/FantasticFour'' movies, ''Film/{{Steel}}'', and the first ''Film/{{Transformers}}'' movie in terms of "mishandled geeky sci-fi properties". It angered Bob so much that he completely dropped the usual opening so that he could skip straight to ripping it apart. The story is a smattering of poorly-put-together superhero {{cliche|Storm}}s, the special effects look unforgivably cheap given the film's huge budget (with Hal Jordan's CGI costume being one of the worst examples), RyanReynolds and Creator/BlakeLively both turn in awful performances, the failed attempts at drama consist mainly of crappy ripoffs of ''Film/TopGun'', the Green Lantern Corps is completely wasted, the relationship between the villains and the main characters is given no setup until an hour into the film... and that's just what Bob was able to fit into five minutes.\\ \\ Months later, he came back to it to discuss the extended Blu-Ray version (and, by extension, the trend of "extended cuts" of films on home video). He felt that, while it corrected one of the film's problems, in doing so it only spotlighted the film's UnfortunateImplications regarding its portrayal of alpha-male culture vs. intellectualism. * ''Film/TheGrey'': Bob called it "the first great movie of 2012", a hard-nosed "man movie" that provides crowd-pleasing thrills without giving viewers an easy ride or insulting their intelligence. He argues that director Joe Carnahan has the potential to be the next great action director a la RidleyScott or MichaelMann, and that one scene in particular involving [[PrimalFear heights]] was the first time in years where he had to close his eyes in fear during a movie. * ''Film/GuardiansOfTheGalaxy'': Says that this film, an action-comedy that he compares to ''Series/{{Firefly}}'' featuring an anthropomorphic raccoon as one of the main characters, is the riskiest thing that Marvel Studios has done since it started the MCU in the first place. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''[[Manga/{{Guyver}} The Guyver]]'': Prefers the first live-action film over the second one, which he finds to be boring. The first film had a great sense of humor about itself, and features a memorable scene of Creator/MarkHamill turning into a giant bug, so what's not to love? Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/{{Halloween 2007}}'' (the remake): The first half was an excellent film that did a great job exploring the series' mythology and its characters' backstories. Unfortunately, the second half, an abbreviated remake of the original film, completely fell apart, perhaps making this the first example of a horror remake that sucked due to it hewing too closely to the original. Didn't review it, but he was compelled to discuss it in his review of its sequel... ** ''Film/HalloweenII2009'': It's ''Halloween'' InNameOnly and has an incoherent tone that's all over the place, but damn if it's not a fresh and original take on the series, combining SlasherMovie tropes with real-world SerialKiller mythos while examining [[IfItBleedsItLeads the media's role]] in such crimes. It doesn't work all the way through, but it's easily the best film in the series since the 1978 original (though that may be [[DamnedByFaintPraise damning it with faint praise]]), and much better than most other horror remakes thanks to RobZombie's singular, if flawed, vision. * ''HaloLegends'': Bob makes it clear he's contemptuous at best about the ''Franchise/{{Halo}}'' franchise as a whole, though he finds that a few of the shorts rather interesting, particularly the ones that deviate the most from the normal RatedMForManly tone of the series. * ''Film/TheHangover'': Loved it, despite it being the kind of "dude-bro" movie that he usually hates, saying that it was worth owning on DVD to watch over and over again. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''The Hangover Part II'': On the other hand, he hated the sequel, calling it a cash grab that lazily rehashed the original's story and jokes while throwing in a ton of UnfortunateImplications and failing to understand what made the first film work. ** ''The Hangover Part III'': '''"DON'T ASK."''' Didn't review it, but he mentioned it at the end of his ''Fast & Furious 6'' review, with the strong implication that he hated it. * ''Film/{{Hanna}}'': "Proof that the ''[[Film/TheBourneSeries Bourne]]'' movies probably would've been a lot better if you simply replaced Creator/MattDamon with [[SaoirseRonan a little girl]]." Its premise sounds like a parody of ''Bourne'' (a teenage girl caught up in a morally ambiguous spy game?), but it pulls it off with a straight face, a great cast, and awesome music. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review, and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/HanselAndGretelWitchHunters'': A one-note joke that isn't that funny to start with and which gets old by the end of the first act, its few good parts (the troll, the R-rated violence, Gemma Arterton's badass heroine) not enough to save it from being bad. Bob also finds it pretty messed up to see a movie where [[BurnTheWitch medieval witch hunters]] are portrayed as the heroes, given the real-life atrocities that they perpetuated, and between that, the heavy violence against women, and the fact that Gretel came off to him as a FauxActionGirl, he felt it to be [[UnfortunateImplications more than a bit misogynistic]]. * ''Film/TheHappening'': The spot is mostly about Creator/MNightShyamalan and the increased egocentricity in his films. Bob found this to have the trappings of a good film, and felt it to be Shyamalan's best since ''Film/{{Signs}}'', but that it was still boring and too [[{{Anvilicious}} heavy-handed]] and {{narm}}ful, while cribbing too much off of Shyamalan's previous works. Discussed it in his review and, years later, in the ''Intermission'' editorial [[http://http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/HarryPotter'': Taken as a whole, the film series is very, very good, one of the grandest accomplishments in cinematic history, and quite possibly ''the'' defining film franchise of the TurnOfTheMillennium. However, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7201-The-Boot-Part-Two "The Boot, Part Two"]], he said that most of the individual ''Harry Potter'' '''films''' are quite disposable, varying wildly in quality and not holding up the way that individual entries in other series (like ''Star Wars'', ''The Lord of the Rings'', and the Marvel Cinematic Universe) do. In particular, the films from ''[[Film/HarryPotterAndTheChamberOfSecrets Chamber of Secrets]]'' through ''[[Film/HarryPotterAndTheOrderOfThePhoenix Order of the Phoenix]]'' come off as filler, with one only needing to watch the beginning and end in order to understand the plot. He attributes this to the fact that the films were being made before [[Literature/HarryPotter the book series]] was finished, and argues that a reboot of the series would flow a lot better and have a lot less filler now that the most important story beats are known. ** ''Film/HarryPotter and the Deathly Hallows Part 2'': Regards the film itself as a bit anticlimatic, and containing a couple of {{Adaptation Induced Plot Hole}}s, but feels it works a lot better as an extended climax to the entire series, and that, if you've seen all the previous movies, you're practically obligated to see this. * ''Film/{{Haywire}}'': Gina Carano makes for a great action heroine (and is Bob's pick to play WonderWoman), and the high-caliber supporting cast is a treat to see in a movie like this. Overall, recommended. Didn't review it, but he mentioned it in his ''Film/RedTails'' review. * ''WesternAnimation/HeavyMetal'': Doesn't see why it's become a pop-culture icon, outside of the fact that it came out before the Internet was huge and bare boobs were tough to find back in those days. Still worth checking it out if only to get the references in that one episode of ''WesternAnimation/SouthPark''. * ''Film/TheHelp'': While it's not a bad movie (he feels that Viola Davis and Octavia Spencer deserve Oscar nods for their performances), he sharply criticized it for [[UnfortunateImplications inserting]] a WhiteMansBurden plot into the CivilRightsMovement. "Rosa who? Martin Luther what? Nah, it was [[EmmaStone that chick]] from ''Film/{{Zombieland}}'' who [[MightyWhitey really got the freedom ball rollin']]!" Didn't review it, but he mentioned it at the beginning of his ''Film/FrightNight2011'' review, then thoroughly dissected the UnfortunateImplications in his [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9079-MovieBob-Helpless weekly editorial]]. * ''Film/{{Hercules}}'': Discussed how the old Italian movies rested chiefly on their EstrogenBrigade for their popularity and appeal. On the 1983 movie by Cannon starring Lou Ferrigno, he described it as "so bad, yet bad in [[SoBadItsGood such a completely, uniquely, one-of-a-kind, what-the-hell-were-they-thinking way]]" that it took him two ''[[http://www.escapistmagazine.com/videos/view/the-big-picture/5550-Hercules-Part-One Big Picture]]'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/5551-Hercules-Part-Two episodes]] to describe it. It's chock full of {{big lipped alligator moment}}s that must be seen to be believed, does a very poor job of explaining its plot and [[CanonDefilement makes mincemeat]] of ClassicalMythology, yet it's strangely watchable. * ''Film/HereComesTheBoom'': "The Creator/AdamSandler-produced movie with [[Series/TheKingOfQueens Kevin James]] as a teacher becoming an [[UsefulNotes/MixedMartialArts MMA]] fighter is a more thoughtful and uplifting movie about [[SaveOurStudents saving troubled students]] than the "saving troubled students" movie starring two Oscar nominees[[note]]''Won't Back Down'', starring Viola Davis and Holly Hunter[[/note]]. Mull that one over for a bit." Didn't review it, but he mentioned it at the end of his ''Argo'' review. * ''Hider in the House'': Talked about how the idea of Gary Busey in your house is a simple yet effective setup for a horror film, and how its distributor's financial problems have kept it on TheShelfOfMovieLanguishment. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/TheHobbit: An Unexpected Journey'': It could never be as amazing as ''[[Film/TheLordOfTheRings Lord of the Rings]]'', but Creator/PeterJackson has once again managed to craft a great fantasy epic. By expanding on the source material's fairly straightforward plot with material from some of Creator/JRRTolkien's other books (including the ''[[Literature/TheLordOfTheRings Rings]]'' books and ''[[Literature/UnfinishedTalesOfNumenorAndMiddleEarth Unfinished Tales]]''), and by pumping up the action and fight scenes, it provides an optimistic start to what looks to be another great trilogy. At the end of 2012, he listed it as one of his top ten movies of the year.\\ \\ As for the controversy over the decision to shoot the film in 48 FPS rather than the industry standard of 24 FPS, Bob waited until the following week's ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6639-Frame-Rate "Frame Rate"]] to discuss it. Regarding its application in this film, he says that the technology isn't yet perfect (it produces an UncannyValley effect that makes the props and sets look more like the artificial constructs that they are) but has a lot of potential, and that the film's worth seeing once in that format just to see what everyone's talking about. ** ''The Hobbit Part II: The Desolation of Smaug'': If it's as much fun as the first film, he's sold. He also talks about how the ''Hobbit'' films are a lot more lighthearted than the fairly solemn ''Lord of the Rings'' trilogy. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/HoboWithAShotgun'': An incredibly faithful {{homage}} to the not-so-classic output of Cannon Films and Creator/{{Troma}} that rises above its inspiration thanks to its dark humor, its sense of humanity, and one of Rutger Hauer's best performances. He opens the review by examining the trend of {{Genre Throwback}}s throughout the last several decades, and shudders at the thought of some of the horrifying directions that this can take in the coming years. * ''Film/{{Hostage}}'': Said it was Creator/BruceWillis' last truly great film and a better ''Franchise/DieHard'' film than the last two ''Die Hard'' sequels, and that it was puzzling why this didn't do better at the box office. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/HowardTheDuck'': He doesn't find it as bad as its reputation suggests, but he still thinks that it didn't do justice to what was otherwise a pretty cool "{{Underground Comi|cs}}x meets Marvel superhero" character, and that it could go for a remake or reboot. Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] * ''The Horrors of Malformed Men'': A movie so gruesome and depraved that it's still effectively banned in Japan, which, given that country's standards for what constitutes depravity, is truly saying something. The '60s special effects are dated, but it loses little of its visceral impact. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Literature/TheHost'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], he said that he was excited for it in spite of its Creator/StephenieMeyer pedigree, mainly because it was written and directed by Andrew Niccol, the maker of ''Film/{{Gattaca}}'' and the (in his opinion) underrated ''Film/InTime''. Later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10260-Host-Haste "Host Haste"]], he argued that, while Meyer was an unquestionably bad writer, and that ''The Host'' fails for many of the same reasons that the ''Literature/{{Twilight}}'' series did, some of the criticisms levied at Meyer (including some that he had given, admittedly) went over the line, comparing it to the "outsider art" phenomenon. * ''Film/HotTubTimeMachine'': Described it as "really, really, ''really'' funny", though couldn't really go into detail without ruining the movie and the jokes. He then talks about how awesome ''{{Chloe}}'' is for the LesYay and how a new ''Film/BackToTheFuture'' movie would suck. * ''HotelTransylvania'': "Actually pretty good." It's got the feel of an old-fashioned character comedy with little in the way of plot, but it's still a funny, solid, well-acted film with a clever premise. Didn't review it, but he discussed it in his review of ''The Master''. * ''House on the Edge of the Park'': Called it a ripoff of ''Film/TheLastHouseOnTheLeft'' and an excuse to show horrible things being inflicted on, and by, horrible people. He also found the twist at the end to be "groan-inducing." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/HowToTrainYourDragon'': Only a few brief thoughts, was okay compared to other Dreamworks movies, human character designs could have been better in traditional animation, great ending. * ''Film/{{Hugo}}'': A very good film that has some of the best use of 3D in history, and should definitely be seen, but which ultimately falls short of greatness for reasons that Bob couldn't explain without spoiling the whole movie. [[spoiler:About halfway through, the film changes from a Dickensian children's fantasy film into a biopic of visionary French filmmaker [[ATripToTheMoon Georges Melies]], told from a child's point of view. It's a good twist, but it's clear that this part of the film is where MartinScorsese was focusing most of his attention, and once it reaches that point the scenes with Hugo feel tacked on, given that his story is wrapped up by this point.]] * ''Film/TheHunger'': Called it groundbreaking in terms of its visual style and its depiction of female sexuality, especially as early as 1983. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheHungerGames'': A "cheap, generic and lifeless" film with a plot that's been [[Film/BattleRoyale done]] [[Film/TheRunningMan better]] [[Film/{{Rollerball}} before]], ridiculous stupidity on the part of its villains (who really shouldn't be keeping their underclasses perpetually trained for combat), an inability to mine the social commentary it sets up, and production values and action scenes more in line with a '90s {{Nickelodeon}} pilot than a big-budget feature film. Only worth watching for fans of the book or the actors involved. He also makes fun of [[AerithAndBob the characters' funny-sounding names]] throughout the review. Later on, though, he did admit that Katniss Everdeen is a much better role model for girls than ''Twilight''[='=]s Bella Swan. ** ''The Hunger Games: Catching Fire'': As long as it's better than the first one, he doesn't care. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/IAmLegend'': Didn't review it, but in his ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2012/04/episode-69-aftermass.html "AfterMass"]], he used it as an example of the kind of negative effect that the "Retake ''[[VideoGame/MassEffect3 Mass Effect]]''" movement could have on gaming. To wit: what was a pretty good survival-horror film for most of its runtime was completely ruined by a FocusGroupEnding that was put in because the original DownerEnding -- which fit the film's themes and tone a whole lot better -- was loudly criticized by test audiences as too depressing. * ''Film/IAmNumberFour'': Bob found the first hour to be torture, with a woefully miscast protagonist and a horribly generic TeenDrama storyline, but felt that [[SoCoolItsAwesome a killer third act]] saved it from being a waste of his time. Overall, it's worth watching if you're in the target audience, with Bob comparing it to the '80s live-action ''Film/MastersOfTheUniverse'' movie in terms of teenage WishFulfillment fantasies. * ''I Declare War'': In the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2013/07/episode-86-stop-talking-to-me-about.html "Stop Talking to Me About Ludonarrative Dissonance"]], he talked about the film's narrative hook of juxtaposing a group of kids' playground war games, "fought" with sticks and fruits for weapons, with the ''Franchise/{{Rambo}}''-esque fantasy that was playing out in their heads. He uses this as an example of how games should be striving to engage players as opposed to immersing them, saying that, if a game is fun, then players will use their imagination to immerse themselves. * ''WesternAnimation/IceAge'': The first film was a really good, well-written kids' movie, with great voice actors (especially [[Series/EverybodyLovesRaymond Ray Romano]] as the woolly mammoth Manny) and a surprising amount of depth and weighty subject matter that isn't often seen in modern children's entertainment. The sequels, on the other hand, are SoOkayItsAverage and fairly inconsequential, being funny on their own merits but [[FirstInstallmentWins never measuring up to the original]], feeling more like {{sitcom}} spinoffs than successors. Didn't review it, but he discussed it in his review of the fourth film... ** ''Ice Age: Continental Drift'': Reviewed it solely because nothing else came out that week, meaning that his review was much shorter than normal. Bob feels that, by this point, the series has run out of gas entirely; despite having a lot of talented voice actors involved, everything just feels pointless. The subplot involving Manny's BrattyTeenageDaughter is particularly cringeworthy. However, the funnier bits and [[SelfDeprecation self-deprecating nods]] to the last movie's implausibility save it from being truly bad. * ''IlsaSheWolfOfTheSS'': The mother of all {{Nazisploitation}} flicks. Bob also finds it funny that this grisly film shot on the same prison camp sets once used by ''Series/HogansHeroes''. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Immortals}}'': A "crowd-pleasing, gonzo action movie" that, while lacking in narrative depth, more than makes up for it with its over-the-top, fetishized style and ridiculous violence. Bob wishes that more mainstream action flicks took stylistic chances like this rather than embracing the same cookie-cutter macho fantasies. * ''Film/InTime'': Highly recommended. It's more interested in ideas than plot, and it's not quite as good as the director's previous film ''Film/{{Gattaca}}'', but it's still well-made and [[DoesThisRemindYouOfAnything extremely relevant]]. * ''Film/{{Inception}}'': Overwhelmingly positive, calling it the best non-{{Pixar}} movie of the summer and the best movie of ChristopherNolan's career, though he noted that the plot may come off as rather emotionally cold due to its focus on story over CharacterDevelopment. Coined the description "Film/JamesBond [[XMeetsY meets]] [[Franchise/ANightmareOnElmStreet Freddy Krueger]]". As for fears that the LowestCommonDenominator wouldn't "[[ViewersAreMorons get it]]", he cites ''Film/TheMatrix'' and ''Film/{{District 9}}'' in that, if there's enough [[StuffBlowingUp fireworks]], you'll be [[JustHereForGodzilla too busy having fun]]. * ''Film/TheIncredibleBurtWonderstone'': A movie that should've been a lot funnier than it is. It's too insubstantial for him to call it bad, but given the talent involved, it should've been a lot better than mediocre. The main character's transformation into a jerk is never explained, and his characterization is all over the place, as is the film's tone. Worst of all, most of the jokes just aren't funny. You'd be better off going to an actual magic show. * ''Film/InglouriousBasterds'': [[NeverTrustATrailer The marketing campaign is highly misleading]] as to what the film is actually about, painting it as a typical QuentinTarantino bloodbath instead of the spy thriller that it actually is, but it's still a great film on its own merits. It's the culmination of Tarantino's movie geekery, an exploration of the power that cinema has over people for both good and ill. And for those complaining about the MoralDissonance of the heroes' actions: "[[ThoseWackyNazis Nazi uniform]] makes ''anything'' [[AcceptableTargets the good guys do to you 'okay.']] It's an ironclad rule of filmmaking." * ''Film/{{Insidious}}'': "Proof that the ''Film/{{Saw}}'' guys weren't one-trick ponies after all." He called it "sharp, fun, and joyfully scary" and loved its use of "old-school spook show tropes" rather than graphic special effects. He particularly loved the fact that its protagonists were GenreSavvy enough to actually leave the house almost immediately, even if it [[WrongGenreSavvy didn't do them much good]] in the long run. Didn't review it, but he mentioned it at the beginning of his review of ''Your Highness'', and went into further detail in his review of its sequel... ** ''Insidious: Chapter 2'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], Bob voiced his excitement for it given his love of the first film, though he wondered how they were going to pull off a sequel given how the first film ended. When it came time to review it, he said that its biggest problems are that it largely feels like an extended third act for the first film, while its exploration of the ghost's backstory and use of worn-out horror cliches sapped a lot of the tension and mystery from the film. Furthermore, while most of the cast is rock-solid, Patrick Wilson's BumblingDad persona, which worked so well in the first film, isn't really well-suited to the more menacing direction that his character takes. Still, it's an effective film, and much better than one would expect for a horror film released in [[DumpMonths September]]. * ''Film/TheInternship'': "That was so bad, I think I'll switch to Bing." It's got no real jokes outside of its "wacky" premise, the leads Vince Vaughn and Owen Wilson are outshined by their co-stars at every turn, and its idea of what the tech industry is like is [[TwoDecadesBehind rooted more in the days of AOL]] than Website/{{Google}}. Speaking of Google, it feels like that company bought and paid for this film, with the work environment shown here being made to look like the best place in the world to have a job. Overall, it's one of the worst comedies Bob's ever seen in theaters. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10369-Intern-Minable "Intern-Minable"]]. * ''Film/TheIronLady'': MerylStreep is great as usual, but the film suffers from a refusal to examine its subject matter in any real depth, instead taking a by-the-numbers "greatest hits" approach to MargaretThatcher's government that leaves those who don't know much about the time period out in the cold. Bob ultimately found it to be a mediocre OscarBait {{biopic}} that will only appeal to fans of Thatcher -- her {{hatedom}} will likely leave the theater with steam coming out of their ears, and those who don't know or care about her won't be impressed by the film. * ''Film/IronMan'': Loved it. It's a kick-ass movie on its own, but what truly made it great was that it was a property that had never been adapted before, meaning that it didn't have the weight of previous adaptations on its shoulders. That, and NickFury. The only real issues it had were a rather uninteresting villain and a disappointing final action scene. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Film/IronMan2'': Liked it even more than the original. It doesn't change the winning formula of the first film, instead fixing only the parts that needed fixing (like the original's lackluster third act), allowing it to bear the weight of the much higher expectations that it has. However, the second act did tend to drag, feeling like "narrative wheel spinning" that was only there because of the need to build up to ''The Avengers'', and in his review of ''Iron Man 3'' he said that he had been too kind to this film upon his initial review. ** ''Film/IronMan3'': Discussed his thoughts on the film in his ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10006-Lets-Watch-The-Iron-Man-3-Trailer "Let's Watch the 'Iron Man 3' Trailer"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]]. After ''The Avengers'', he felt that it would be difficult for Marvel to return to smaller-scale films that focus on one superhero at a time, and will have to offer something very different from that film.\\ \\ When it finally came out, he thought it was easily the best ''Iron Man'' movie yet and the best individual film in the Marvel Cinematic Universe after ''Captain America''. It's great as a sequel to both ''Iron Man 2'' and ''The Avengers'', and as a standalone film in its own right, with Shane Black's direction (reuniting him with Creator/RobertDowneyJr after ''Kiss Kiss Bang Bang'') helping to make it stand out and the plot being surprisingly dark and subversive for a mainstream superhero film. The fight sequences compare well to classic Creator/JackieChan movies with their improv action, and Gwyneth Paltrow manages to be a standout in an amazing cast. The success of this film offers solid hope that Marvel knows what it's doing with "Phase Two" of the MCU. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013.\\ \\ The following week, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7231-The-Big-Spoiler-Iron-Man-3 "The Big Spoiler: 'Iron Man 3'"]], he discussed the film's big twist compared to the comic-book storylines it was based on. He discussed how a faithful adaptation of the Mandarin would not only run into UnfortunateImplications due to the character being based heavily on YellowPeril iconography, but says that it would've been too similar to SelfDemonstrating/DoctorDoom or a James Bond villain to be all that interesting. Without spoiling anything, he loved the twist that Marvel pulled with the MCU version of the Mandarin, saying it was both unexpected and smart while producing a very memorable character and story arc. * ''Film/{{Irreversible}}'': A grueling film that's impossible to truly "enjoy", chiefly due to its infamous and chilling rape scene. The manner in which the film [[BackToFront runs its scenes in reverse chronology]] makes for an interesting commentary on how ManipulativeEditing can affect our perceptions of events on-screen... if you have the stomach to sit through it a second time. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Film/ItsAlive'': A film that many people [[PopCulturalOsmosis know more by reputation]] than by having actually seen it. What makes it work is the fact that it plays its EnfantTerrible plot completely straight rather than for {{camp}} value, and never actually tells the viewers why the monster baby turned out the way it did, though the hints that it ''does'' drop are chilling. The final scene was particularly memorable. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/JackTheGiantSlayer'': A bad piece of trash that's not even entertaining in a SoBadItsGood way (the way that the similar ''Hansel and Gretel: Witch Hunters'' was at times). The story feels like an unused outline for a [[TheRenaissanceAgeOfAnimation Renaissance-era]] Creator/{{Disney}} fantasy movie, it has an overly complicated mythology for a movie adapted from a fairy tale, and none of its disparate elements mesh together -- it can't seem to decide if it wants to be a [[{{Grimmification}} gritty reboot]] of ''Literature/JackAndTheBeanstalk'', or a family adventure movie. * The ''Film/JamesBond'' films: For a while, Bob felt that the films starring DanielCraig didn't feel like "true" Bond films, given how he feels that the main purpose of the franchise has long been to pull the viewer into a particular world, and that the Craig films lost a lot of that. However, ''Skyfall'' made him change his mind. ** ''Film/CasinoRoyale'': A "legitimately awesome movie", even if it felt more like a regular action film and less like a Bond film. Didn't review it, but he discussed it in his review of ''Skyfall''. ** ''Film/QuantumOfSolace'': A "pointless slog" that, to Bob, proves that DarkerAndEdgier and James Bond just doesn't work well together. Didn't review it, but he discussed it in his fall 2012 preview while discussing ''Skyfall'', as well as in his ''Skyfall'' review. ** ''Film/{{Skyfall}}'': Not only is it a great action movie, but it's the first Craig film to truly feel like a Bond movie as well, successfully combining the atmosphere and plots of Bond films past (Bob compares it to "James Bond vs. [[Film/TheDarkKnight the Joker]]") with the more grounded feel of ''Casino Royale''. It manages to pull the three Craig films into an origin trilogy that elevates the last two films by association, and Sam Mendez, given his background with dramas, is startlingly adept at shooting a big-budget action movie, avoiding the pitfalls that so many other such films fall into. * ''Film/JennifersBody'': Completely hated it, devoting most of the review specifically to [[AuthorFilibuster bashing Megan Fox]], while claiming that Creator/DiabloCody's SignatureStyle of [[TotallyRadical "hip" slang]] was almost unbearable. He later came back to it (at the end of his ''{{Surrogates}}'' review) to say that ''Film/GingerSnaps'' [[BetterByADifferentName did the same story much better]]. * ''Film/{{Jobs}}'': Called it a "sycophantic hagiography" of Steve Jobs that either glosses over or attempts to justify a lot of the real man's character flaws. The difference between this film and ''The Social Network'', a film that he sees this as a pale imitation of, is that the latter seemed to recognize how silly its subject matter was, while this film seems to fully buy into Jobs' cult of personality. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story.2 "Based on a True* Story"]]. * ''Film/JohnCarter'': It's alright, but given the revolutionary legacy and long shadow of [[JohnCarterOfMars the books it was based on]], it should've been a lot better. Great action scenes and what should be a star-making performance by Lynn Collins as the ActionGirl female lead are undermined by a miscast Taylor Kitsch as the protagonist and a seeming desperation by the filmmakers to avoid the novels' {{pulp}}y roots, often mangling the story in the process. * ''Justice League'' (the upcoming movie): Discussed in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6865-Enough-With-The-Batman-Already "Enough With the Batman, Already!"]] He feels that Creator/WarnerBros is worrying too much about trying to fit Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Dark Knight Saga]] in with the movie, and that they not only could, but ''should'' slack off on Batman, using him mainly as a way to get butts into seats rather than rehashing the character's arc. After all, audiences have just had a surge of high-quality Batman-related media in the form of both movies and [[VideoGame/BatmanArkhamSeries video games]], and there's a big risk that audiences could suffer Bat-burnout if Warner Bros. tries to use the ''Justice League'' movie to reboot the franchise. * ''Film/KickAss'': It greatly simplifies and [[LighterAndSofter sanitizes]] the story of [[ComicBook/KickAss the original comic]], but in doing so it removes a lot of Creator/MarkMillar's [[UnfortunateImplications worst excesses]] and injects the story with a degree of humanity that allows it to hold together much better. The casting and characters are perfect, the extreme, Creator/{{Troma}}-esque violence is shocking to see in a movie like this, and it's hilarious. Bottom line -- [[IncrediblyLamePun it kicks ass]]. ** ''Kick-Ass 2'': A lot of what Bob said about the original (particularly in terms of it being better than the source material) also applies here, earning his recommendation as one of the summer's better action flicks. The lack of Creator/NicolasCage is sadly noticeable, but the supporting cast (particularly Creator/JimCarrey as Colonel Stars & Stripes and Olga Kurkulena as Mother Russia) largely makes up for it, while he also appreciated its embrace of SilverAge heroics (especially in light of ''Man of Steel''[='=]s DarkerAndEdgier tone) and the interplay of its "sick, dirty, and vile" sense of humor with its otherwise light tone. If he had a real problem with it, it's that the story is more predictable this time around, losing some of the original's chaotic energy. * ''Film/KillList'': "You should see this movie... but I can't tell you ''why''." Didn't review it, but he mentioned it in his double-review of ''Detention'' and ''Lockout''. * ''Film/KillingThemSoftly'': A character-focused exploration of the banality of criminal life that can seem slow, but that's the entire point. The acting and directing are uniformly excellent (even if it can feel that Creator/BradPitt is just playing an evil version of his ''Film/OceansEleven'' character; not that Bob's complaining), and while film's politics and background commentary on the recession may come off as pretentious, Bob enjoyed the bluntness and sincerity with which they were presented. * ''Film/KingKong'' (the 1976 version): Discussed the film's TroubledProduction, the publicity stunt/debacle in which the producers claimed to have actually built a life-size King Kong robot, the manner in which {{Universal}} tried to enforce its dubious claim to the ''King Kong'' copyright, and how the film's climax, moved from the Empire State Building to the then-new World Trade Center, is now [[HarsherInHindsight pretty hard to watch]]. Overall, it's not a very good movie, trying to imitate the epic {{disaster movie}}s of [[TheSeventies the time]] but just feeling rather dull. Didn't review it, but he discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6365-Schlocktober-2012-King-Kong 2012 "Schlocktober" special]] for ''The Big Picture''. ** ''Film/KingKongLives'': A bad movie, but [[SoBadItsGood more enjoyable]] than the '76 remake that it's a sequel to, thanks to such crazy moments as the ''GulliversTravels''-esque heart surgery scene and the romance between a pair of 50-foot gorillas. He also notes how producer Dino De Laurentiis had an obsession with creating his own answer to ''Film/{{Jaws}}'', trying to turn his ''King Kong'' remake into a franchise. Discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6380-Schlocktober-2012-King-Kong-Lives 2012 "Schlocktober" special]]. * ''Film/TheKingsSpeech'': Bob found it to be little more than pandering (though admittedly well-made) OscarBait, even going so far as to make his review of it into a "How To Make Oscar Bait" instruction video. * ''Film/KissKissBangBang'': Describes it as Creator/RobertDowneyJr's ''real'' CareerResurrection as opposed to ''Iron Man'', and said it was fitting that director Shane Black reunited with Downey, Jr. for ''Iron Man 3''. Didn't review it, but he discussed it in his review of ''Iron Man 3''. * ''Film/KnightAndDay'': Nothing objectively wrong with it -- it's got good actors with good chemistry, a breezy pace, and fun action and stuntwork -- and if you're looking for ninety minutes of escapism, it'll fit the bill admirably enough. Bob, on the other hand, felt that it was bland and formulaic, having seen more movies like this than he can count, and uses that as a launch pad to explore [[CriticalDissonance the disconnect between professional critics who see tons of movies and "normal" moviegoers who don't]]. Since there's not much more he can talk about regarding the movie, he decides to spend the second half of the review talking about ''Film/TheSmurfs'' movie. * ''Film/LadyInTheWater'': Marks the nadir of Creator/MNightShyamalan's [[PrimaDonnaDirector ego-tripping]], which results in a mess that stands as one of his worst films. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/LakeviewTerrace'': Not bad, but still basically a BMovie about an interracial couple dueling with a bigoted, possibly psychotic neighbor who happens to be a cop, "goosed" by [[StereotypeFlip making the evil bigot a black guy]]. Well-performed and subtle up to a point, but hard to distinguish from any other potboiler outside of the hooks. * ''Film/TheLastAirbender'': It's not ''as'' bad as you've heard, but it's still not at all a good movie. Its biggest problem is that it tries to compress the entire mythology and first season of ''WesternAnimation/AvatarTheLastAirbender'' into a ninety-minute feature film without any [[AdaptationDistillation distillation]], producing a film that, while ambitious and downright beautiful, is an total disaster when it comes to narrative and pacing, spending far too much time in exposition rather than moving the story forward. It's worth a watch just for the cinematography, special effects, and action, but Bob cannot recommend it otherwise. Years later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], Bob admits that he was too kind to the movie in his initial review, and calls it "the go-to example of how ''not'' to adapt a property to the screen." * ''Film/TheLastBoyScout'': An entertaining "guy movie" that combines Tony Scott's signature style with '90s values and cynicism. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/TheLastStand'': It's good, and if you liked Creator/ArnoldSchwarzenegger's past action movies, you'll probably like this one too. Bob didn't feel that there was enough to say about it to justify a full review, though, so instead he briefly discussed it at the start of his ''Broken City'' review. He later came back to it, along with ''Bullet to the Head'', in the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]] (he felt that nothing that came out that week was worth reviewing) to discuss its failure at the box office and what that means for the action genre, particularly the sort of RatedMForManly beefcake action movies that characterized TheEighties and TheNineties. * ''Film/{{Lawless}}'': [[ClicheStorm Far from original]] as far as gangster movies go, and probably destined to live forever in late-night rotation on basic cable, but the solid cast (particularly TomHardy, Guy Pearce, JessicaChastain and, yes, ShiaLaBeouf) helps elevate the film. It's the kind of unoriginal yet solidly entertaining movie that makes the late summer DumpMonths bearable. * ''Film/{{Legion}}'': Unimpressed, seeing the whole "OurAngelsAreDifferent because they're {{Badass}}es" concept as incredibly overdone. * ''Film/{{Leprechaun}}'': Bob did an overview of the series for his St. Patrick's Day special [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9487-Little-Green-Man "Intermission" editorial]]. He found that the films got progressively better from the first (which was SoBadItsGood) through the fourth (''[[RecycledInSpace Leprechaun In Space]]''), that the fifth film (''Leprechaun In the Hood'') was pretty average and couldn't live up to the fun of its premise due to its low budget, and that the sixth film (''Leprechaun: Back 2 tha Hood'') did everything that the previous one didn't. * ''Film/LesMiserables2012'': What worked great on Broadway is nearly unwatchable in the context of a feature film. While Creator/AnneHathaway was amazing (even if it's one of the most blatantly pandering OscarBait roles he's ever seen) and most of the songs were good (with the notable exception of RussellCrowe's singing), the direction was a trainwreck, and the {{compress|edAdaptation}}ion of Creator/VictorHugo's [[Literature/LesMiserables sprawling novel]] renders the characters one-dimensional and reduces the story to what feels like a Cliff's Notes version. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Literature/LifeOfPi'': "One of the most frustrating movies of the year." It's visually stunning, especially in 3-D, but the film is undone by a main character who Bob found to be extremely annoying, comparing him to that friend everyone seems to have who always wants to show others how interesting and quirky he is. On top of that, without spoiling anything, he found the film's big twist to be self-indulgent pseudo-philosophy. Still, the visuals alone make the film worth at least one watch, as long as you can tune out whenever the main characters start talking. * ''Film/{{Lincoln}}'': Didn't review it, but in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10030-Thinkin-Lincoln "Thinkin' Lincoln"]], he said that it's not only a great film, but also one of the most radical political dramas Hollywood has ever made, especially coming from the usually milquetoast Creator/StevenSpielberg, of all people. It takes what many would think of as rather sleazy politics (dirty backroom deals, double-crosses, LoopholeAbuse) and holds it up as the ''real'' reason [[ScrewTheRulesImDoingWhatsRight why America was able to make so much progress]], a far cry from the ''MrSmithGoesToWashington'' plot of the one honest politician cleaning up UsefulNotes/{{Washington|DC}}. He compares it to ''Film/OceansEleven'' in its portrayal of AbrahamLincoln as a MagnificentBastard in getting slavery abolished, instead of the idealized picture of Lincoln that many were expecting. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Lockout}}'': A decent [[GenreThrowback throwback]] to mid-late '90s sci-fi/action thrillers like ''Film/{{Soldier}}'' and ''Film/EscapeFromLA''. It would've been a lot better if Americans didn't get a [[{{Bowdlerise}} butchered PG-13 cut]] that takes out all the brutal violence, which, in a film like this, is really the only selling point. * ''Film/TheLoneRanger'': "A spectacular misfire, a failure on every conceivable level of moviemaking." He hated it so much that he filled the review with tons of unmarked spoilers for it, stating in the opening that it was all the better to keep people from seeing it. Creator/JohnnyDepp in redface as Tonto was merely the starting point of a mountain of terrible decisions that, to Bob, represented yet another symbol of everything wrong with blockbuster Hollywood moviemaking. It's an insult to [[Franchise/TheLoneRanger its source material]] that almost seems ashamed of the association, spending a good chunk of its runtime mocking it, and it's unnecessarily dark and gruesome to a degree that makes ''Man of Steel'', at the time the chief touchstone for criticizing DarkerAndEdgier in film, look like nothing. The protagonists come across as doofuses and nutcases, the plot is one AssPull after another and feels ripped off from ''Pirates of the Caribbean'', and worst of all, the film is simply boring. An easy contender for the worst film of 2013.\\ \\ After the film had become a certified BoxOfficeBomb, he returned to it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7735-The-Lone-Ranger-What-Happened "'The Lone Ranger': What Happened?"]], discussing the film's TroubledProduction, and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], a post-mortem of the summer 2013 movie season. He feels that most of this film's problems trace back to Johnny Depp as Tonto, arguing that this film's version of Tonto was not only more offensive than the one from the original radio show (who was at least played by an actual American Indian) despite being made eighty years later, but that the decision to put such a character in the film, played by Depp, was indicative of the broken logic that Hollywood seems to operate on. Not only did Disney shamelessly recycle the ''Franchise/PiratesOfTheCaribbean'' formula in the hopes of having lightning strike twice, but they allowed Depp to run rampant with his eccentric character decisions for the same reason, and what worked in ''Pirates'' crippled this film. He argued that the film's failure seems to be an indication that audiences' love of Depp may be running out. * ''Film/{{Looper}}'': The same people who recommended ''Dredd'' to him (a film that he loved) are also recommending this, so he takes that as a call to go see it. Didn't review it, but he discussed it in his review of ''The Master''. * ''WesternAnimation/TheLorax'': {{Bowdleris|e}}ing one of Creator/DrSeuss' darkest stories a bit was probably necessary in order to sell it to kids and avoid "''Literature/OldYeller'' conversations" on the way home, but not when it [[DramaticallyMissingThePoint completely misses the point]] of the book, chickening out on its socially conscious message and refusing to criticize its viewers. It indulges in all of the worst cliches of family cartoons, to the point where Bob was RootingForTheEmpire just so he wouldn't have to put up with the heroes' annoying shtick. The fact that it featured ProductPlacement for an SUV was particularly insulting. Didn't review it, but he discussed it in his "Intermission" editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9467-Unless "Unless"]], and at the end of 2012 he listed it as one of his ten worst movies of the year. * ''TheLosers'': A safe, generic actioner that's been done better many times before, and plays the cheeseball, '80s and '90s action movie formula so straight that one would think it was a parody, but it sadly isn't. The only reason to see it is so you can sneak into a better, R-rated movie. * ''Film/LoveAndOtherDrugs'': Proof that the Hollywood RomanticComedy formula doesn't have to suck. Unlike many films of its ilk, this one is completely frank and honest about the sexual urges that drive many relationships, giving audiences a visceral connection to its two sexy romantic leads that the average [[{{Bowdlerise}} PG-13]] "ChickFlick" doesn't have. * ''Film/TheLoveGuru'': Liked the character of Guru Pitka, and felt that the film was at its best when lampooning New Age pseudo-Eastern spiritualism, but felt that the rest of the film (apart from JustinTimberlake, whom he grudgingly admits that he's a fan of) was a dud, and that it's the worst film of Mike Myers' career. [[/folder]] [[folder:Films M-R]] * ''Film/{{Machete}}'': Even without its underlying message, it's one of the best action movies of the year. However, its angry, un-subtle righteousness regarding its subject matter makes it that much better. It may have been riffing on the [[{{Anvilicious}} ham-handed]] social justice messages of '70s {{blaxploitation}} movies, but it still felt like Creator/RobertRodriguez's most substantial film to date. Discussed it in his review of it and in his review of its sequel... ** ''Machete Kills'': In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]], he said he was looking forward to it as a trashy breather from the prestige pictures of the fall, though he wonders how it can top the first one. When it came time to review it, he said it was "just as much fun, not as much impact," disappointed that it lacked the first film's angry tone and ultra-gory violence but otherwise enjoying himself with a "fun goof" at the movies. He particularly praises the cast, saying that they're great on both a meta level and with regards to how they serve the film itself. * ''Film/MachineGunPreacher'': "Whatever [[BasedOnATrueStory the real Sam Childers]] may or may not be, we can now add 'deserving of a better movie' to the list." While the true story it's based on is admirable and inspiring, overall Bob found the film itself to be a mess that was too in awe of its subject matter to be able to tell a good story. * ''MammaMia'': "Bottom line -- ''bad, bad, bad!''" Calls it "shallow, base and hinged on meaningless spectacle" and "suitable only for use as an [[JackBauerInterrogationTechnique interrogation]] [[CoolAndUnusualPunishment technique]]," while opening his review with a rant against {{jukebox musical}}s in general. * ''Film/ManOfSteel'': "Or, as it's known around my house, ''Please Don't Suck, Please Don't Suck, Please Don't Suck, Please Don't Suck''." Before it came out, he discussed his thoughts on it in the ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9921-And-Who-Disguised-as-Clark-Kent "And Who, Disguised as Clark Kent"]], [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10096-Lets-Watch-The-Man-Of-Steel-Trailer his]] [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10292-Lets-Watch-Another-Man-Of-Steel-Trailer analyses]] of the film's trailers. He felt that it was a good idea to go back to ComicBook/{{Superman}}'s origin story -- even though everybody knows it, it had been 36 years since it was last depicted on the big screen. He also felt that the film should take advantage of Superman's [[InvincibleHero effective invincibility]] and go for broke with the action scenes, as well as bring some genuine romance and sex appeal to the character, which are reasons why he was excited about Creator/ZackSnyder's involvement with the film but discouraged by Creator/ChristopherNolan's. The first trailer's Nolan-esque tone had him worried, as does WarnerBros' historic track record of having a hard time making good films based on their non-Batman DC properties, but the second trailer raised his spirits.\\ \\ When it came time to review it, he called it "solid but profoundly problematic," his enthusiasm about Snyder being perfect for the material and fears about Nolan being all wrong for it both being confirmed. It failed when it came to plot and writing, largely due to Nolan and David Goyer's love of intricate plot mechanisms and over-explanations that, in this film, only weigh down the plot and don't go anywhere. They seem to completely miss the point of Superman[=/=]Clark Kent as a character, turning him into something close to a NinetiesAntiHero meets their take on Batman, with Bob calling this "a Superman movie for people who never liked Superman." On the other hand, he felt that it was "damn near a masterpiece" when it came to Snyder's eye for great visuals and action, and the cast largely rises above the material (particularly Creator/MichaelShannon doing an amazing General Zod). Overall, while he hopes that the inevitable sequel finds ''much'' better writers and throws out this film's DarkerAndEdgier attitude, he still recommends it.\\ \\ Over time, however, he came to like the film less the more he thought about it, concluding that his initial review was far too generous. He discussed his reasons why in the ''Big Picture'' episodes [[http://www.escapistmagazine.com/videos/view/the-big-picture/7541-Man-of-Tomorrow "Man of Tomorrow"]] and [[http://www.escapistmagazine.com/videos/view/the-big-picture/8067-The-Big-Letdown "The Big Letdown"]], and the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10453-Super-Dark "Super Dark"]] (warning: spoilers). He criticized what he felt was a nearly unrecognizable depiction of Superman, including the decision to have him [[spoiler:break his ThouShaltNotKill rule]], and worried about the omnipresence of DarkerAndEdgier attitudes in modern blockbusters. He argued that, while a better film (like Nolan's own ''The Dark Knight'') could've overcome all of these problems, ''Man of Steel''[='=]s glaring storytelling problems and lack of understanding of what it wanted to be only made them stand out more. He named it the most disappointing film of summer 2013, and said that he wasn't all that enthusiastic for a sequel. ** ''Man of Steel 2'': Discussed the film in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con, in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10489-Worlds-Finest "World's Finest"]], and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7987-Batfleck "Batfleck"]]. He felt that Creator/WarnerBros was missing the point of all of the criticism that ''Man of Steel'' had been handed, and that simply throwing Batman into the next Superman movie would only reinforced the underlying problems with the last film's DarkerAndEdgier attitude. He also feels that their plans for the Justice League movie are all wrong without Wonder Woman. That said, the mere idea of a "Batman vs. Superman" movie, while fairly cynical from a business perspective, is something that has his attention, while the casting of Creator/BenAffleck as Batman caused his anticipation to jump for a number of reasons (and left him wondering why so many other people hated it). He concluded that a Batman/Superman crossover will likely have the two of them fighting at some point, given both ''Man of Steel''[='=]s example and the long-standing dark attitude of recent Batman films and comics alike. * ''Film/ManOnFire'': One of Tony Scott's most successful and visually aggressive films, which Bob calls the blueprint for ''Film/{{Taken}}''. He also notes the UnfortunateImplications of its caricaturing of its Mexican villains. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TheManWithTheIronFists'': Didn't review it, but he discussed it in an interview with the film's director and star, [[Music/{{Wu-Tang Clan}} The RZA]] (in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10023-Enter-The-36th-Chamber "Enter the 36th Chamber"]]). They discussed why Hong Kong {{martial arts movie}}s were [[GermansLoveDavidHasselhoff so popular in black inner-city America]], as well as The RZA's experiences working around China's CulturePolice (the film was shot in UsefulNotes/{{Shanghai}}) and how his experience mediating the clashing egos in the Wu-Tang Clan prepared him for a film shoot. * ''Film/{{Maniac}}'' (the 2013 remake): Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]] he listed it as one of his top ten movies of summer 2013. It breathes new life into the seemingly played-out [[SlasherMovie slasher genre]] by telling the story from the killer's perspective, and a terrifying performance by Creator/ElijahWood as the titular maniac and an unflinching brutality make this one of those films that you'll never forget no matter [[BrainBleach how hard you try]]. * ''Film/TheMaster'': Probably going to wind up as Creator/PaulThomasAnderson's least popular movie due to the fact that it's also his least showy and visually elaborate, lacking many of the memorable scenes, moments and setups that make the rest of his filmography so popular with mainstream moviegoers. It's a shame, too, because it's at least as good as ''Film/ThereWillBeBlood'', with Creator/JoaquinPhoenix delivering his best performance to date. And no, despite what you may have heard, it's not the anti-[[ChurchOfHappyology Scientology]] hit piece that everybody was predicting it would be -- though it does take a few digs at the movement, the Cause feels like it could be a stand-in for any abusive {{cult}} and not a specific one in particular. * ''Film/MazesAndMonsters'': A terrible attempt to cash in on the anti-''TabletopGame/DungeonsAndDragons'' [[YouCanPanicNow moral panic]] of the '80s that feels like what would result from Jack Thompson writing and directing ''Film/TheWizard''. Didn't review it, but he mentioned it in his discussion of ''Dungeons and Dragons'' adaptations. * ''Film/MenInBlack'': The first film was a very good movie, combining a clever premise with a witty script that parodied the sci-fi blockbusters of the late '90s. Unfortunately, the second film ruined what could've been a promising franchise by recycling the first film's plot in a failed attempt to recapture its character dynamic rather than building upon its foundation. He feels that, at this point, rebooting the franchise with a focus on the rest of the agency would be the best idea. Didn't review them, but he discussed them in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] and in his review of the third film... ** ''MenInBlackIII'': "You'll come out looking for the neuralizer." JoshBrolin's impeccable performance can't save a film that makes all the same mistakes the second one did, while at the same time doing nothing with the ideas it brings up and clashing with plot points and character beats from previous films. * ''Film/MidnightInParis'': Creator/WoodyAllen's best film in a long time, one of the best comedies of the year, and a great exploration of our current [[NostalgiaFilter nostalgia-obsessed]] pop culture. Didn't review it, but at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/MirrorMirror'': "Probably gonna top a lot of 'year's worst' lists." Specifically singles out JuliaRoberts' inability to carry the film as one of his biggest criticisms. Didn't review it, but he mentioned it during his ''Wrath of the Titans'' review. * ''Film/MissionImpossible'': Felt that none of the films ever rose above average. Regarding the fourth film, ''[[Film/MissionImpossibleGhostProtocol Ghost Protocol]]'', he feels that it "kinda sucks", and was let down by shallow writing and characters, but that it was saved by BradBird's eye for action. While he hasn't done video reviews of any of the movies, he did mention them in his "The Look Ahead" special on ''Escape to the Movies'' while discussing ''Ghost Protocol'', and he later compared ''Ghost Protocol'' to ''Film/SherlockHolmesAGameOfShadows'' in his weekly ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9283-Double-Vision editorial]]. * ''Film/TheMonsterSquad'': In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7201-The-Boot-Part-Two "The Boot, Part Two"]], he said it was good, but [[NostalgiaFilter overrated by his generation]], and doesn't hold up as well as similar movies like ''Film/TheGoonies''. He says that it deserves to be remade, calling it one of those movies that's better remembered for the basic idea behind it than the actual execution. * ''Film/{{Monsters|2010}}'': Hugely disappointed, feeling that the unlikable lead characters made it an utter slog to sit through. * ''WesternAnimation/MonstersInc'': Says that it's, together with ''WesternAnimation/FindingNemo'', the Creator/{{Pixar}} film "least in need of a sequel". He also argues that it was their most subversive film until ''WesternAnimation/WallE'', seeing the monsters' job of scaring children for their "fear energy" as a metaphor for the oil industry. Didn't review it, but he discussed it in his review of its prequel... ** ''WesternAnimation/MonstersUniversity'': It's not as good as the original, and in fact your enjoyment of it will likely be undercut if you've seen the original and its big reveal, but it's still a very funny movie, certainly better than another ''Cars'' film or the "noble misfire" that was ''Brave''. It's a great homage to '80s college comedies like ''Film/RevengeOfTheNerds'' (only a lot more G-rated, obviously) that doesn't quite knock it out of the park, but which still has some great characters and very funny and thrilling moments. * ''The Monuments Men'': Feels that a movie about the [[https://en.wikipedia.org/wiki/Monuments,_Fine_Arts,_and_Archives_program Monuments, Fine Arts, and Archives Program]] during WorldWarII is long overdue. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/MoonriseKingdom'': Called it "raw, exposed-nerve humanity" and a more affecting romance than any "grown-up" film that year. Anderson's trademark strengths are on full display, helped along by the fact that the main characters are children, a natural fit for his sensibilities. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9773-Under-the-Radar "Under the Radar"]]. * ''Literature/MortalInstruments'': Hasn't reviewed it yet, but he discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]]. Having looked up the books and spoiled the plot for himself, he wonders just ''how'' they're going to be able to put the first book's big twist on screen without causing a firestorm of outrage. * ''Film/MortalKombat'': Didn't review it, but in the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2012/08/episode-73-return-aka-going-hollywood.html "Going Hollywood"]], he cites it as an example of how to do a video-game-to-film adaptation right, adapting both the storyline of the series specifically and the mechanics of fighting games in general (basically, non-stop fight scenes that drive the plot forward). The only real problem it had was that it removed [[{{Gorn}} the one thing that the games are best known for]], something that he felt could've been solved with a HandWave about the island granting its inhabitants a HealingFactor or Shang Tsung bringing dead fighters BackFromTheDead after each fight. * ''Mr. Go'': "Can somebody ''please'' bring [this film] to U.S. theaters? ''Pretty please?''" Didn't review it, but he mentioned it at the end of his review of ''The Wolverine''. * ''Film/TheMuppets'': Bob compares it to the recent reboots of ''Film/TheSmurfs'' and ''Film/AlvinAndTheChipmunks'' in terms of {{human focused adaptation}}s of classic kids' shows, with one key difference: it doesn't suck. Instead, it's one of the funniest family films in a long while, and although it's not as good as the original ''[[TheMuppetMovie Muppet Movie]]'', it's still a worthy comeback for JimHenson's classic characters. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/NaturalBornKillers'': Didn't review it, but in the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2013/10/episode-87-gtav-is-not-satire-probably.html "'GTA V' Is Not A Satire (*Probably)"]], he used the film to demonstrate the difference between {{parody}} and {{satire}}. The flashback scene showing Mallory's upbringing, done in the style of a ''Series/MarriedWithChildren''-esque {{sitcom}}, was a satire of how that style of television often trivialized the abusive events that happen to its characters by [[PlayedForLaughs playing them for laughs]]. * ''Film/NightOfTheLepus'': Calls it SoBadItsGood and a masterpiece of [[NeverTrustATrailer misleading advertising]]. He said that no joke he could make about it could be funnier than the film itself, so he just spent a third of his time showing clips of it. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture''. * ''Film/ANightmareOnElmStreet2010'' (the remake): Casting JackieEarleHaley as Freddy Krueger was the only thing this film did right, and his great performance is put to waste by a total mess of cop-outs and cheap scares. It's a disgrace to [[Film/ANightmareOnElmStreet1984 its namesake]], and it's down there with ''[[Film/ANightmareOnElmStreet2FreddysRevenge Freddy's Revenge]]'' and ''Film/FreddysDeadTheFinalNightmare'' as one of the worst films in the franchise. * ''Film/NinjaAssassin'': The action scenes were awesome, but it's overall a ClicheStorm not worth caring too much about. * ''Film/NoStringsAttached'': While the rom-com formula prevented it from examining its themes in any real depth, Bob still found it to be a good movie, with a funny script, likable leads and a very welcome (given the subject matter) R rating. * ''Film/OBrotherWhereArtThou'': One of the greatest films that Creator/TheCoenBrothers ever made, even if it's to blame for digital color-correction and, with it, the annoying trend of the OrangeBlueContrast. Didn't review it, but he mentioned it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences".]] * ''Film/{{Oblivion 2013}}'': Impressive visual design and solid direction can't save a bad movie that felt like "five or six Creator/MNightShyamalan screenplays smushed into one." Without spoiling anything, the film telegraphs that something is wrong from a mile away, it's derivative of other, better sci-fi films, the twists pile up and produce a mountain of FridgeLogic, and the LoveTriangle [[ArsonMurderAndJaywalking is annoying]]. Bottom line: if you want a visually stunning but nonsensical sci-fi movie, rent ''Prometheus'' instead. He also analyzes Creator/TomCruise's career trajectory, describing it as a string of reactions to insecurity. * ''Film/{{Oldboy}}'' (the remake): Only looking forward to it due to Creator/SpikeLee's involvement, as even his worst films tend to at least be interesting to watch. * ''Film/OrcaTheKillerWhale'': Not only the best of the many ''Film/{{Jaws}}'' ripoffs of the late '70s/early '80s, but also a good movie in its own right, albeit a completely crazy one. It combines a high-brow NatureDocumentary style, with tons of footage of killer whales and a great score by EnnioMorricone, with a gory '70s exploitation/monster movie vibe, the two going together surprisingly well. Didn't review it, but he discussed it in his [[http://www.escapistmagazine.com/videos/view/the-big-picture/6411-Schlocktober-2012-Orca 2012 "Schlocktober" special]] for ''The Big Picture''. * ''Film/TheOtherGuys'': Pretty funny, but it never really adds up to anything, and it's been done better before. He also goes into an analysis of the roots of the "buddy cop" genre. * ''Film/OzTheGreatAndPowerful'': An "unabashedly old-fashioned family blockbuster" that's a great fit for Creator/SamRaimi's retro style, feeling at times like a big-budget, family-friendly version of ''[[Franchise/EvilDead Army of Darkness]]'' meets the original ''Film/TheWizardOfOz'', and which succeeds at every point where Tim Burton's ''Alice in Wonderland'' went wrong. Grown-ups are going to figure out the plot twists pretty early, but it can still be quite shocking to see a Hollywood blockbuster go in the directions that this film does. The cast is great -- James Franco's hipster persona goes perfectly with his sleazy con artist protagonist, while RachelWeisz, Michelle Williams, and especially MilaKunis are all at the top of their game as the witches. Throw in some absolutely stunning CGI that's used for more than just flash, and you have an incredible film whose only real flaw is the lack of songs (because what is a ''Wizard of Oz'' prequel without musical numbers?).\\ \\ Bob also doesn't find much wrong with the fact that it's not following ''Theatre/{{Wicked}}''[='=]s mythology, given that Creator/LFrankBaum, the man who wrote ''Literature/TheWonderfulWizardOfOz'', himself wrote a long series of Literature/LandOfOz novels with often-contradictory mythologies that ''Wicked'' was itself throwing out. * ''Film/PacificRim'': Hugely excited for it given that it's made by Creator/GuillermoDelToro's, but in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10159-The-Uncertain-Future "The Uncertain Future"]], he said that he fears that, without a franchise name backing it up, it could run into trouble at the box office. He hopes it's a hit so that it breaks Hollywood's dependence on sequels and licensed properties, as well as to give Del Toro the break that he has long deserved. The week it came out, he devoted an entire ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/7674-The-New-Originals "The New Originals"]], to telling people to see the film sight unseen not just because it looked good, but so that they could send a message to Hollywood that they want more than just sequels, remakes, and adaptations for their big-budget blockbusters.\\ \\ When it came time to review it, he said it was SoCoolItsAwesome and that it lived up to every expectation he put on it and then some. It was, in his opinion, the best SummerBlockbuster since ''Film/IndependenceDay'', a film that he compares this to in terms of it being an amped-up version of a classic BMovie genre (in this case, Japanese {{kaiju}} movies and mecha anime), without the bloat, pretension, and exposition that infests so many other big summer tentpoles. It has deep, well-rounded characters whose interactions actually drive the plot rather than feel like drama for the sake of it, the giant monster vs. robot battles are absolutely mind-blowing and feel more real than any number of "gritty and realistic" action movies, and even the stuff that shouldn't work still works in the context of this film's homage to classic anime and sci-fi. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013.\\ \\ Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], he argued that the film's overall box office performance shows how American audiences are no longer the be-all, end-all decider of success or failure in Hollywood. While the film disappointed at the American box office, its success overseas (especially in China) was more than enough to rescue it and produce talk of a sequel. * ''Film/PainAndGain'': It's a SpiritualSuccessor of sorts to ''Bad Boys II'', and quite an enjoyable film at that, with Creator/MichaelBay's detachment from the material rather than exploration of deeper themes being well-suited to its [[BlackComedy darkly comic]] exploration of the true story it's based on. He compared it to ''Film/{{Fargo}}'' in the sense of it being about really stupid criminals, only coming from someone who is more annoyed than amused by that stupidity. He also makes the case that nihilism and "to hell with humanity" is the defining trait of Bay's work, only unlike Creator/LarsVonTrier, he uses this nihilism as an excuse to blow it all up. Later on, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10558-Summer-School-Part-I "Summer School - Part I"]], he argued that it's Bay's best film yet, the fulfillment of the promise he showed in the ''Bad Boys'' films, and a sign of what he's capable of when he's not bound by the franchise requirements of ''Transformers'' or trying for respectability like with ''Film/PearlHarbor''. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Film/ParanormalActivity'': Despite the fact that he usually hates [[FoundFootageFilms found-footage movies]], he loved this one, for one simple reason: "tripod." In other words, rather than using the "handheld camera" setup as an excuse to cover up a lack of talent and budget, this film used it to make sure that the audience saw everything that was happening, while avoiding the "shaky-cam" pitfall of so many other found-footage films. ** ''ParanormalActivity 2'': Not impressed. He felt that the larger scale and the greater explanation of the backstory, combined with the fact that it's a sequel to a film that relied on surprise for its scares, all diluted the tension compared to the original. * ''WesternAnimation/ParaNorman'': Quite possibly Bob's favorite movie of 2012 up to that point -- even next to ''Film/TheAvengers''. Unlike many other animated family films that go for epic bombast and rollercoaster-esque thrill rides in order to keep the wee ones entertained, this movie is smaller in scope and focuses on building its characters, story and mood, all to great effect. Admittedly, though, he feels that part of the reason why he loved it so much was because it was practically WishFulfillment for him -- after all, it's about a socially outcast horror-movie buff from [[HollywoodNewEngland New England]] who can see ghosts and uses that skill to fight a ZombieApocalypse, and it's got a dark story and some biting and thoughtful social commentary about bullying, self-esteem, and the conformity of suburban Middle America. Outside the review, he also discussed the technology and themes behind the film in that week's ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9869-Puppet-Masters "Puppet Masters"]]. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/{{Paul}}'': The movie that ''Film/{{Fanboys}}'' should've been but wasn't, a love letter to American nerddom and Comic-Con culture that's still gut-bustingly hilarious even if you're not a geek. The team of SimonPegg and Nick Frost is great as usual, the material is still funny if you take out the sci-fi references, and it gives a much-deserved TakeThat to [[TheFundamentalist religious fundamentalists]] and creationists. He opened his review with a little mini-review of ''BattleLosAngeles''. * ''Film/ThePeopleUnderTheStairs'': Called it a "home invasion movie in reverse," and noteworthy for being one of the few truly successful black-themed horror films. He finds it strange that this film doesn't get more attention today, despite it being one of Creator/WesCraven's bigger hits. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/Piranha3D'': "Just about the best pure fun, R-rated movie to come out this summer." * ''Film/PiratesOfTheCaribbeanOnStrangerTides'': Calls it a lazy cash grab and declares the franchise to be in [[FranchiseZombie zombie mode.]] * ''{{Ponyo}}'': "It's good! Go see it, so you too can spend weeks on end trying to figure out what the hell this guy's deal is. Weird dude." Didn't review it, but he mentioned it at the end of his ''{{Surrogates}}'' review. * ''Film/{{Predators}}'': A great throwback to TheEighties that feels like the kind of sequel that ''Film/{{Aliens}}'' was to ''Film/{{Alien}}''. It's the best ''Film/{{Predator}}'' movie since the original, and a testament to producer [[RobertRodriguez Robert "Mr. One-Man Studio" Rodriguez's]] work ethic. * ''Film/PremiumRush'': Not a particularly ''good'' movie, but Michael Shannon steals the show as the villain, and it makes for a nice [[GenreThrowback throwback]] to the old ExtremeSportExcusePlot movies of the '80s like ''Film/{{Rad}}'' and ''Film/BMXBandits''. Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Film/PrinceOfPersiaTheSandsOfTime'': While he does call this perhaps the first genuinely good film based on a video game, Bob is ultimately underwhelmed that it doesn't mean so much a successful translation of videogame conventions, but merely a decent ''Literature/ArabianNights''-themed action film. * ''Prisoners'': Greatly exceeded his expectations. He went in expecting a good, but not great, thriller whose trailers [[TrailersAlwaysSpoil gave away too much of the plot]], but what he got was a lot darker and more complex than that. It's a {{deconstruction}} of the outlandish pot-boiler mysteries of Thomas Harris, [[Literature/TheMillenniumTrilogy Stieg Larsson]], and various TV police dramas, and of the [[ActionDad hyper-competent badass father figure]] ''a la'' [[Film/{{Taken}} Bryan Mills]] or [[Series/TwentyFour Jack Bauer]]. It runs a bit long, and it's occasionally a bit too ambitious for its own good, but it's otherwise one of the best films out in theaters at the time. * ''Film/{{Prometheus}}'': Called it a smart and well-made (if not great) sci-fi/horror film without any serious flaws beyond some clunky transitions between the three acts, with the lead actors all turning in great performances and the {{Abusive|Precursors}} AncientAstronauts idea being a rather scary thought (if hardly original by this point). However, he couldn't help but feel underwhelmed, which he attributes to how the internet has created a movie-geek culture where everybody knows everything about the behind-the-scenes details of a film (a subject he had discussed in the prior week's ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9660-Hype-er-Time editorial]]). He went in knowing that the film was a {{prequel}} to ''Film/{{Alien}}'', which colored his expectations of the project and prevented him from enjoying it on its own merits. * ''Film/{{Psycho}}'': Didn't review it, but in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6717-Is-The-Hobbit-Too-Long "Is 'The Hobbit' Too Long?"]], he used it as proof that not every scene in a movie has to drive the plot forward. In this film's case, the entire first half of the film existed so that Creator/AlfredHitchcock could shock the viewer at the halfway mark by killing off the heroine and [[HalfwayPlotSwitch turning]] what had been a FilmNoir up to that point into a {{horror}} movie. * ''Film/PublicEnemies'': A return to form for MichaelMann which went a great way towards improving the otherwise limp output of summer '09. It's suspenseful and action-packed (Mann knows how to do shootouts) without requiring you to leave your brain at the door, and its application of an ultra-modern aesthetic to a PeriodPiece makes it a thrill to watch. The worst he could say about it was that it ran a bit too quickly and there wasn't enough of it, which in his opinion, is a sign of a damn good movie. * ''Film/{{Pulgasari}}'': Bob devoted an entire ''Big Picture'' episode, [[http://www.escapistmagazine.com/videos/view/the-big-picture/5273-Monsters-Movie "Monster's Movie"]], to the film and, by extension, the crazy world of the UsefulNotes/{{North Korea}}n film industry that produced it. To put it bluntly, the circumstances behind the production of this film (a surprisingly good ''Franchise/{{Godzilla}}'' clone) may just be more interesting/bizarre than the film itself. * ''Film/PuppetMaster'': Didn't review any of the films, but he discussed the series in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/8191-Schlocktober-2013-Puppet-Master "Schlocktober" special]] in 2013. The first film wasn't particularly good, and felt constrained by its tiny budget, but the first few sequels were big improvements, owing to their great stop-motion effects and their ambitious (by BMovie standards) plot. However, from the sixth film on the series [[FranchiseZombie just didn't know where to stop]], falling victim to a KudzuPlot and [[MerchandiseDriven its own merchandising]]. Overall, while no one film in the series is a masterpiece, taken as a whole it's quite impressive. He also talked about the film's creator, home video schlockmeister Charles Band and his studio FullMoonFeatures. * ''Film/ThePurge'': It's got a great premise that could've been used to make a really twisted satire, but [[TheyWastedAPerfectlyGoodPlot then it squanders it]] with a generic {{slasher|Movie}}[=/=]home invasion plot, with poor characterization, a big twist that's obvious in the first ten minutes, and a political message that Bob, despite [[DontShootTheMessage agreeing with it]], found to be {{anvilicious}}. Given the deeper ideas that the film touches on but never explores, Bob theorizes that this film suffered from [[ExecutiveMeddling heavy rewrites]] that greatly dumbed it down. * ''Film/TheQuickAndTheDead'': Creator/SamRaimi's most "mainstream" film before the ''Spider-Man'' trilogy and probably his worst film, being stylistically overloaded and lacking the sincerity of Raimi's earlier work. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10274-Sam-the-Man-Part-I "Sam the Man - Part I"]], a retrospective of Raimi's career. * ''Film/TheRaid'': If you haven't seen it yet, and you're a fan of action movies, look up where it's playing near you and go seek it out, because it's awesome. It's thin on plot and not that different from most other martial arts movies, but it more than makes up for that by having more kickass action scenes per minute than any other film you'll see this year. Even its occasional use of JitterCam is forgivable, as said action scenes are still coherent and easy to follow even with the camera moving about. He first mentioned it at the end of his ''Wrath of the Titans'' review, then did a proper review of it the following week. * ''{{Rango}}'': Called it the best-looking animated film he's ever seen, even beating out movies from {{Pixar}}, but felt the storyline was lacking and that it didn't do much with its metanarrative ideas. * ''Film/{{The Raven|2012}}'' (the 2012 film): "A complete wash. An utter waste of time and money." Bob specifically points to JohnCusack's performance as one of the bigger problems, with him being too plain to convincingly play the [[LargeHam manic and unhinged]] Creator/EdgarAllanPoe -- a role that someone like NicolasCage, GaryOldman, or even JohnnyDepp would've pulled off much better. In addition, the central murder mystery is poorly put together, the film has nothing interesting or new to say about Poe or his writing, the allusions to his poems are shallow and surface-level at best, and the entire thing just feels cheap. He had so little to say about the film that he finished the review with a minute to spare, so he went off on a weird tangent about ''Franchise/StarTrek'' and the future just to fill time. * The films of Creator/RayHarryhausen: Devoted an ''Intermission'' editorial, [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10325-Master-Of-Monsters "Master of Monsters"]], to his work after he passed away in 2013. He talks about how Harryhausen was a filmmaker [[BornInTheWrongCentury both ahead of and behind his time]], and how his work and ideas have been VindicatedByHistory and now form part of the foundation of geek culture. * ''Film/RealSteel'': A movie that Bob was spending all year preparing to rip to shreds, but which surprised and humbled him by actually being a solid film with a lot of heart. If you have a young son who's into Legos or robots, he is going to think it's the ''bestest movie ever!!!'', and you'll probably love it too. * ''Film/RealityBites'': Feels that, looking back, it's practically unwatchable. Didn't review it, but he discussed it in his ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6962-The-90s-Didnt-Suck "The '90s Didn't Suck"]]. * ''Film/{{Red}}'': Great cast and action scenes, and just the kind of movie to ease the transition from SummerBlockbuster season to OscarBait season, especially if you've got an older relative who still likes to have fun. In his review of its sequel, he said that he couldn't much remember the plot of this one, but he still remembered enjoying this film's setup and how it pulled it off. ** ''Red 2'': The plot is pointless, forgettable, and doesn't make a whole lot of sense, but it's still an enjoyable diversion, with a cast that was clearly having just as much fun here as in the last film. After a mediocre summer at the movies, this was a much-needed breath of fresh air. * ''Film/RedDawn1984'': Its politics may have been ridiculous, but it was made by somebody who genuinely believed in those politics, meaning that it worked as both an action film and as a "message movie". ** ''Film/RedDawn2012'': "A boring, dumb, uninspired heap" made simply to cash in on the name recognition of the original film. Didn't review either the original or the remake, but he discussed them in his review of ''Life of Pi''. * ''Film/RedRidingHood'': Found it gloriously {{camp}}y and silly to the point of [[SoBadItsGood awesomeness]], with great directing and a refreshing, anti-''Literature/{{Twilight}}'' feminist message, though he felt that the plot was too convoluted and that the LoveTriangle was unnecessary. He also bemoaned how the rampant success of ''Literature/{{Twilight}}'' has lowered the standards for female-focused genre fiction. * ''Film/RedState'': "[[PunctuatedForEmphasis What. The.]] '''[[PrecisionFStrike F***]]''' did I just watch?" Called it "one of the most god-awful films of the year", saying that it was even worse than ''Film/GreenLantern''[[note]]"Worse than me?? Wow."[[/note]] and comparing it to ''Film/TheRoom'' and ''{{Birdemic}}'' in terms of sheer inept filmmaking. The only bright spot is Michael Parks' great performance as the [[TheFundamentalist Fred Phelps]]-esque villain, and that's not nearly enough to save the film from its mess of plot, writing and character problems. Bob devotes a good chunk of the review to exploring KevinSmith's career and his [[DarthWiki/FallenCreator fall from grace]] in the last several years, and hopes that he's gotten over whatever compelled him to make this movie. * ''Film/RedTails'': Not quite a great film (it's got some [[ConspicuousCG dodgy CGI]] and a script that's a bit too reliant on war movie clichés), but a fun, solid and well-made one that [[GenreThrowback hearkens back]] to the "golden age" of WorldWarII movies, and gets points for finally giving the Tuskegee Airmen the recognition they they didn't get during that time. He also takes time to vent at jaded ''StarWars'' fanboys who will likely rag on the film just because GeorgeLucas produced it. * ''Film/RepoMen'': While it cribs liberally from many other dystopian sci-fi films[[note]]And that's not even getting into the comparisons to ''RepoTheGeneticOpera'', which he hadn't heard of until fans started pestering him about it.