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* ''Film/TheCallOfTheWild2020'': Like [[Literature/TheCallOfTheWild the book it was based on]], this was a RatedMForManly wilderness epic driven largely by a great sense of style, one that earned an 8 out of 10 and Bob's recommendation. The CGI wisely went for a stylized look designed to evoke old wilderness paintings instead of photorealism, which allowed it to dodge the UncannyValley, especially where its dog protagonist was concerned, and instead fully indulge in SceneryPorn. The narrative largely pared down the [[invoked]] ValuesDissonance of Creator/JackLondon's writing but kept the essentials, including its more esoteric touches, producing a charming and entertaining film that will likely wind up in regular rotation in a lot of middle-aged dads' houses.

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* ''Film/DOADeadOrAlive'': Didn't review it, but he [[https://www.escapistmagazine.com/v2/10-greatest-video-game-movies-the-big-picture/ named it]] the seventh-best video game adaptation ever made. It was admittedly [[invoked]] SoBadItsGood and [[UnintentionalPeriodPiece carbon-dated to the mid-2000s]], but it successfully adapted the things that the ''VideoGame/DeadOrAlive'' games are most famous for (namely, kick-ass martial arts fight scenes and [[SheFu the gorgeous women fighting in them]]), Wrestling/KevinNash and Creator/JaimePressly gave [[TookTheBadFilmSeriously surprisingly good performances]], and it was fun to watch Creator/EricRoberts [[LargeHam hamming it up]].


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* ''Dragon Quest: Your Story'': Didn't review it, but he [[https://www.escapistmagazine.com/v2/10-greatest-video-game-movies-the-big-picture/ named it]] the tenth-best video game adaptation ever made. Controversy over the ArtShift (which he found overblown) aside, he described it as a very good-looking animated fantasy film that, even if it didn't ''quite'' stick the landing in adapting [[VideoGame/DragonQuestV one of the most famously convoluted storylines]] in the ''Franchise/DragonQuest'' series, still put in a very solid and creative effort.


That said, the DCEU eventually turned a corner with him sometime in 2019, as noted in the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/how-the-dc-extended-universe-got-its-groove-back-the-big-picture/ "How DC Got Its Groove Back".]] ''Aquaman'', ''Shazam!'', and ''Birds of Prey'' all impressed him, and while he personally didn't like ''Joker'', he admitted that a lot of other people liked it a lot more than he did. He argued that the roots of the DCEU's second wind ironically lay in what Warner Bros. initially promised would be its greatest strength, that it would focus less on SharedUniverse WorldBuilding like the Marvel films and more on giving creative freedom to filmmakers to make the kinds of superhero stories they wanted to. While this philosophy was seemingly left by the wayside during the abortive first phase of the DCEU's development in favor of doing a DarkerAndEdgier version of the Marvel approach guided by Creator/ZackSnyder's vision, it came back in force once that attempt floundered, leading to a number of unique superhero films that felt radically different from one another and were interesting to watch all the same. In his opinion, the best decision that Warner Bros. made with the DCEU was giving up on directly competing with Marvel in favor of being the weird "alternative" brand in superhero movies. Another element that he saw in the DCEU's rebound was that they had broken out of [[OpinionMyopia the bubble of the hardcore comic book fanbase]], arguing that Snyder's films represented the unshackled id of a fandom that was still nostalgic for the worst excesses of UsefulNotes/TheDarkAgeOfComicBooks while the DCEU's greatest successes came by instead appealing to mass audiences.

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That said, the DCEU eventually turned a corner with him sometime in 2019, as noted in the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/how-the-dc-extended-universe-got-its-groove-back-the-big-picture/ "How DC Got Its Groove Back".]] ''Aquaman'', ''Shazam!'', and ''Birds of Prey'' all impressed him, he was looking forward to ''Wonder Woman 1984'', and while he personally didn't like ''Joker'', he admitted that a lot of other people liked it a lot more than he did. He argued that the roots of the DCEU's second wind ironically lay in what Warner Bros. initially promised would be its greatest strength, that it would focus less on SharedUniverse WorldBuilding like the Marvel films and more on giving creative freedom to filmmakers to make the kinds of superhero stories they wanted to. While this philosophy was seemingly left by the wayside during the abortive first phase of the DCEU's development in favor of doing a DarkerAndEdgier version of the Marvel approach guided by Creator/ZackSnyder's vision, it came back in force once that attempt floundered, leading to a number of unique superhero films that felt radically different from one another and were interesting to watch all the same. In his opinion, the best decision that Warner Bros. made with the DCEU was giving up on directly competing with Marvel in favor of being the weird "alternative" brand in superhero movies. Another element that he saw in the DCEU's rebound was that they had broken out of [[OpinionMyopia the bubble of the hardcore comic book fanbase]], arguing that Snyder's films represented the unshackled id of a fandom that was still nostalgic for the worst excesses of UsefulNotes/TheDarkAgeOfComicBooks while the DCEU's greatest successes came by instead appealing to mass audiences.


* Franchise/DCExtendedUniverse: Bob likes the characters from the source material well enough, but he's not a fan of these movies by any stretch. He'll gladly praise aspects of it that work, and finds the more recent films in particular to be [[WinTheCrowd a big step up in quality]], but besides that he has little more than contempt for its [[{{Jerkass}} unlikable]] [[NotAsYouKnowThem reimaginings]] of the heroes in its movies, the poor choice of storylines to adapt, the [[SpecialEffectsFailure blatant and glaringly poor special effects]], the [[invoked]][[WTHCastingAgency crummy casting choices]], and especially [[invoked]][[ExecutiveMeddling the behind-the-scenes agendas being pushed]]. Especially contemptible in his view is that Warner Bros. are seemingly trying to play catch-up to the Franchise/MarvelCinematicUniverse without understanding why it works so well, rushing to their own [[CoolVersusAwesome prize fight]] and [[SuperTeam team-up]] events without taking the time to engage with and develop the individual main characters within their own continuity. As a fan of the heroes and villains being adapted, he wishes they were better and doesn't like doing negative reviews of them, but he can't pretend it's okay if it's not. In the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/2019/07/30/cw-crisis-on-infinite-earths-erase-the-snyderverse-dceu-dc-comics/ "Crisis Actors"]], he held it up in sharp contrast to Warner/DC's superior superhero offerings in just about every other medium, from [[Series/{{Arrowverse}} television]] to [[Franchise/DCAnimatedUniverse animation]], while arguing that its main problem was its lack of consistency. Unlike Marvel, he feels that the DC brand isn't a guarantee of quality, and for every instant classic like ''Shazam'' or flawed-but-enjoyable film like ''Wonder Woman'' or ''Aquaman'', there's a stinker like ''Batman v Superman'', ''Suicide Squad'', or ''Justice League''.

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* Franchise/DCExtendedUniverse: Bob likes the characters from the source material well enough, but he's not a fan of these hence why he so often found himself wishing that the movies by any stretch. He'll were far better. He'd gladly praise aspects of it them that work, and finds the more recent films in particular to be [[WinTheCrowd a big step up in quality]], worked, but besides that for a long time, he has had little more than contempt for its their [[{{Jerkass}} unlikable]] [[NotAsYouKnowThem reimaginings]] of the heroes in its movies, the poor choice of storylines to adapt, the [[SpecialEffectsFailure blatant and glaringly poor special effects]], the [[invoked]][[WTHCastingAgency crummy casting choices]], and especially [[invoked]][[ExecutiveMeddling the behind-the-scenes agendas being pushed]]. Especially contemptible in his view is was that Warner Bros. are Creator/WarnerBros seemingly trying tried to play catch-up to the Franchise/MarvelCinematicUniverse without understanding why it works worked so well, rushing to their own [[CoolVersusAwesome prize fight]] and [[SuperTeam team-up]] events without taking the time to engage with and develop the individual main characters within their own continuity. As a fan of the heroes and villains being adapted, he wishes they were better and doesn't like doing negative reviews of them, but he can't pretend it's okay if it's not.continuity. In the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/2019/07/30/cw-crisis-on-infinite-earths-erase-the-snyderverse-dceu-dc-comics/ "Crisis Actors"]], Actors",]] he held it up in sharp contrast to Warner/DC's superior superhero offerings in just about every other medium, from [[Series/{{Arrowverse}} television]] to [[Franchise/DCAnimatedUniverse animation]], while arguing that its main problem was its lack of consistency. Unlike Marvel, he feels felt that the DC brand isn't wasn't a guarantee of quality, and for every instant classic like ''Shazam'' ''Shazam!'' or flawed-but-enjoyable film like ''Wonder Woman'' or ''Aquaman'', there's there was a stinker like ''Batman v Superman'', ''Suicide Squad'', or ''Justice League''.\\\
That said, the DCEU eventually turned a corner with him sometime in 2019, as noted in the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/how-the-dc-extended-universe-got-its-groove-back-the-big-picture/ "How DC Got Its Groove Back".]] ''Aquaman'', ''Shazam!'', and ''Birds of Prey'' all impressed him, and while he personally didn't like ''Joker'', he admitted that a lot of other people liked it a lot more than he did. He argued that the roots of the DCEU's second wind ironically lay in what Warner Bros. initially promised would be its greatest strength, that it would focus less on SharedUniverse WorldBuilding like the Marvel films and more on giving creative freedom to filmmakers to make the kinds of superhero stories they wanted to. While this philosophy was seemingly left by the wayside during the abortive first phase of the DCEU's development in favor of doing a DarkerAndEdgier version of the Marvel approach guided by Creator/ZackSnyder's vision, it came back in force once that attempt floundered, leading to a number of unique superhero films that felt radically different from one another and were interesting to watch all the same. In his opinion, the best decision that Warner Bros. made with the DCEU was giving up on directly competing with Marvel in favor of being the weird "alternative" brand in superhero movies. Another element that he saw in the DCEU's rebound was that they had broken out of [[OpinionMyopia the bubble of the hardcore comic book fanbase]], arguing that Snyder's films represented the unshackled id of a fandom that was still nostalgic for the worst excesses of UsefulNotes/TheDarkAgeOfComicBooks while the DCEU's greatest successes came by instead appealing to mass audiences.