[[/note]], it's good nonetheless, with some of the {{Gorn}} scenes alone making it worth a watch. However, he did note that there may just be a case of RootingForTheEmpire. * ''Film/RepoTheGeneticOpera'': Called it a "third-rate ''[[TheRockyHorrorPictureShow Rocky Horror]]'' knockoff", and didn't understand why it had such a large cult following. Didn't review it, but he mentioned it at the beginning of his ''Film/HotTubTimeMachine'' review, noting that he hadn't heard of it until after he did his ''RepoMen'' review and got messages wondering why he didn't mention the similarities between the two. * ''Film/ResidentEvil'': A bad movie that doesn't know whether to be a Romero ripoff or an ''Film/{{Aliens}}'' ripoff. However, MillaJovovich (who Bob describes as "[[DistaffCounterpart the female]] Creator/JasonStatham" in terms of being a BMovie action star) was a bright spot, making for a surprisingly convincing ActionGirl given her background as a supermodel, and Bob found her Alice to be the most interesting character in either the films or the games. He doesn't hate it as much as he did when it first came out, feeling that the reason why he and so many others loathed it was because of [[AdaptationDecay its lack of connection]] to [[Franchise/ResidentEvil the games]], even though, in his opinion, the games have very subpar stories that make the films (far from paragons of storytelling themselves) look brilliant in comparison. He didn't devote a full review to it, but he discussed it (along with the second and third films, ''Apocalypse'' and ''Extinction'') during his review of the fourth ''Resident Evil'' movie, ''[[Film/ResidentEvilAfterlife Afterlife]]'', and came back to it in his review of the fifth film, ''Retribution''. ** ''Film/ResidentEvilApocalypse'': "... A laughably awful mess, but at least it was so consistently terrible that [[SoBadItsGood it was kind of compelling and watchable]]." He also notices that, from this point forward, Jovovich was married to producer Paul W. S. Anderson, which makes the sequels feel like they should all just be called "''Resident Evil: Check Out My Ridiculously Hot Wife''". ** ''Film/ResidentEvilExtinction'': Sure, it rips off ''MadMax'', but it's still a surprisingly competent action film given the trash that came before it. To Bob, this was the point where the films stopped even pretending to have anything to do with the games, which he feels is for the better -- after all, ''VideoGame/ResidentEvil4'''s departure from series tradition produced, in his opinion, the best game in the series. ** ''Film/ResidentEvilAfterlife'': It's a ClicheStorm of every zombie movie trope around, but if you're in an action mood, you could do worse. If possible, see it in 3-D for some awesome effects. The series seems to be getting better with each installment, so he's hopeful that they eventually make one that's unquestionably good. ** ''Film/ResidentEvilRetribution'': Feels like a bad ''RE'' fanfic, with awful acting all around (especially from Sienna Guillory and Shawn Roberts as Jill and Wesker) and a plot that's largely a "greatest hits" collection of moments from the last four films. Still, it's alright, and it's hard to do much better in the [[DumpMonths September doldrums]], especially if you're an action fan. The review was about a minute shorter than usual since Bob had a cold while filming it. * ''Revenge'': Remembers having liked it at the time, though he also mentions the criticism of the film's values. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late TonyScott's career. * ''WesternAnimation/RiseOfTheGuardians'': One of those movies that Bob is surprised wasn't thought of sooner. It's a very fun movie to watch, and typical of the modern Creator/DreamWorksAnimation formula -- lots of big action scenes that hit the ground running and never let up, without the ''Shrek''-era reliance on pop culture humor, even if it does come at the expense of characterization and weightiness (though with iconic characters like SantaClaus and the Easter Bunny, it isn't hard to fill in the blanks). In addition, ChrisPine, whom Bob had previously thought little of as an actor, shows a surprising amount of range here. * ''Film/RiseOfThePlanetOfTheApes'': While not perfect (the human side of the story was a mixed bag), Bob still loved the hell out of it, feeling that it succeeded where the previous week's ''Film/CowboysAndAliens'' failed, taking a ridiculous sci-fi premise and making it serious and believable, but not to the point where the fun is sucked out of it. At the end of 2011, he listed it as one of his top ten movies of the year. * ''Film/TheRite'': Falls into the same trap as countless other retreads of ''Film/TheExorcist'', due to the fact that it's difficult to present a staged exorcism ritual without making it look silly (Bob compares it to "[[Film/TheLordOfTheRings Gandalf versus the Balrog]] with all the effects taken out"). In addition, the "believer vs. skeptic" dynamic doesn't work, due to the fact that ReligiousHorror movies, by their very nature, rely on the believer being vindicated in his or her beliefs, thus removing any chance that the skeptic could be right. It's not a terrible movie, and is quite well-acted and well-shot, but it is a dull one that would've been livened up by some cheesiness and {{narm}}. * ''[[Film/RoboCop2014 RoboCop]]'' (the 2014 remake): Felt that it looked terrible based on the PG-13 rating and the design of the [=RoboCop=] suit. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/TheRoad'': What worked great as a novel fails in the transition to the screen, as the book's lengthy chapters of atmosphere building are something that can be done with just a few minutes of film. The result is an emotionally empty movie with a threadbare plot and no reason to care about the characters. It would've worked great as a short film or a ''[[Series/TheTwilightZone Twilight Zone]]'' episode, but there's just not enough material to build a feature film out of. * ''Film/RobotAndFrank'': One of the best science fiction movies in years. Called it "''WesternAnimation/{{Up}}'' if Russell was Mega Man." Didn't review it, but he discussed it at the beginning of his ''Lawless'' review. * ''Theatre/RockOfAges'': A terrible movie that's crippled by the same problem that many {{jukebox musical}}s suffer from, which is that writing the story around the music (rather than the other way around) forces the story to be incredibly generic and one-note. In addition, the big, loud '80s hard rock that the production is built around doesn't really carry much of any sort of meaning beyond SexDrugsAndRockAndRoll, which is the reason why it's so great to listen to but also the reason why it's nigh-on impossible to use it to tell a story. Lastly, while TomCruise is a great actor, he can't sing worth a damn, which makes it very hard to take him seriously as a rock god. * ''Film/{{Rocky}}'': In the special episode [[http://www.escapistmagazine.com/videos/view/escape-to-the-movies/6803-Musclepocalypse "Musclepocalypse"]], Bob compared it to ''Star Wars'' in terms of it being a "bridge" film between NewHollywood and the {{Blockbuster Age|OfHollywood}}. ** ''Creed'': Hasn't reviewed it yet, but at the end of his review of ''The Wolverine'', he said that he's very excited about it, given its plot and the fact that it's being made by the director of ''Film/FruitvaleStation''. * ''Film/RobinHood2010'': All of the technical aspects (acting, directing, cinematography, even the writing) are very good, but they can't save a plodding, unfocused, overly-long snoozer of a story that has almost nothing to do with the RobinHood legend. Whatever good ideas were in the original ''Nottingham'' script are buried under the weight of its many rewrites. * ''Rush'': Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10627-Rushing-With-Ron-Howard "'Rush'ing with Ron Howard"]], which also served as a discussion of director Creator/RonHoward's career. He counts it as one of Howard's better films, praising it for its amazing racing scenes, the fleshed-out characterization of its two protagonists, and its refusal to make a judgment call on them, instead letting viewers decide who the better (or worse) man was. He also notes that its plot would be considered unbelievable to the point of hackery if not for the fact that the rivalry between the main characters [[RealityIsUnrealistic really was that heated and media-driven]] in real life. [[/folder]] [[folder:Films S-Z]] * ''Film/SaloOrThe120DaysOfSodom'': To this day, still a very difficult film to watch. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Salt}}'': Casting AngelinaJolie in a role originally written for a ''male'' action star turned out to be a brilliant decision. Plus, the plot works a lot better than it should, and the action scenes are slickly done -- and unlike the ''[[Film/TheBourneSeries Bourne]]'' movies, you can actually tell what's going on in said action scenes. * ''Film/{{Savages}}'': "Good, not great, in case you were wondering." Didn't review it, but he mentioned it at the end of his second video on ''Film/TheAmazingSpiderMan''. * ''Saving Mr. Banks'': He's intrigued by the premise of a film about the clash between Creator/WaltDisney and P. L. Travers on the set of ''Film/MaryPoppins'', and between this and ''Tomorrowland'', wonders if "Disneystalgia" might become a new subgenre. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/ScaryMovie 5'': "Don't. Even. Start." It wasn't screened for critics, so he didn't bother to review it, but he discussed it at the beginning of his review of ''42'', saying that the fact that only one other movie (the aforementioned ''42'') was released against it, seemingly out of fear of its inevitable box office domination, shows how little faith Hollywood has in the intelligence of moviegoers. * ''Film/ScottPilgrimVsTheWorld'': One of the best films of the year. He noted that, if you're seeing it just for the action, you'll probably be disappointed, but you'll appreciate it a lot more if you go in knowing that it's also a RomanticComedy -- not unlike EdgarWright's previous genre film, ''Film/ShaunOfTheDead''. He also praised it for having a much better grasp on love, romance and relationships that any number of formula rom-coms, particularly the concurrent ''EatPrayLove''. * ''Franchise/{{Scream}}'': Bob has hated the series for a very long time, feeling that its "insightful satire" of {{slasher movie}}s was nothing more than Jamie Kennedy making lazy wisecracks about the genre he was in, and that the suspense was undone by the winking, self-aware nature of the films. He says that the hip, trendy attitude that the series popularized has ruined mainstream American horror, and views it as one more reason why "[[TheNineties the '90s]] [[TheWrestler sucked]]." He also has personal reasons for hating the series -- namely, he feels that it made his movie geekery into "just another douchebag party trick".[[note]]Though admittedly, he did enjoy getting compared to Randal Graves from ''Film/{{Clerks}}''.[[/note]] ** ''[[Film/{{Scream 4}} Scre4m]]'': All of the above criticisms apply, and it doesn't even have any good, original kills to smoothen the ride. Bottom line: if you want a great, insightful [[SlidingScaleOfComedyAndHorror horror-comedy]], watch ''Film/ShaunOfTheDead'' instead. He also mocks the film's [[Letters2Numbers numerical title]] by referring to it as "''Scre-Four-m''" throughout the review. * ''Film/SexAndTheCity'': With quite a bit of "WTF?". He felt that the plot was incomprehensible and a wee bit misandrist, and that it felt like several episodes of the series strung together and then labeled a movie, though he noted that he was as far from the film's target audience as one could get. He also wondered what kind of black magic Kim Cattrall was using to [[GrandmaWhatMassiveHotnessYouHave keep looking that good into her 50s]]. * ''Film/TheSheCreature'': Said that the titular monster was way ahead of its time, looking more like something from a modern ''Franchise/KamenRider'' series than a '50s BMovie. He also made fun of how the film's plot mashed up then-contemporary pop ideas of hypnosis and EvolutionaryLevels. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/SherlockHolmesAGameOfShadows'': "Really sucks." The plot rips off the ''[[Film/TheLeagueOfExtraordinaryGentlemen League of Extraordinary Gentlemen]]'' movie, the action scenes are awful, and NoomiRapace is wasted. While Bob didn't do a video review of it, he did discuss it in his weekly ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9283-Double-Vision editorial]], where he compared it to ''Film/MissionImpossibleGhostProtocol''. * ''Film/{{Shooter}}'': "The boring version of ''Machete''." Didn't review it, but he mentioned it in his ''Broken City'' review. * ''{{Shrek}}'': The first movie was great, a refreshing, character-focused parody of the overblown, corporatized DisneyAnimatedCanon with a great cast. Sadly, the sequels wound up turning the film into [[HeWhoFightsMonsters everything that the original had mocked]], while {{Disney}} itself managed to turn itself around from its DorkAge. Didn't review it, but he was compelled to mention it in his review of... ** ''Shrek Forever After'': A pointless retread of the last movie that proves that the series has completely run out of ideas, while highlighting all of the biggest problems with the Creator/DreamWorksAnimation formula. * ''Film/ShutterIsland'': You'll see the twist coming from a mile away, but MartinScorsese still knew how to make it work, and work extremely well. * ''Film/{{Signs}}'': The film that, to Bob, proved that Creator/MNightShyamalan could make legitimately good movies when he wanted to, and didn't merely get lucky with ''The Sixth Sense''. This film particularly shines on a technical level, with the cinematography looking downright beautiful and the whole cast turning in great performances, though it's the writing where it ultimately stumbles and is held back from greatness with a mess of third-act silliness. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/SilentHill'': It's not perfect, but it's still one of the best video game adaptations yet. Didn't review it, but he discussed it in his fall 2012 preview while discussing its impending sequel, ''Silent Hill: Revelations''. * ''Film/SilverLiningsPlaybook'': Yet another ManicPixieDreamGirl indie rom-com of the kind that's been done a hundred times before. He feels that it isn't anywhere close to deserving of the near-universal praise and Oscar buzz that it received, comparing it to a cheap {{sitcom}} and going so far as to say that most of his fellow critics had lost their minds. Didn't review it, but he discussed it in his review of ''Literature/LifeOfPi'' and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10136-Gold-Bugged "Gold Bugged"]]. * ''Film/ASimplePlan'': A dark, dramatic effort that is arguably Sam Raimi's strongest overall film, proving him as more than just a "genre" director, though don't read about the plot before you see it. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. * ''Film/TheSitter'': Very well-written on the character and story side of things, but it was written and marketed as a comedy, and on that front it just falls flat. * ''Film/TheSixthSense'': Even with the famous TwistEnding being [[ItWasHisSled common knowledge]] by now, this is still a legitimately great thriller, playing out like a really good, feature-length episode of ''Series/TheTwilightZone''. Its real genius is not the big twist, but how it hides the foreshadowing of said twist in time-worn conventions (such as the SatelliteLoveInterest) that a first-time viewer wouldn't think twice about, but which becomes noticeable upon repeat viewing. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Creator/MNightShyamalan's career. * ''Film/TheSmurfs'': He didn't review it, but during the second half of his ''KnightAndDay'' review, he talked about his opinion of it going by the trailer. He felt that moving the setting to [[BigApplesauce New York]] sucked out the magic of the original cartoon and replaced it with ProductPlacement and the sort of Gen-X humor that's only funny in brief snippets, and also insulted the source material (which is [[{{Franco-BelgianComics}} Belgian]]) by Americanizing it. ** ''Film/TheSmurfs2'': At the start of his review of ''2 Guns'', he pretended that he was actually going to be reviewing this instead, only to cut to a "hell no" explaining that there was no way he was going to even consider watching it, let alone reviewing it. * ''Film/SnowWhiteAndTheHuntsman'': "It only sort of makes sense if you force yourself to never, ever ask the question 'why?'" It's a cynical attempt by Hollywood to cash in on the fact that female-focused genre films have proven themselves to be box office titans just as grand as your average superhero movie. The script jumps all over the place and feels like it went through several rewrites, the main characters are underwritten and are often just "there", and the love triangle is especially jarring. CharlizeTheron's LargeHam performance as the evil queen is the only thing that stands out -- and she feels like she belongs in a much better movie. Overall: not worth your time. At the start of the review, he also discusses how the Literature/{{Snow White|AndTheSevenDwarfs}} story can be read as a metaphor for female puberty and our culture's obsession with beauty, and how this may explain why the story has been so popular with women for such a long time. * ''Film/TheSocialNetwork'': One of the most exciting, watchable and well-made movies of the year even if, like Bob, you're not a fan of {{Facebook}}, and proof that you can make a great movie out of any subject matter. * ''Society'': The graphic violence that the film is infamous for doesn't kick in until the end, but once it does, it goes completely crazy. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/SourceCode'': Very good, though a bit too long. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review. * ''Film/SpiderManTrilogy'': Didn't review any of the films, but he discussed them in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10280-Sam-the-Man-Part-II "Sam the Man - Part II"]], a retrospective of Creator/SamRaimi's career. ** ''Film/SpiderMan'': Talks about the massive nerdgasm that occurred across the internet when it was announced that Raimi was going to be directing, and how he and the ''Spider-Man'' films proved to be a match made in heaven. While it lags a bit in the second act, the rest of the film is "damn close" to perfect. ** ''Film/SpiderMan2'': Calls it the greatest superhero film of all time. Having gotten the origin story out of the way, this film was free to take on a bigger and better story and special effects. Raimi felt more assured directing blockbuster action, the returning cast members felt more at home in their roles, and Doctor Octopus is the best villain the series has had. ** ''Film/SpiderMan3'': While it's a very flawed film and easily the worst in the original trilogy, he doesn't think it's as bad as its reputation suggests. In particular, he finds the film's version of ComicBook/{{Venom}} to be a more interesting character than the one in the comics, and he was one of the few people who liked the "emo Peter Parker", feeling that to have been a better decision than the cliche of having the symbiote turn him into a {{badass}} AntiHero. After all, it's ''[[HollywoodNerd Peter Parker]]''; having him act like what he imagines a cool badass to be like (and failing miserably) is far more in-character than actually making him cool. * ''Film/{{Splice}}'': Loved it on all levels, comparing it to ''TheFly'' and ''Film/{{District 9}}'' as both an intelligent sci-fi film and a character-focused drama, and appreciating how it didn't sink into the [[ScienceIsBad anti-intellectualism]] that often characterizes movies of this ilk. He also noted that [[HalfHumanHybrid Dren]] was "likely to keep DeviantArt busy for the rest of the year." * ''Film/SpringBreakers'': Compares it to "Creator/{{Disney|Channel}} [[XMeetsY meets]] ''Film/NaturalBornKillers''", and calls it one of the all-time great pop crime dramas and one of the best films of 2013. It's far more than just another teensploitation flick, a tale not of innocence lost, but of "existential emptiness found", and will likely go down as one of this generation's great cultural cinematic touchstones. * ''Film/SpyGame'': It's good, but it's easy to see why it disappointed at the box office -- it's a spy movie with a worldview rooted in the ColdWar released just two months after [[TheWarOnTerror 9/11]] made that worldview obsolete. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/StarTrek'': Bob went in with the lowest of expectations, since the film had been written by the writers of ''Film/{{Transformers}}'' (which he hated) and seemed to be marketed towards the LowestCommonDenominator, almost to the point of insulting fans of the franchise. While the end result didn't suck like he had feared, it never rises above [[SoOkayItsAverage strictly average]] either, with ChrisPine giving a wooden performance as Kirk and the screenplay being too reliant on coincidences moving the plot forward. He never understood why so many other critics were gushing over the film, and he came back to it in his review of ''District 9'' to argue that that was the kind of movie that this one should've been like. ** ''Film/StarTrekIntoDarkness'': Commented during his review of ''Killing Them Softly'' on how similar the film's marketing seemed to be to that of Christopher Nolan's ''Dark Knight'' films. Later, in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7295-Mystery-Bonks "Mystery Bonks"]], he expressed concern over what he felt was the reason why the studio was holding out on screening the film for certain critics despite the fact that it's already been released in some other countries -- that Creator/JJAbrams was once again employing his "mystery box" marketing strategy, putting a big twist into the movie to build hype over while making it difficult for critics to have a spoiler-free discussion of any problems the film might have.\\ \\ In his eventual review, he felt that his fears about Abrams' mystery-heavy marketing were confirmed, though obviously, he couldn't say why without spoiling the film. He found this film to be inarguably worse than the first, ironically because it was trying to be a deeper film than just the "big dumb action flick" that the original was, and fumbling miserably. Its big twist not only comes off as winking, pandering fanservice that doesn't mean anything, but invites many unfavorable comparisons to one of the greatest ''Star Trek'' movies ever made, making it look that much worse in comparison. * ''Franchise/StarWars'': A big fan, but that's to be expected. Didn't review it, but in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9521-Consequences "Consequences"]], he discussed how chaste and masculine the movies were compared to prior bodice-ripping SpaceOpera stories. The ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6509-Thats-No-Moon "That's No Moon"]] also discussed Creator/{{Disney}}'s buyout of Lucasfilm, and what Bob felt that meant for the future of ''Star Wars'' -- namely, re-releases of the original trilogy without Creator/GeorgeLucas' later edits, a lack of recognition of the Franchise/StarWarsExpandedUniverse (Disney spent big money for Lucasfilm, so it's likely that the direction they take will be far more mass-market than that), and the hopeful possibility that they'll take similar risks with the new ''Star Wars'' films that they did with the Franchise/MarvelCinematicUniverse. ** ''Star Wars Episode IV: Film/ANewHope'': In another ''Intermission'' editorial with [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9995-Lets-Remake-Star-Wars a self-explanatory title]], he made the blasphemous case for remaking the film, stating that everybody now knows the plot of the series and what had worked in the other films, meaning that they could go back and fix the things that needed fixing. In addition, it might well protect the original trilogy from further tampering by Creator/GeorgeLucas, giving him a whole new sandbox for him to realize his ideas in. (Or not.) In the process, he argued that the plot of the film was, essentially, what WorldWarII would have looked like if it had been fought by the Baby Boomer generation in a sci-fi world. ** ''Star Wars Episode I: Film/ThePhantomMenace'': Did a retrospective review of the film for its 3-D rerelease in 2012. For a very long time, Bob counted himself among the ''StarWars'' fanboys who felt that ''The Phantom Menace'' had raped their childhood memories, though he's since changed his mind, coming to regard it as SoOkayItsAverage rather than the total disaster that the more vocal parts of the fandom proclaim it to be (and yes, he's seen the famous [[http://redlettermedia.com/plinkett/star-wars/star-wars-episode-1-the-phantom-menace/ Plinkett review]]). In fact, he feels that it's not even the worst ''StarWars'' movie, that "honor" belonging to ''AttackOfTheClones''. The reason why he feels so many people hate it is because it had the weight of sixteen years of anticipation on its shoulders, which turned a mediocre film into an awful experience for many old-school fans. ** ''StarWarsTheCloneWars'': "It keeps coming back; corrupted, evil, and out to harm us." ** ''Star Wars Episode VII'': Hasn't reviewed it yet, but he discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6763-A-Disturbance-In-The-Force "A Disturbance In The Force"]]. He feels that Creator/JJAbrams is a horrible choice to direct a ''Star Wars'' movie, one of the few people he could think of more ill-suited than late-period Creator/GeorgeLucas. Going through his filmography, Bob feels that Abrams, while a hard-working filmmaker who will probably turn in a pretty good movie, doesn't possess the kind of vision needed to elevate a movie from [[SoOkayItsAverage "pretty good"]] to truly great. He attributes some of this choice to fandom for demanding slavish, superficial dedication to the source material, saying that this is preventing potential visionaries from applying their own touch to the material and is instead producing safe films that are constrained by fear of AdaptationDecay. * ''Film/{{Stoker}}'': Called it "pretty nuts" and said it played out like a "really good Creator/BrianDePalma movie." Didn't review it, but he mentioned it at the beginning of his review of ''Jack the Giant Slayer'', telling people to go see it instead of that film. * ''Film/StrawDogs'' (the remake): [[CompletelyMissingThePoint Totally missed the point]] of the original film, turning a bleak, nihilistic thriller about [[BlackAndGrayMorality the breakdown of morality]] into a preachy, redneck-baiting, values-affirming WishFulfillment power fantasy. Without spoiling anything, the manner in which it handles a pivotal moment from the original not only removes the moral ambiguity that made that film such a classic, but leaves a ton of FridgeLogic in its wake. He admits that the ending is awesomely cathartic, but it's not worth sitting through the rest of the film to get to. * ''Film/TheStuff'': "It's pretty awesome." It's a mishmash of the monster from ''Film/TheBlob'' and the anti-consumerist satire of ''Film/TheyLive'', and he's surprised that it hasn't been remade yet. Didn't review it, but he discussed it at the end of his review of ''Branded'', a film that he felt to be a pale imitator of this film, and in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''Film/SuckerPunch'': It may look like [[NinjaPirateZombieRobot fanboy-bait]] and a {{fanservice}} vehicle on the surface, and it's often cluttered, unfocused and more ambitious than what [[Creator/ZackSnyder the filmmakers]] can actually pull off, but Bob found it to be a lot deeper than his fellow critics did. In his opinion, a lot of people missed the fact that the film is actually condemning, and not celebrating, the fetishism and objectification (particularly of women) that runs rampant through male geek culture, somehow ignoring that the film seems to [[{{Anvilicious}} scream out]] [[YouBastard its intentions]] to the viewer at every turn. He compares it to both {{burlesque}} and to ''Film/StarshipTroopers'', another film that was mistaken for exactly the opposite of what it actually was[[note]]In that case, militarist/nationalist propaganda rather than a satire of such.[[/note]].\\ \\ He also views the film as a criticism of third-wave or "sex-positive" feminism, in the sense that women like Baby Doll who allow themselves to be objectified for their own empowerment are portrayed as childish [[spoiler:and fail to escape the confines of the male-dominated asylum (i.e. patriarchy)]], while Sweet Pea, who is the least sexualized of the main characters and is often the voice of "traditional" feminism throughout the film, is portrayed as the most mature of the group [[spoiler:and is the only one who escapes]]. Ultimately, its main failing was that it tried to say something about some delicate subject matter and failed to successfully pull it off, meaning that its intended message getting lost and mistaken for exactly the opposite. He discussed his thoughts on the film both within the review and, a year and a half later, in a two-part ''[[http://www.escapistmagazine.com/videos/view/the-big-picture/6247-You-Are-Wrong-About-Sucker-Punch-Part-One Big Picture]]'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/6266-You-Are-Wrong-About-Sucker-Punch-Part-Two episode.]] * ''Suddenly'': A pretty good movie, but better known now for how it became a [[KeepCirculatingTheTapes "lost film"]] after the JohnFKennedy assassination due to its [[HarsherInHindsight unfortunate subject matter]] and, possibly, the demand of its star Music/FrankSinatra[[note]]Who was a personal friend of JFK, and ''did'' pull ''Literature/TheManchurianCandidate'' from circulation for the same reason[[/note]]. He also discounted the UrbanLegend that Lee Harvey Oswald had been watching this film before he shot JFK. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''Film/{{Super}}'': "As awesome as you've heard." It's dark and brutal, but also hilarious and strangely uplifting, with RainnWilson and EllenPage knocking it out of the park. Didn't review it, but he mentioned it at the beginning of his ''YourHighness'' review, and at the end of 2011 he listed it as one of his top ten movies of the year. * ''Film/{{Super 8}}'': Bob went in viewing the film as a test of his integrity as a film critic -- it had been tailored to appeal to the twenty-to-thirtysomething geek audience that he counted himself as part of (he called it "weaponized nostalgia"), so he worried that he might let the geeky sci-fi references and {{Shout Out}}s to classic Amblin films overwhelm him to the point where he couldn't judge the film objectively.\\ \\ In the end, he said that the film was [[SoOkayItsAverage "not bad"]], but didn't really work all the way through, with the handful of great moments making the bad ones look that much worse. The narrative is overly complicated and doesn't come together in a cohesive whole; while the main story focusing on the kids making their movie is outstanding, the B-plot about the alien and the related GovernmentConspiracy falls flat, especially once it takes over the film in the second half. While it's clear that the makers of this film are huge fans of films like ''Film/TheGoonies'' and ''Film/ETTheExtraTerrestrial'', they don't quite get what made those films work. Bob also found the LensFlare to be so annoying that he filled a good stretch of the review with lens flare in order to riff on it. * ''Film/SuperMarioBros'' (rough cut of the reboot): A great way for Creator/{{Nintendo}} to kick off its new film studio project, with a hip, gritty sense of realism to its story, as well as [[WTHCastingAgency some surprisingly inspired casting]]. [[spoiler:Only none of it was real. The entire review was an AprilFoolsDay joke parodying just about every trend in modern Hollywood moviemaking, such as overuse of [[ChromaKey green-screen]] and [[ConspicuousCG computer animation]], exorbitant budgets and ticket prices, [[ThreeDMovie 3-D]] post-conversion, StuntCasting, the focus on sequels and franchises, and the attempt to shoehorn properties into the DarkerAndEdgier template popularized by ''Film/TheDarkKnight''.]] * ''Film/{{Superman}}: The Movie'': One of the three films that he counts in his "canon" of the greatest superhero movies of all time, the other two being ''Film/{{Spider-Man}} 2'' and ''Film/TheDarkKnight''. He discussed the film in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7449-Superman-Revisited "Superman Revisited"]], talking about how Creator/ChristopherReeve's portrayal of Superman defined the image of the character for decades to come -- no small feat, given how Superman was already a pop culture icon when this film came out -- and why ''Man of Steel'' is making a conscious effort to change various aspects of Superman's origin so as to make itself distinct from this film. It also still holds up amazingly well as an actual movie, largely due to Richard Donner's conscious effort to make a superhero film that respected the source material rather than indulging in {{camp}}, while drawing on the tropes of Hollywood movies rather than those of comic books or trying to make the film "realistic". * ''Film/{{Surrogates}}'': "Pretty Damn Good". A bit more than SoOkayItsAverage. Sets out some reasonably ambitious goals and hits them; Bruce Willis really carries the emotional core of the movie; an interesting exploration of its premise... and there's not much more you can say. "Pretty Damn Good". He ended the review by mentioning ''Film/GingerSnaps'' and ''{{Ponyo}}'' (he liked both of them). * ''Film/{{Taken}}'': "Ridiculous, but fun, I'll admit." Felt it to be shameless pandering and WishFulfillment for conservative middle-aged dads, calling it "not just ''FatherKnowsBest'', but ''Father Knows Everything''." However, it was still a very well-made action flick that didn't try to sugar-coat what LiamNeeson's character did to save his daughter, avoiding the hero worship and BlackAndWhiteMorality that so frequently comes with such films. He also said that there are likely to be a lot more BadassGrandpa action movies coming out not just because of this film's success, but because the lucrative Baby Boomers are growing older. Didn't review it, but he discussed it in his review of its sequel... ** ''Taken 2'': "A great premise, but not even [Liam Neeson] can save this one." It started out with a great setup -- Neeson's character's behavior in the first film [[YouKilledMyFather coming back to haunt him]] -- but then fell apart by breaking Bob's WillingSuspensionOfDisbelief while losing the moral ambiguity that made the first film work so well. The action scenes weren't nearly as effective, and the "evil foreigner" implications, which came off as ironic in the first film (partly because it was made by French filmmakers), were cranked UpToEleven and felt downright xenophobic here. Bottom line: you're better off rewatching the original. He opened the review with an imitation of Neeson's famous "I will kill you" speech from the first film, blasting this one. * ''TheTakingOfPelhamOneTwoThree'' (the remake): Bob didn't enjoy it as much as many others did. DenzelWashington is great as usual, but JohnTravolta is gratingly [[LargeHam hammy]] as the villain, and the action scenes, while quite nifty, sometimes feel shoehorned into the narrative. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II "Remembering Tony Scott, Part 2"]], a retrospective of the late Tony Scott's career. * ''Film/TeamAmericaWorldPolice'': Mentioned in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5273-Monsters-Movie "Monster's Movie"]]. He regards its parodies of celebrity activism as {{shallow|Parody}} and [[UnintentionalPeriodPiece rather dated]], though its [[LargeHam hammy]] portrayal of [[UsefulNotes/NorthKorea Kim Jong-il]] wasn't far off from what the man was like in RealLife. * ''Film/{{Ted}}'': The plot follows the [[Creator/JuddApatow Apatow-style]] "bromance" [[StrictlyFormula formula]] almost to the point of self-parody, and your enjoyment of the film will depend on your tolerance for Creator/SethMacFarlane's blue-collar, pop-culture-obsessed Yankee humor, but Bob found it hilarious, calling it the best mainstream comedy of the year and one of his top ten movies of 2012. Ted is a great character, the house party scene will likely go down as one of the great comedy moments, and it's nice to see a "girlfriend" character in a male-oriented buddy film who's an actual character rather than a plot device.\\ \\ The real genius of the film, though, is in how it takes the "slacker best friend" of many modern buddy comedies who is holding the protagonist back and turns him into a literal representation of immaturity -- in this case, a walking, talking teddy bear who the main character has owned since childhood. The fact that this film, an R-rated comedy built around an original idea, was one of the big hits of that summer comes to Bob as a positive sign. And as a Massachusetts native, seeing the dinosaur statue at the mini-golf course in Saugus, MA in a movie "almost made [him] weep." A while after his review, he discussed it further in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9945-The-Tao-of-Ted "The Tao of Ted"]]. * ''Film/TeenageMutantNinjaTurtles'' (the original live-action trilogy): The first two were decent, but the third '''''MUST NEVER BE MENTIONED AGAIN'''''. Didn't review them, but he mentioned them in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5549-Shell-Shock "Shell Shock"]], during his discussion of... ** ''Film/TeenageMutantNinjaTurtles'' (the upcoming live-action reboot): Likely to suck by virtue of its production company [[Creator/MichaelBay Platinum Dunes]]' track record, though he thinks that the InternetBackdraft over the turtles being aliens is overblown, noting that the animated series that most of Generation X remembers was itself very different from the dark, gritty, satirical comics that it was based on -- but then again, to many fans, the cartoon was [[AdaptationDisplacement the defining version of the franchise]], so they do have a right to demand it stay faithful. Hasn't reviewed it yet (since there is no film to review yet), but he mentioned it in two consecutive ''Big Picture'' episodes, [[http://www.escapistmagazine.com/videos/view/the-big-picture/5525-Mutants-and-Masses "Mutants and Masses"]] and "Shell Shock" (the latter because, with the former episode, all any of his viewers wanted to talk about was the ''VideoGame/MassEffect3'' ending controversy that he had also discussed).\\ \\ Later on, after the project fell apart and after Bob had [[http://moviebob.blogspot.com/2012/08/michael-bays-postponed-tmnt-script-has.html read the leaked script]], he came back to it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10083-That-Also-Almost-Happened "That (Also) Almost Happened"]] to state his thoughts on it. In short, it would've been ''Ninja Turtles'' [[XMeetsY meets]] Michael Bay's ''Transformers'', a HumanFocusedAdaptation that Bob is happy to see stay buried, failing as both a ''Ninja Turtles'' movie and as a SummerBlockbuster. * ''Franchise/{{Terminator}}'': With the franchise now stuck in a ditch, Bob thinks it's time to reboot the whole thing, and that the series' use of TimeTravel and {{alternate universe}}s offers an easy way for them to do this. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/7164-The-Boot-Part-One "The Boot, Part One"]] ** ''Film/TerminatorSalvation'': Didn't review it, but in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/8237-That-Almost-Happened "That Almost Happened"]], he discussed the [[WhatCouldHaveBeen original ending]] that was planned for the film, how it would've radically altered the foundation of the series, and how it was changed (to the film's detriment, in Bob's opinion) after it was leaked and caused a fan outcry. * ''Film/ThatsMyBoy'': "It's a vile, puerile, lowbrow, totally disposable junk movie, but I can't deny that it works as one." If nothing else, the film's R rating was a great thing for Creator/AdamSandler's brand of humor, allowing him to take it to its darkest extremes. On the other hand, Bob's always felt that Sandler works best in StraightMan roles rather than as wacky characters, and he often comes off as grating. He doesn't recommend it, but you can do far worse. He discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9746-What-It-Is "What It Is"]]. * ''Film/TheThing1982'': Finds it to be one of the best monster movies ever made. Didn't review it, but he discussed it in his review of its remake/prequel... ** ''Film/TheThing2011'': On the other hand, he felt the remake to be boring and dull, with [[ConspicuousCG obvious CGI]] and bland characters and directing. He ended the review by telling people to watch the original instead. He first mentioned both films in his "The Look Ahead" special on ''Escape to the Movies''. * ''Film/ThisIsTheEnd'': Said it will likely end up on his "best of 2013" list at the end of the year. This ''should've'' been one of the worst, most self-indulgent vanity projects to ever come out in theaters, but instead, it's both hilarious and brilliant, constantly taking its setup and cranking it up to the next logical conclusion every fifteen minutes. Whether it's from shock value, celebrity cameos, references to the stars' past films, or the interplay of the main characters, the gags come a mile a minute, and your gut will hurt from laughing even if only some of the jokes hit their mark. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10430-Apocalaughs "Apocalaughs"]]. * ''Film/ThisMeansWar'': "Not cute. Not funny. Not worth it." Yet another steaming turd trying to copy the success of ''Film/MrAndMrsSmith'''s action/rom-com hybrid, with a [[UnfortunateImplications misogynistic]] premise, no chemistry between the leads, and protagonists that act like {{stalker|WithACrush}}s. Bob wishes that it [[NotScreenedForCritics hadn't been screened for critics]] just so that he wouldn't have had to suffer through it. At the end of 2012, he listed it as one of his ten worst movies of the year. * ''Film/{{Thor}}'': Very positive review. He appreciates the more subtle [[ContinuityNod nods]] to the MarvelCinematicUniverse and notes that it's the most kid-friendly superhero movie since the first ''Film/SpiderMan'' film. ** ''Film/ThorTheDarkWorld'': Worried by reports of a TroubledProduction, but he's excited to return to the first film's world, as well as by the return of Loki. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorials [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]] and [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10512-Lets-Watch-Thor-The-Dark-Worlds-New-Trailer his analysis]] of the film's trailer. * ''Film/TimAndEricsBillionDollarMovie'': Bob's a huge fan of Creator/TimAndEric, mainly due to the way that their parodying of corporatized [[FlyoverCountry middle America]] actually understands what it's like to grow up there (unlike Hollywood's frequent condescension), though he acknowledges that their humor is definitely an acquired taste.[[note]]The following week, he mentioned that he had received a ton of critical comments telling him to stop reviewing comedy films, since his enjoyment of Tim and Eric apparently "proved" that he had no taste in humor.[[/note]] Regarding their first feature film, it's quite funny, particularly with the huge [[HeyItsThatGuy supporting cast]], and is recommended for fans of both Tim and Eric and of surreal comedy in general, though it falls into much the same trap that many TV comics turned first-time filmmakers fall into -- namely, switching from a 15-minute TV show to a 90-minute, R-rated feature film causes them to rely too much on VulgarHumor and lose the rapid-fire comedy that made them famous. * ''Film/TopGun'': Didn't really like it, but he gets why so many people did, saying that it was pretty much an ExcusePlot designed for the sole purpose of putting tons of fancy fighter jets up on the screen. The fact that director Tony Scott was able to make it into a good movie is a testament to his skill. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Film/{{Total Recall|1990}}'' (the original): Either the last great action movie of TheEighties or the first great one of TheNineties, and a must-watch for any fan of Creator/ArnoldSchwarzenegger or science fiction, though Bob does admit that [[NostalgiaFilter his generation probably overstates how good it actually was]]. He regards it as a "bridge" of sorts between the machismo-heavy action flicks of TheEighties and the sort of "big idea" sci-fi/action blockbusters that ''Film/TheMatrix'' popularized. Didn't review it, but he was compelled to discuss it in his review of its remake... ** ''{{Film/Total Recall|2012}}'' (the remake): "A few good ideas, but not as good as the original." It's a boring movie whose action scenes, while very well-shot and slickly made, are uninvolving due to how thin the characters and story are. Its attempts to recapture the original's mind-bending, "is it real or just part of the simulation?" feeling likewise fall flat due to how dour and serious the entire affair is. In addition, while Kate Beckinsale is a standout as the DarkActionGirl villain, Colin Farrell can't really carry the film, making a much better character actor than a leading man. * ''Film/TowerHeist'': Bob found it to be utterly forgettable, lifeless and a symbol of all of the worst features of the studio system, with the only thing memorable about it being its role in the controversy that surrounded {{Universal}}'s on-demand release plans. Making it worse was that there was a lot in it that he felt [[TheyWastedAPerfectlyGoodPlot could've made for a great movie]] if it had a competent writer and director. * ''WesternAnimation/ToyStory3'': Couldn't have been made at a better time (the kids who grew up with the first two movies are now high school- and college-age, much like Andy), and an emotional rollercoaster that's both hilarious and heartbreaking. Part of the strength of the whole series, in Bob's opinion, is that it has never shied away from themes of mortality and obsolescence [[NeverSayDie the way that other kids' movies do]], and now, it's hitting those themes head-on. At the very least, the discomfort caused by the [[ThreeDMovie 3-D glasses]] will make a handy excuse for why you're [[TearJerker crying crocodile tears during the last 15 minutes]]. * ''Film/TheToxicAvenger'': More relevant now than ever, and just as enormously entertaining as it was back in 1984. He also found it funny how they made a MerchandiseDriven SaturdayMorningCartoon (''Toxic Crusaders'') out of a movie so violent that he couldn't even show that much of it for the episode. Didn't review it for ''Escape to the Movies'', but he covered it in his "Schlocktober" special for ''The Big Picture'', one day after Halloween[[note]]"As though Moviebob can be constrained by puny dates!"[[/note]]. * ''[[Film/{{Transformers}} Transformers: Revenge of the Fallen]]'': He ''loathed'' it more than mere words can describe. Pours searing venom onto Creator/MichaelBay, "the biggest hack since [[VideoGame/GrandTheftAutoSanAndreas Hot]] [[HotCoffeeMinigame Coffee]]." ** ''Transformers: Dark of the Moon'': Still sucks, though filming in 3D toned down most of Creator/MichaelBay's worst tendencies as a director, leading to more coherent action scenes and a (slightly) better movie than the last one. * ''TheTreeOfLife'': "[[TrueArt Pretentious?]] Possibly. [[MindScrew Strange?]] Definitely. Compulsively watchable? Absolutely." Bob didn't review it, but at the end of 2011 he named it his favorite film of the year, comparing it to ''Film/TwoThousandOneASpaceOdyssey'' in terms of films that "you don't just watch, you experience." * ''TheTrollHunter'': One of the best monster movies of the year, with great effects and a fun, satirical take on classic Norwegian mythology and the concept of the heroic monster hunter. Plus, it highlights one of the positive effects that CGI has had on modern filmmaking -- it has broken Hollywood's monopoly on blockbusters by reducing the budget needed to make them, allowing indie and non-American filmmakers to make such films as well. * ''Film/{{TRON}}'': Its visuals were certainly breathtaking by 1982 standards, but it was unevenly paced and didn't really capitalize on its bigger ideas. Didn't review it, but he was compelled to mention it in his review of its sequel... ** ''Film/TronLegacy'': Bob gives it a B+ and calls it a fun nostalgia trip, saying it has many of the same strengths and weaknesses as the original -- it's got gorgeous visuals, SugarWiki/AwesomeMusic courtesy of Music/DaftPunk, stunning use of 3-D, and proof of God's existence in the form of Olivia Wilde, though it struggles when it's trying to balance the needs of being the start of a new franchise for {{Disney}} with those of being a standalone film. Still, if you loved the original, you'll love this one too. * ''TrueGrit'': Discussed both the 1968 version starring JohnWayne and the 2010 remake by Creator/TheCoenBrothers while reviewing the latter. Bob considers the original to be good, but not a classic, most notable for being the film that Wayne received his long-awaited and much-deserved Oscar for. Regarding the remake, the entire cast (including Josh Brolin, who is officially forgiven for ''Film/JonahHex'') all turn in great performances... and there's not much more he can say. Both versions are fairly straightforward [[TheWestern Westerns]] without much in the way of contrivance, and both are good, so go see them. Plus, seeing as how the episode was released on New Year's Eve, Bob opened the review pretending to be drunk. * ''Film/TrueRomance'': One of Tony Scott's best films. He also noted that the film played out like a WishFulfillment fantasy for writer Creator/QuentinTarantino (his first screenplay to be adapted to film), given how it's about a comic-shop clerk who falls in love with a HookerWithAHeartOfGold and goes on the run from the mob. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9883-Remembering-Tony-Scott-Part-I "Remembering Tony Scott - Part 1"]], a retrospective of the late Tony Scott's career. * ''Literature/{{Twilight}}'': "Having to watch this movie is the most pain I've experienced at the hands of something beloved by preteen girls since I got kicked in the nuts by a pony." Bob is highly critical of both the movies and the books that they are based on, not only for their stilted writing and {{flat character}}s, but particularly for [[NeverASelfMadeWoman the message that]] [[StalkingIsLove they send to]] [[UnfortunateImplications impressionable tween girls]], which he feels is creating a generation of "DomesticAbuse victims waiting to happen." He views the series as, essentially, conservative Christian abstinence propaganda, and has said as much on multiple occasions.\\ \\ After ''Breaking Dawn -- Part 2'' came out, he discussed the series in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], talking about how it awakened Hollywood to the fact that the young female dollar can be just as lucrative as the young male dollar. He took a look at several {{young adult|Literature}} series that were being adapted to film in an attempt to cash in on ''Twilight''[='=]s success. "Point is, we might be through with this crap, but this crap ain't through with us." ** ''New Moon'': Just as bad as the first, though he thought [[FictionIdentityPostulate some of the plot points]] ''[[FictionIdentityPostulate could]]'' [[FictionIdentityPostulate make a good movie]], [[DarthWiki/SoBadItsHorrible even if they didn't]]. ** ''Eclipse'': "Two hours of TaylorLautner standing around not getting the message, briefly interrupted by a sad excuse for a monster battle." Found the rehashing of ''New Moon'''s LoveTriangle especially painful. ** ''Breaking Dawn -- Part 1'': Painfully slow, [[{{Bowdlerise}} overly tame]], [[{{Narm}} unintentionally hilarious]], and carrying an {{anvilicious}} pro-life message that made Bob cringe. By this point, he seemed hopeful that the franchise would finally die already, given that ''Breaking Dawn'' was the BlackSheep of the book series, and that the generation of tween girls that turned the books and films into blockbusters was growing up and leaving high school. ** ''Breaking Dawn -- Part 2'': "It took five movies, but they did it. They finally figured out how to make this crap ''work''." By indulging in all the worst aspects of the books and turning them UpToEleven, this film, the capoff to the ''Twilight'' saga, manages to be [[SoBadItsGood So Bad, It's Absolutely Hilarious]] and the most fun that Bob's had at the movies all year. It fixes the book's [[AntiClimax anti-climatic ending]] by adding in one of the most awesome action scenes he'd witnessed all year, while still (for better or worse, and Bob's leaning towards the latter) staying faithful to the novel. It's a masterpiece of awful cinema that begs to be seen in theaters. * The films of TylerPerry: While he's never done a proper review of any of his movies, Bob has stated on multiple occasions that he regards him as a hack, and a consequence of Hollywood's failure to pay attention to black audiences (and why, in turn, the games industry shouldn't make the same mistake). In the ''Game Overthinker'' episode [[http://www.youtube.com/watch?v=DhopxZqQrmo "Mississippi Pwning 2"]], he outlined what he felt was the reason Perry was so successful -- that black moviegoers had been left so alienated by the crappy, low-budget action movies and crude comedies that Hollywood sent their way that, in desperation, they latched onto Perry in order to have a filmmaker, ''any'' filmmaker, to call their own.\\ \\ That said, he does find himself fascinated by Perry's films, given that any film that is written by, directed by, produced by, and stars the same person usually has a very distinct feel, even if it turns out to be crap. He finds the films to be quite misogynistic, and possessing a great deal of MoodWhiplash between Perry's [[WholesomeCrossdresser comedic "Madea" character]] and the {{soap opera}}-esque {{melodrama}} that the films are loaded with, but Perry does have a very unique presence on screen, and for what it's worth, his fans love his work. * ''Film/{{Unbreakable}}'': Bob's favorite Creator/MNightShyamalan movie and the one he feels to be the most underrated, due largely to the fact that it was [[ToughActToFollow following]] ''The Sixth Sense''. He particularly liked how Creator/BruceWillis and Creator/SamuelLJackson were PlayingAgainstType, and how it deconstructed and played with {{superhero}} tropes. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/{{Underworld}}'': He really liked the first three movies, and was disappointed that the fourth one was NotScreenedForCritics (the reason why he didn't review it). Didn't review any of the films, but he mentioned them at the end of his ''Film/RedTails'' review. * ''Film/{{Unstoppable}}'': It's hardly all that original or meaningful, and ChrisPine is pretty bland, but Tony Scott knows his action, and it's got everything that Bob loves about {{disaster movie}}s. * ''WesternAnimation/{{Up}}'': This lifted Bob's spirits after an abysmal summer run. The video is less of a review and more or a treatise on the success of {{Pixar}} due to their choice of stories. * ''Venom'' (the 1981 film): Said that it takes the cake for demonstrations of FinaglesLaw in fiction, and talked about how Creator/KlausKinski passed up a role in ''Film/RaidersOfTheLostArk'' for this film. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]]. * ''[=V/H/S=]'': "Somebody is going to try to tell you how great [this movie] is. Well... it's not. ''It's really, really not.''" Didn't review it, but he mentioned it in both his review of ''The Master'' and in that week's ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9945-The-Tao-of-Ted "The Tao of Ted"]], where he said that he "hated (almost) every minute of it." * ''Series/VeronicaMars'' (the movie): In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10234-Kickstopper "Kickstopper"]], he stated that the success of the film's Website/{{Kickstarter}} campaign, while inspiring, sets a bad precedent for the relationship between major studios and fans, and goes against the spirit of crowdfunding. * ''Film/VickyCristinaBarcelona'': Positive, in that it's the Creator/WoodyAllen spin on [[TheOldestOnesInTheBook a well-worn storyline]]. * ''Film/TheVillage'': The first MNightShyamalan movie that Bob truly hated. While well-shot and acted, the first half is dull and the second half, particularly the twist, is laughable. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/VisitorQ'': Called it "a brutal satire of Japanese middle-class family life" that, while lacking in the gore that characterizes many Creator/TakashiMiike movies, makes up for it with a {{squick}}y plot. Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9419-Test-Your-Might "Test Your Might"]], a discussion of "extreme" movies. * ''Film/{{Wanted}}'': Neutral. "[[SoOkayItsAverage It's not good, but it's definitely not bad]]." * ''Film/WarHorse'': "It's simple, it's old-fashioned, it's brazenly corny, but in the end it earns the right to be just that." Bob declared it to be one of the best films of the year, saying that it should've sank under the weight of its schmaltz if not for the fact that Creator/StevenSpielberg is ''just that good'' at making these kinds of movies. * ''Film/WarmBodies'': A light, gentle sendup of zombie movies that's a bit too dopey and "precious" for its own good, and whose zombie [[OurZombiesAreDifferent "rules"]] don't really make sense, but which has a lot of fun digging into the tropes of the genre and why it is so popular while taking its central love story entirely seriously rather than playing it as a joke. A while before his review, he first discussed his thoughts on it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6541-Next-Light "Next Light"]], saying that he was excited by the idea of JohnMalkovich and Rob Corddry starring in a zombie movie. * ''Film/TheWatch'': It's a bad movie, with the great chemistry between the four leads failing to make up for a very rote story, lame jokes that are stolen from better movies, and a lack of understanding of who its target audience seems to be (teenage boys who want to see an AlienInvasion comedy, or suburban dads who can relate to the protagonists?). He also discussed the film's name change from ''Neighborhood Watch'' in the wake of [[TooSoon the Trayvon Martin shooting]] putting a less-than-rosy spotlight on neighborhood watch groups. At the end of 2012, he listed it as one of his ten worst movies of the year, noting just how quickly Vince Vaughn's star had fallen in just a few years. * ''Film/{{Watchmen}}'': He saw this movie four times and found it shattered all expectations (even if he couldn't remember what his were). It's a brilliant piece as either an adaptation or as a film on its own merits. Years later, he came back to it to say that, while he thinks that [[ComicBook/{{Watchmen}} the original graphic novel]] is the superior work, he preferred the film's ending over the comic's. * ''Film/WhereTheWildThingsAre'': Bob found the film "quietly brilliant, compared its tone to ''CalvinAndHobbes'', and stated that it ''almost'' revived his faith in humanity. * ''Film/WhiteHouseDown'': It ain't subtle in the slightest, but it works as both an over-the-top buddy action flick and as a shamelessly left-wing, anti-war WishFulfillment fantasy, its full commitment to its own craziness making for a far better "''Film/DieHard'' [[DieHardOnAnX in the White House]]" movie than its [[DuelingMovies direct competitor]], ''Film/OlympusHasFallen''. Bob praises Creator/RolandEmmerich's hand behind the camera and his willingness to push audiences' buttons rather than make generic, watered-down blockbusters. * ''Film/WhoCanKillAChild'': Brilliant in the way it manipulates its audience, making the children's maliciousness appear to be just normal "bratty kid" behavior instead of something demonic or zombie-like, making it harder to cheer on their deaths. Called the third act "one 'I can't believe what I just saw!' moment after another." Didn't review it, but he discussed it in his ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9974-Test-Your-Might-Round-2 "Test Your Might: Round 2"]], a discussion of "extreme" movies. * ''Wide Awake'': Not a bad film, but a fairly sterile and uninvolving one whose only real value now is in seeing how it contained, in embryonic form, many of Creator/MNightShyamalan's later trademarks as a director. Didn't review it, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10354-Nightfall "Nightfall"]], a retrospective of Shyamalan's career. * ''Film/TheWolfOfWallStreet'': Doesn't care much about the plot (a modern-day version of ''Film/WallStreet'', basically); he was sold the moment he heard that Creator/MartinScorsese was doing another movie with Creator/LeonardoDiCaprio. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]]. * ''Film/TheWolfman2010'' (the remake): He notes that the change in directors ended up making the film a "hodgepodge" of MoodWhiplash, but ultimately decides it's a competent horror movie. * ''Won't Back Down'': Didn't review it, but at the end of his ''Argo'' review, he compared it to ''Here Comes the Boom'' and found it to be a worse SaveOurStudents movie despite it having two Oscar nominees in the cast and its competition being a low-brow comedy. * ''WorldOfWarcraft'' (the movie): Hugely excited by the idea of Creator/DuncanJones directing this, even if he wishes that a ''[[Franchise/TheLegendOfZelda Legend of Zelda]]'' movie were coming out first. Hasn't reviewed it yet, but he discussed it in his ''Big Picture'' [[http://www.escapistmagazine.com/videos/view/the-big-picture/7766-San-Diego-Comic-Con-2013 recap]] of the 2013 San Diego Comic-Con. * ''Film/TheWorldsEnd'': It's not quite as quotable or memorable as ''Film/ShaunOfTheDead'' or ''Film/HotFuzz'', but it's otherwise a rock-solid film and a great capoff to the [[Film/BloodAndIceCreamTrilogy "Cornetto Trilogy"]], taking the tropes of sci-fi horror movies and nostalgic "reuniting the gang" comedies and using them to tell a very funny and tragic story that bucks the cliches of both genres. The fact that the main characters get progressively drunker over the course of the film is a creative solution to the problem of otherwise smart people carrying the IdiotBall to drive the plot forward, while Creator/SimonPegg delivers the best performance of his career and goes to some very dark places with his character. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013. * ''Disney/WreckItRalph'': Discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/5929-Junk-Drawer-Rises "Junk Drawer Rises"]]. He was very excited for it, having watched the trailer a few dozen times, and had referred to it as "''WesternAnimation/ToyStory'' for games." He didn't get people's complaints over the portrayal of Zangief from ''StreetFighter'' as a bad guy -- instead, can't we just focus on the fact that {{Disney}} managed to get all of these video game characters into a single movie?\\ \\ In his review, he said that, while it wasn't as good as ''Toy Story'' (and probably has more in common with ''WesternAnimation/TheNightmareBeforeChristmas'' than anything else), it was still a great film with engaging, well-casted characters (especially Jane Lynch as Sgt. Calhoun) that manages to throw treats to gamers without overdoing it on the inside jokes, even if he does worry that the marketing focused too much on this. It uses the programming of video games as a great metaphor for being trapped in a crappy life situation, and once it gets the slowly-paced world-building and exposition out of the way and settles in, it rivals the best that Pixar has to offer. At the end of 2012, he listed it as one of his top ten movies of the year. * ''Film/TheXFilesIWantToBelieve'': "I want to be... blegh, ''I want my money back!''" He called it worse than ''Film/ThePhantomMenace'' in terms of attempted rejuvenations of classic sci-fi franchises, with a plot that went nowhere, poor production values all around, and a mean-spiritedness that he felt to be [[UnfortunateImplications offensive and extremely tasteless]]. * The ''Film/{{X-Men}}'' films: Said that the series "hold[s] the record for the longest that a franchise has managed to ride a wave of goodwill generated just by being 'good enough.'" Discussed the franchise in his reviews of ''X-Men: First Class'' and ''The Wolverine''. ** ''Film/XMen1'' (the first film): Felt it to be SoOkayItsAverage, criticizing the action scenes, the costume design, the lack of development for minor characters, and what he felt to be an overall cheap feel. That said, he praised the cast and the film's attempt to treat the source material seriously rather than a campy joke, particularly its updating of the comics' civil rights allegory. Overall, at a time when Sam Raimi's ''Spider-Man'' was still in development, this film being just decent rather than another ''Batman & Robin'' was enough for many fans. ** ''Film/X2XMenUnited'': Better than the first film, which allowed many ''X-Men'' fans to call it a great movie, even though Bob merely thought it was just very good. ** ''Film/XMenTheLastStand'': Hates it, going as far as to say that it was "traumatizing". ** ''Film/XMenFirstClass'': Not only is it the best ''X-Men'' movie yet (Bob called it "the perfect ''X-Men'' movie"), but also one of the best superhero movies ever made, with Bob putting it in the same [[IncrediblyLamePun class]] as ''Film/TheDarkKnight''. A welcome return to form after the [[FranchiseKiller franchise-killing]] duo of ''The Last Stand'' and ''Film/XMenOriginsWolverine'', especially given its rushed production schedule. At the end of 2011, he listed it as one of his top ten movies of the year. ** ''Film/TheWolverine'': Goes back to the tradition of ''X-Men'' movies being just "good enough" instead of great. The action scenes are very fun, Creator/HughJackman is great, there wasn't a lot that really annoyed him, and there's a degree of meta enjoyment to be had in watching this film strain to maintain a PG-13 rating. His big problem with the film is that he feels that it gets lost in an overly convoluted plot that's too reliant on twists and sudden reveals for their own sake rather than to serve the story. * ''[[Film/SpaceAmoeba Yog: Monster from Space]]'': Less a discussion of the film itself (which he called one of {{Toho}}'s better non-''Franchise/{{Godzilla}}'' films) than the giant cuttlefish monster, which is "infathomably stupid-looking" but still quite charming. Didn't review it, but he discussed it in the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/6283-MovieBobs-Forgotten-Monsters "Moviebob's Forgotten Monsters"]]. * ''[[WesternAnimation/YogiBear Yogi's Ark Lark]]'': "It's been a while since I've watched this all the way through, but... I remember its heart being in the right place, but it's ''really'' [[{{Anvilicious}} preachy]], and it's weird seeing characters who mainly existed for slapstick [[CluelessAesop suddenly trying to be serious and learn about social responsibility]]." Didn't review it, but he mentioned it in the ''Big Picture'' episode "Smarter Than the Average Bear", a retrospective on the HannaBarbera canon (focusing on ''WesternAnimation/YogiBear''). * ''Film/YoureNext'': "Go see [this movie]. It's kind of ''amazing''." Didn't review it, but he gave it his firmest recommendation at the end of his review of ''The World's End'' and in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10544-Space-Invaders "Space Invaders"]], where he talked about the "home invasion" genre and why he felt it became popular. In the ''Big Picture'' episode [[http://www.escapistmagazine.com/videos/view/the-big-picture/8026-Summers-End "Summer's End"]], he listed it as one of his top ten movies of summer 2013, citing its solid writing and scares and its amazing lead actress. * ''Film/YourHighness'': "How much of a movie can you make out of [[StonersAreFunny one joke]]?" He felt that it will probably be a footnote in the careers of all involved (though it must've been incredibly cathartic for NataliePortman after the ''StarWars'' prequels and ''BlackSwan''), and that your enjoyment will depend on your tolerance for stoner humor, but overall, he enjoyed it. He opened the review with little mini-reviews of ''{{Hanna}}'', ''SourceCode'', ''Film/{{Insidious}}'' and ''Film/{{Super}}'', stating that he didn't have time to review all of the movies that had just come out (he liked all of them, by the way). * ''Film/ZeroDarkThirty'': Went into detail on how the termination of OsamaBinLaden [[RealLifeWritesThePlot forced a last-minute plot change]] to give Creator/KathrynBigelow's dark, somber military thriller a happy ending, and remarks on how, as a result, the first big AmericaSavesTheDay movie to come out of bin Laden's death feels a lot more morally ambiguous and a lot less "{{Hollywood|Style}}" than one would expect. What ultimately emerged was one of the best movies of the year, with a magnificent, Oscar-worthy performance by JessicaChastain, equally impressive direction by Bigelow, action scenes that are thrilling while remaining firmly grounded in reality, and a fact-based tone that allows viewers to come to their own judgments about what happened.\\ \\ A few weeks later, in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10126-Tortured-Logic "Tortured Logic"]], he addressed the controversy over the film's depiction of EnhancedInterrogationTechniques. He wonders exactly where this controversy came from, given not only the film's BlackAndGrayMorality, but also the fact that it quite explicitly averts TortureAlwaysWorks, showing it failing to secure intel on an impending terrorist attack -- [[ComplainingAboutShowsYouDontWatch precisely the opposite of the claim]] that the film was an endorsement of the {{CIA}}'s use of torture. * ''Film/{{Zombieland}}'': Thought that, while predictable, it was still fun as hell and [[{{Troperiffic}} put its cliches to great use]]. He spends much of the review analyzing why he thinks the zombie genre has become so popular (short answer -- we all hate each other and the world we live in). He also insists that you should punch out anyone who tries to tell you about the "best thing in ''Film/{{Zombieland}}''" lest they spoil it for you. ** Oh, did he mean the bit whe- *** *WHACK* [[/folder]] ----Z]]
16th Oct '13 12:15:09 PM TheRedRedKroovy
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* ''Bio Zombie'': Didn't review it, but he discussed it in his ''Big Picture'' 2013 [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie "Schlocktober" special]]. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake of the handover. He was impressed by just how much time the film takes to develop its characters before getting to the "good stuff", though he feels that this probably had more to do with the film's low budget than artistic intent. He also notes how the film's non-Western take on the zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they were wise to keep the zombies in the background and focus chiefly on the human drama.
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* ''Bio Zombie'': Didn't review it, but he discussed it in his ''Big Picture'' 2013 [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie "Schlocktober" special]].special]] for 2013. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake of the handover. He was impressed by just how much time the film takes to develop its characters before getting to the "good stuff", though he feels that this probably had more to do with the film's low budget than artistic intent. He also notes how the film's non-Western take on the zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they were wise to keep the zombies in the background and focus chiefly on the human drama.

* ''Bio Zombie'': ''Film/DeadHeat'': Didn't review it, but he discussed it in his ''Big Picture'' 2013 [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie com/videos/view/the-big-picture/8275-Schlocktober-2013-Dead-Heat "Schlocktober" special]]. special]] for 2013. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it cheesy and has a KudzuPlot, but it's CrazyAwesome personified, largely due to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake gore and the presence of ''[[Series/SaturdayNightLive SNL]]'' vet Joe Piscopo as one of the handover. He was impressed by just how much time leads. Bob also longs for the film takes to develop its characters days before getting to the "good stuff", though he feels that this probably had more to do with current boom in zombie-related media when the film's low budget than artistic intent. He also notes how the film's non-Western take on the few zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying films that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they ''did'' come out were wise to keep the zombies in the background and focus chiefly on the human drama.more unique.

* ''Jobs'': Called it a "sycophantic hagiography" of Steve Jobs that either glosses over or attempts to justify a lot of the real man's character flaws. The difference between this film and ''The Social Network'', a film that he sees this as a pale imitation of, is that the latter seemed to recognize how silly its subject matter was, while this film seems to fully buy into Jobs' cult of personality. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story.2 "Based on a True* Story"]].
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* ''Jobs'': ''Film/{{Jobs}}'': Called it a "sycophantic hagiography" of Steve Jobs that either glosses over or attempts to justify a lot of the real man's character flaws. The difference between this film and ''The Social Network'', a film that he sees this as a pale imitation of, is that the latter seemed to recognize how silly its subject matter was, while this film seems to fully buy into Jobs' cult of personality. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10530-Based-On-A-True-Story.2 "Based on a True* Story"]].
13th Oct '13 7:20:07 PM TheRedRedKroovy
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* ''Film/NaturalBornKillers'': Didn't review it, but in the ''Game Overthinker'' episode [[http://gameoverthinker.blogspot.com/2013/10/episode-87-gtav-is-not-satire-probably.html "'GTA V' Is Not A Satire (*Probably)"]], he used the film to demonstrate the difference between {{parody}} and {{satire}}. The flashback scene showing Mallory's upbringing, done in the style of a ''Series/MarriedWithChildren''-esque {{sitcom}}, was a satire of how that style of television often trivialized the abusive events that happen to its characters by [[PlayedForLaughs playing them for laughs]].
11th Oct '13 1:27:23 PM TheRedRedKroovy
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* ''Film/CaptainPhillips'': Surprised and impressed about how it didn't go the obvious route and focus on the daring Navy SEAL rescue that the [[BasedOnATrueStory real-life incident]] is most famous for, as well as how it was "obsessively resistant to politics or symbolism" and refuses to let them take over its story. Creator/TomHanks as the title character and unknown actor Barkhad Abdi as the pirates' leader are excellent, their interplay coming off as both outmatched and equal, while director Paul Greengrass is one of the few people who Bob feels knows how to make the JitterCam style really work. It's an easy shoe-in for award season. Reviewed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10649-Captain-Philips-Sympathy-for-the-Pirate "'Captain Phillips - Sympathy for the Pirate"]].

* ''Film/{{Machete}}'': Even without its underlying message, it's one of the best action movies of the year. However, its angry, un-subtle righteousness regarding its subject matter makes it that much better. ** ''Machete Kills'': Looking forward to it as a trashy breather from the prestige pictures of the fall, though he wonders how it can top the first one. Hasn't reviewed it yet, but he discussed it in the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]].
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* ''Film/{{Machete}}'': Even without its underlying message, it's one of the best action movies of the year. However, its angry, un-subtle righteousness regarding its subject matter makes it that much better. better. It may have been riffing on the [[{{Anvilicious}} ham-handed]] social justice messages of '70s {{blaxploitation}} movies, but it still felt like Creator/RobertRodriguez's most substantial film to date. Discussed it in his review of it and in his review of its sequel... ** ''Machete Kills'': Looking forward to it as a trashy breather from the prestige pictures of the fall, though he wonders how it can top the first one. Hasn't reviewed it yet, but he discussed it in In the ''Intermission'' editorial [[http://www.escapistmagazine.com/articles/view/columns/moviebob/10463-Winter-is-Coming "Winter is Coming"]].Coming"]], he said he was looking forward to it as a trashy breather from the prestige pictures of the fall, though he wonders how it can top the first one. When it came time to review it, he said it was "just as much fun, not as much impact," disappointed that it lacked the first film's angry tone and ultra-gory violence but otherwise enjoying himself with a "fun goof" at the movies. He particularly praises the cast, saying that they're great on both a meta level and with regards to how they serve the film itself.
8th Oct '13 1:23:15 PM TheRedRedKroovy
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* ''Bio Zombie'': Didn't review it, but he discussed it in his ''Big Picture'' 2013 [[http://www.escapistmagazine.com/videos/view/the-big-picture/8219-Schlocktober-2013-Bio-Zombie "Schlocktober" special]]. It's ''Film/DawnOfTheDead'' by way of UsefulNotes/HongKong, albeit more comedic (he compares it to a proto-''Film/ShaunOfTheDead''), as well as a [[UnintentionalPeriodPiece time capsule]] for that city's youth/geek culture in the wake of the handover. He was impressed by just how much time the film takes to develop its characters before getting to the "good stuff", though he feels that this probably had more to do with the film's low budget than artistic intent. He also notes how the film's non-Western take on the zombie genre diverged from American zombie tropes in a number of key ways, particularly where guns are concerned. He also briefly discusses ''Series/TheWalkingDead'', saying that both the show and [[ComicBook/TheWalkingDead the comic it's based on]] are "okay", but that they were wise to keep the zombies in the background and focus chiefly on the human drama.
5th Oct '13 10:19:40 AM SeptimusHeap
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* ''Film/TheExorcismOfEmilyRose'': Called it the low point in the history of exorcism movies (a genre that he doesn't like to begin with), saying that it "plays out like a drunken game of ''TabletopGame/{{Clue}}'' where the solution is '{{God}}, in the barn, with a {{plan}}." Didn't review it, but he mentioned it in his review of ''TheRite''. * ''Film/TheExorcist'': He feels that it's the only film ever that managed to pull off the task of making the exorcism ritual look compelling on screen... and its success meant that audiences had to spend several decades watching lesser filmmakers trying (and invariably failing) to recapture that magic. Didn't review it, but he mentioned it in his review of ''TheRite''.
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* ''Film/TheExorcismOfEmilyRose'': Called it the low point in the history of exorcism movies (a genre that he doesn't like to begin with), saying that it "plays out like a drunken game of ''TabletopGame/{{Clue}}'' where the solution is '{{God}}, in the barn, with a {{plan}}." Didn't review it, but he mentioned it in his review of ''TheRite''. ''Film/TheRite''. * ''Film/TheExorcist'': He feels that it's the only film ever that managed to pull off the task of making the exorcism ritual look compelling on screen... and its success meant that audiences had to spend several decades watching lesser filmmakers trying (and invariably failing) to recapture that magic. Didn't review it, but he mentioned it in his review of ''TheRite''.''Film/TheRite''.

* ''TheRite'': Falls into the same trap as countless other retreads of ''Film/TheExorcist'', due to the fact that it's difficult to present a staged exorcism ritual without making it look silly (Bob compares it to "[[Film/TheLordOfTheRings Gandalf versus the Balrog]] with all the effects taken out"). In addition, the "believer vs. skeptic" dynamic doesn't work, due to the fact that ReligiousHorror movies, by their very nature, rely on the believer being vindicated in his or her beliefs, thus removing any chance that the skeptic could be right. It's not a terrible movie, and is quite well-acted and well-shot, but it is a dull one that would've been livened up by some cheesiness and {{narm}}.
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* ''TheRite'': ''Film/TheRite'': Falls into the same trap as countless other retreads of ''Film/TheExorcist'', due to the fact that it's difficult to present a staged exorcism ritual without making it look silly (Bob compares it to "[[Film/TheLordOfTheRings Gandalf versus the Balrog]] with all the effects taken out"). In addition, the "believer vs. skeptic" dynamic doesn't work, due to the fact that ReligiousHorror movies, by their very nature, rely on the believer being vindicated in his or her beliefs, thus removing any chance that the skeptic could be right. It's not a terrible movie, and is quite well-acted and well-shot, but it is a dull one that would've been livened up by some cheesiness and {{narm}}.
4th Oct '13 9:49:50 AM TheRedRedKroovy
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* ''Film/{{Gravity}}'': The premise (which he calls "''Film/OpenWater'' [[RecycledInSpace in space]]") has him interested, as does Creator/AlfonsoCuaron's presence as director.
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* ''Film/{{Gravity}}'': The premise (which he calls "''Film/OpenWater'' [[RecycledInSpace in space]]") has had him interested, as does did Creator/AlfonsoCuaron's presence as director.director. When it came time to review it, he said that it was as amazing as everybody had been saying it was. The plot is thin, with Bob referring to it as "eighty minutes of [[WesternAnimation/ToyStory falling out of the sky]]", but it is amazingly well-done and gripping, with Cuaron showing off his less-recognized skill at shooting thrilling action scenes, and both Creator/GeorgeClooney and, surprisingly, Creator/SandraBullock making for great leads. The only thing that really threw him off was a sudden bit of MagicRealism towards the end that came out of nowhere. He wonders, however, if critics would've been as open to praising such a film if it hadn't been made by a director as acclaimed as Cuaron, noting that the film is pretty much ''all'' action.
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