* ''Film/{{Cursed 2005}}'': "Moviebob to Universe: You can please ''stop'' with all of the you-asked-for-it ironic/karmic signs already, we get the idea. ''TheNineties are over.''" [[https://moviebobcentral.com/2005/02/27/review-cursed/ Reviewed it]] in his early days as a blogger, calling it a relic of a bygone age of [[PostModernism postmodern]] teen horror that he never liked even at its height in the '90s, much less by 2005. It held promise with a solid cast, a good director in Creator/WesCraven, and FX work by Rick Baker, but it squanders it all with an incredibly predictable plot, cardboard-cutout characters, ConspicuousCG for the werewolves, a lack of gore to meet a PG-13 rating (and then sell an unrated edition on DVD), and the marks of its TroubledProduction all over the place, with the only worthwhile element being Creator/MiloVentimiglia as an ArmouredClosetGay JerkJock. Even Baker's practical effects, while solid, feel phoned in. He gives it a 3 out of 10, calls it the sort of movie that's likely to make many film geeks' lists of the worst horror films ever made for years to come, and tells readers to go watch ''Film/GingerSnaps'' [[BetterByADifferentName instead.]]

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* ''Film/{{Cursed 2005}}'': "Moviebob to Universe: You can please ''stop'' with all of the you-asked-for-it ironic/karmic signs already, we get the idea. ''TheNineties are over.''" [[https://moviebobcentral.com/2005/02/27/review-cursed/ Reviewed it]] in his early days as a blogger, calling it a relic of a bygone age of [[PostModernism postmodern]] teen horror that he never liked even at its height in the '90s, much less by 2005. It held promise with a solid cast, a good director in Creator/WesCraven, and FX work by Rick Baker, but it squanders it all with an incredibly predictable plot, cardboard-cutout characters, ConspicuousCG blatant CG for the werewolves, a lack of gore to meet a PG-13 rating (and then sell an unrated edition on DVD), and the marks of its TroubledProduction all over the place, with the only worthwhile element being Creator/MiloVentimiglia as an ArmouredClosetGay JerkJock. Even Baker's practical effects, while solid, feel phoned in. He gives it a 3 out of 10, calls it the sort of movie that's likely to make many film geeks' lists of the worst horror films ever made for years to come, and tells readers to go watch ''Film/GingerSnaps'' [[BetterByADifferentName instead.]]



** ''A Good Day to Die Hard'': He forgot most of the plot details almost as soon as he left the screening. The series had become a FranchiseZombie[[invoked]] 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 [[ConspicuousCG jarring]] against the practical effects and stunt work, and John [=McClane=] feels more like a Franchise/{{Terminator}} than the [[ActionSurvivor everyman hero]] that made the series so refreshing in the first place. Also, Jack [=McClane=]’s CallingTheOldManOut about [[WhenYouComingHomeDad John’s absence from his childhood]] rang [[{{Wangst}} very hollow]] to Bob given the events of the prior films. Overall, it barely rises to the level of being a worthwhile watch for Willis completists. At [[http://www.escapistmagazine.com/videos/view/the-big-picture/8638-MovieBobs-Worst-of-2013 the end of 2013]], he named it one of his ten least favorite movies of the year.

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** ''A Good Day to Die Hard'': He forgot most of the plot details almost as soon as he left the screening. The series had become a FranchiseZombie[[invoked]] 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 [[ConspicuousCG [[SpecialEffectFailure jarring]] against the practical effects and stunt work, and John [=McClane=] feels more like a Franchise/{{Terminator}} than the [[ActionSurvivor everyman hero]] that made the series so refreshing in the first place. Also, Jack [=McClane=]’s CallingTheOldManOut about [[WhenYouComingHomeDad John’s absence from his childhood]] rang [[{{Wangst}} very hollow]] to Bob given the events of the prior films. Overall, it barely rises to the level of being a worthwhile watch for Willis completists. At [[http://www.escapistmagazine.com/videos/view/the-big-picture/8638-MovieBobs-Worst-of-2013 the end of 2013]], he named it one of his ten least favorite movies of the year.


* ''Film/DragonBallFightForVictorySonGoku: Devoted a ''Big Picture'' episode, [[https://www.escapistmagazine.com/v2/bootleg-live-action-korean-dragon-ball-movie-the-big-picture/ "Bootleg Ball Z",]] to this film, an unlicensed Korean adaptation of ''Franchise/DragonBall'' that, despite being unlicensed, is regarded by many fans as the best LiveActionAdaptation of such. He didn't find it a particularly ''good'' movie, but it ''was'' entertaining for its low-budget BMovie charm, and he thought that ''Dragon Ball'' fans would get a kick out of it.

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* ''Film/DragonBallFightForVictorySonGoku: ''Film/DragonBallFightForVictorySonGoku'': Devoted a ''Big Picture'' episode, [[https://www.escapistmagazine.com/v2/bootleg-live-action-korean-dragon-ball-movie-the-big-picture/ "Bootleg Ball Z",]] to this film, an unlicensed Korean adaptation of ''Franchise/DragonBall'' that, despite being unlicensed, is regarded by many fans as the best LiveActionAdaptation of such. He didn't find it a particularly ''good'' movie, but it ''was'' entertaining for its low-budget BMovie charm, and he thought that ''Dragon Ball'' fans would get a kick out of it.

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* ''Film/DragonBallFightForVictorySonGoku: Devoted a ''Big Picture'' episode, [[https://www.escapistmagazine.com/v2/bootleg-live-action-korean-dragon-ball-movie-the-big-picture/ "Bootleg Ball Z",]] to this film, an unlicensed Korean adaptation of ''Franchise/DragonBall'' that, despite being unlicensed, is regarded by many fans as the best LiveActionAdaptation of such. He didn't find it a particularly ''good'' movie, but it ''was'' entertaining for its low-budget BMovie charm, and he thought that ''Dragon Ball'' fans would get a kick out of it.

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* ''Literature/DeathOnTheNile'' (2020): Hasn't reviewed it yet, but at the start of 2020 he [[https://www.escapistmagazine.com/v2/bobs-top-ten-most-anticipated-movies-of-2020-the-big-picture/ named it]] his most anticipated film of the year. He absolutely loved Creator/KennethBranagh's adaptation of ''Literature/MurderOnTheOrientExpress'', and he'd been waiting for this film ever since it was teased at the end of that one, especially since he finds ''Death on the Nile'' to be a more interesting story to begin with.


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* ''Film/{{Dune}}'' (the 2020 remake): Hasn't reviewed it yet, but at the start of 2020 he [[https://www.escapistmagazine.com/v2/bobs-top-ten-most-anticipated-movies-of-2020-the-big-picture/ named it]] his sixth most anticipated film of 2020. He thinks that [[Literature/{{Dune}} the book]] may well be unfilmable, but given the long and weird history of film adaptations, he's excited to see how Creator/DenisVilleneuve's attempt turns out.


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* ''Eternals'': Hasn't reviewed it yet, but at the start of 2020 he [[https://www.escapistmagazine.com/v2/bobs-top-ten-most-anticipated-movies-of-2020-the-big-picture/ named it]] his fourth most anticipated film of 2020, saying that he couldn't help but admire Disney/Marvel for going big with the start of Phase Four of the Franchise/MarvelCinematicUniverse, adapting a famously esoteric comic book storyline in Creator/JackKirby's ''ComicBook/TheEternals''.


* ''Film/{{Dolittle}}'': "The argument that maybe not every insufferably whimsical early 20th century British children's literature property needs to come back as a $175 million+... one of these." He questioned the very idea of making this film in the first place, not only because [[Literature/DoctorDolittle the original books]] had fallen out of popular memory beyond the PopCulturalOsmosis of their premise (that, and they're also filled with a lot of [[invoked]] [[UnfortunateImplications old-timey racism]]) but because [[Film/DrDolittle the most successful adaptation]] took [[InNameOnly virtually nothing from the books]] beyond that basic premise. The [[DumpMonths January release]] amid reports of a TroubledProduction did no favors for his expectations, either. While he tried to be diplomatic, he still said that "this really, ''really'' sucks" in the kind of way that only a truly, disastrously misguided film production can, even if he couldn't bring himself to truly hate a kids' movie about funny talking animals. The story felt like a RandomEventsPlot, the action scenes were disjointed, Creator/RobertDowneyJr's [[LargeHam mugging]] (especially his [[WhatTheHellIsThatAccent weird accent]]) felt like a bad ripoff of Creator/JohnnyDepp in ''Pirates of the Caribbean'', most of the performances [[MoodWhiplash whipped]] between sincere and snarking as if they'd been recorded at different times with different tones and focus (likely because they were), and the climax tried to hit a half-dozen emotional and story beats at once and fell completely flat at all of them. He gave it a 3 out of 10 and said that it almost made him wish that Downey had done another ''Sherlock Holmes'' movie instead (even if he very quickly took back the very suggestion).

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* ''Film/{{Dolittle}}'': "The argument that maybe not every insufferably whimsical early 20th century British children's literature property needs to come back as a $175 million+... one of these." He questioned the very idea of making this film in the first place, not only because [[Literature/DoctorDolittle the original books]] had fallen out of popular memory beyond the PopCulturalOsmosis of their premise (that, and they're also filled with a lot of [[invoked]] [[UnfortunateImplications old-timey racism]]) but because [[Film/DrDolittle the most successful adaptation]] took [[InNameOnly virtually nothing from the books]] beyond that basic premise. The [[DumpMonths January release]] amid reports of a TroubledProduction did no favors for his expectations, either. While he tried to be diplomatic, he still said that "this really, ''really'' sucks" in the kind of way that only a truly, disastrously misguided film production can, even if he couldn't bring himself to truly hate a harmlessly inoffensive kids' movie about funny talking animals. The story felt like a RandomEventsPlot, the action scenes were disjointed, Creator/RobertDowneyJr's [[LargeHam mugging]] (especially his [[WhatTheHellIsThatAccent weird accent]]) felt like a bad ripoff of Creator/JohnnyDepp in ''Pirates of the Caribbean'', most of the performances [[MoodWhiplash whipped]] between sincere and snarking as if they'd been recorded at different times with different tones and focus (likely because they were), and the climax tried to hit a half-dozen emotional and story beats at once and fell completely flat at all of them. He gave it a 3 out of 10 and said that it almost made him wish that Downey had done another ''Sherlock Holmes'' movie instead (even if he very quickly took back the very suggestion).


* ''Film/{{Domino}}'': One of those movies that many people consider to be either one of Tony Scott’s worst films or one of his best, with little in-between. Bob falls into the latter camp, calling it a “rough, nasty, punk rock fever dream of a movie,” calling special attention to the scene with Creator/MoNique’s mixed-race categories. Didn’t review it, but he discussed it in his ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II editorial]] “Remembering Tony Scott, Part 2,” a retrospective of the late Scott’s career.

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* ''Film/{{Dolittle}}'': "The argument that maybe not every insufferably whimsical early 20th century British children's literature property needs to come back as a $175 million+... one of these." He questioned the very idea of making this film in the first place, not only because [[Literature/DoctorDolittle the original books]] had fallen out of popular memory beyond the PopCulturalOsmosis of their premise (that, and they're also filled with a lot of [[invoked]] [[UnfortunateImplications old-timey racism]]) but because [[Film/DrDolittle the most successful adaptation]] took [[InNameOnly virtually nothing from the books]] beyond that basic premise. The [[DumpMonths January release]] amid reports of a TroubledProduction did no favors for his expectations, either. While he tried to be diplomatic, he still said that "this really, ''really'' sucks" in the kind of way that only a truly, disastrously misguided film production can, even if he couldn't bring himself to truly hate a kids' movie about funny talking animals. The story felt like a RandomEventsPlot, the action scenes were disjointed, Creator/RobertDowneyJr's [[LargeHam mugging]] (especially his [[WhatTheHellIsThatAccent weird accent]]) felt like a bad ripoff of Creator/JohnnyDepp in ''Pirates of the Caribbean'', most of the performances [[MoodWhiplash whipped]] between sincere and snarking as if they'd been recorded at different times with different tones and focus (likely because they were), and the climax tried to hit a half-dozen emotional and story beats at once and fell completely flat at all of them. He gave it a 3 out of 10 and said that it almost made him wish that Downey had done another ''Sherlock Holmes'' movie instead (even if he very quickly took back the very suggestion).
* ''Film/{{Domino}}'': One of those movies that many people consider to be either one of Tony Scott’s Creator/TonyScott’s worst films or one of his best, with little in-between. Bob falls into the latter camp, calling it a “rough, nasty, punk rock fever dream of a movie,” calling special attention to the scene with Creator/MoNique’s mixed-race categories. Didn’t review it, but he discussed it in his ''Intermission'' [[http://www.escapistmagazine.com/articles/view/columns/moviebob/9892-Remembering-Tony-Scott-Part-II editorial]] “Remembering Tony Scott, Part 2,” a retrospective of the late Scott’s career.


* ''Film/CharliesAngels2019'': Didn't review it, but he discussed it in the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/charlies-angels-female-gaze-the-big-picture/ "Sex Sells - Who's Buying?".]] While he found the film overall to be just decent, calling it inoffensive but not particularly memorable, he was intrigued by the route it took with its modernization of [[Series/CharliesAngels the TV series]]. Instead of the MaleGaze that both the show and [[Film/CharliesAngels the 2000 film]] embraced, this version opted for the FemaleGaze, putting less emphasis on [[SexSells T&A]] and more on glamorous fashions and feminist WishFulfillment in a manner not unlike the heroines of many TV {{soap opera}}s, albeit with more guns and gadgets. In a way, he found it to be a DistaffCounterpart to the Franchise/JamesBond and Franchise/{{Rambo}} movies, which put forward their titular protagonists as the kind of guys that their male target audience would like to be. He also noted how some of the more reactionary corners of the film geek community attempted to bash the film's writer/director Creator/ElizabethBanks for comments that seemed to slam the big superhero franchises and blame them for the film's box-office failure (he personally blamed the studio for opening it against ''Film/FordVFerrari'', "everyone's dad's new favorite movie"), only for it to turn out that those comments were made before the film even came out and her actual comments afterwards largely accepted the fact that it bombed.

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* ''Film/CharliesAngels2019'': Didn't review it, but he discussed it in the ''Big Picture'' episode [[https://www.escapistmagazine.com/v2/charlies-angels-female-gaze-the-big-picture/ "Sex Sells - Who's Buying?".]] While he found the film overall to be just decent, calling it inoffensive but not particularly memorable, he was intrigued by the route it took with its modernization of [[Series/CharliesAngels the TV series]]. Instead of the MaleGaze that both the show and [[Film/CharliesAngels [[Film/CharliesAngels2000 the 2000 film]] embraced, this version opted for the FemaleGaze, putting less emphasis on [[SexSells T&A]] and more on glamorous fashions and feminist WishFulfillment in a manner not unlike the heroines of many TV {{soap opera}}s, albeit with more guns and gadgets. In a way, he found it to be a DistaffCounterpart to the Franchise/JamesBond and Franchise/{{Rambo}} movies, which put forward their titular protagonists as the kind of guys that their male target audience would like to be. He also noted how some of the more reactionary corners of the film geek community attempted to bash the film's writer/director Creator/ElizabethBanks for comments that seemed to slam the big superhero franchises and blame them for the film's box-office failure (he personally blamed the studio for opening it against ''Film/FordVFerrari'', "everyone's dad's new favorite movie"), only for it to turn out that those comments were made before the film even came out and her actual comments afterwards largely accepted the fact that it bombed.

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** ''Deadpool 3'': Hasn't reviewed it yet, but he discussed it in a ''Big Picture'' [[https://www.escapistmagazine.com/v2/10-predictions-on-how-the-x-men-will-enter-the-marvel-cinematic-universe-the-big-picture/ episode]] on how he felt Creator/{{Disney}} might go about integrating the X-Men into the Franchise/MarvelCinematicUniverse. Unlike the X-Men, Deadpool is a character who he thinks is ''never'' going to be brought into the MCU proper due to his raunchy nature, but at the same time, the demand for a crossover will be great. His idea: a ComicBook/MarvelZombies movie in which Deadpool fights zombie versions of the MCU's superheroes.

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* ''Film/{{Crash}}'': [[https://moviebobcentral.com/2005/05/07/review-crash-2005/ Reviewed it]] in his early days as a blogger. He called it a very good movie that came tantalizingly close to greatness, only to blow it through the very same plot machinations that brought it so close to begin with, to the point that he felt somewhat cheated. Still, on its craftsmanship alone, he gave it an 8 out of 10 and a recommendation.


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* ''Film/DannyTheDog'': [[https://moviebobcentral.com/2005/05/12/review-unleashed/ Reviewed it]] in his early days as a blogger, under its [[MarketBasedTitle American title]] of ''Unleashed''. Its [[NeverTrustATrailer action-packed trailers]] aside, this was a big departure for Creator/JetLi, who gave an excellent performance in a "serious" role where his action chops, while present, weren't in the spotlight; he compared Li's reliance on facial expressions and minimal dialogue here to that of Creator/ClintEastwood in his old {{Spaghetti Western}}s. He also praised the brutal fight choreography, which didn't make him wish it was possible for a human to kick ass like that so much as he was ''afraid'' that someone could, and Creator/BobHoskins' performance as a truly monstrous villain. He gave it a 9 out of 10 and recommended it most of all to those who might dismiss {{martial arts movie}}s sight unseen.


* ''Film/{{Carol}}'': Didn’t review it, but at [[https://www.youtube.com/watch?v=yWia5wWYZgY the end of 2015]] he named it his fifth-favorite movie of the year. He praised it as one of the first OscarBait films about LGBT rights that treats its protagonists as actual people, instead of using them as a vehicle for a story of [[StarCrossedLovers doomed love]] designed to get modern audiences to feel good that they don’t live in the past. It’s simply a damn good period romance, only with two women as the lovers, and Creator/CateBlanchett and Creator/RooneyMara both deliver great performances as said lovers.

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* ''Film/{{Carol}}'': Didn’t review it, but at [[https://www.youtube.com/watch?v=yWia5wWYZgY the end of 2015]] he named it his fifth-favorite movie of the year. He praised it as one of the first OscarBait films about LGBT rights that treats treated its protagonists as actual people, instead of using them as a vehicle for a story of [[StarCrossedLovers doomed love]] designed to get modern audiences to feel good that they don’t live in the past. It’s It was simply a damn good period romance, only with two women as the lovers, and Creator/CateBlanchett and Creator/RooneyMara both deliver delivered great performances as said lovers.lovers. At [[https://www.escapistmagazine.com/v2/the-movies-of-the-2010s-decade-the-big-picture/ the start of 2020,]] he named it one of the ten defining films of TheNewTens and "the defining romantic drama of the decade" for how it managed to combine steamy eroticism with forward-thinking framing and a charmingly old-fashioned love story.


* ''Film/DoctorSleep'': He gave it a 10 out of 10, calling it "dark, spooky, [and] deceptively deep" and one of the best films of 2019 -- though to be fair, a big part of ''why'' he loved it so much came down to very personal reasons. It was a movie that shouldn't have worked, largely because ''Film/TheShining'' was such a ToughActToFollow that merely trying to do a sequel took serious guts, and the fact that writer/director Creator/MikeFlanagan (for whom Bob hopes this film becomes his BreakthroughHit) actually managed to pull it off was unreal. It wisely saved the {{fanservice}} [[ShoutOut Shout-Outs]] to ''The Shining'' for the third act while serving as more or less its own film before then, [[AdaptationDistillation distilling the central arc]] of [[Literature/DoctorSleep the book]] to Danny fighting to overcome his father's demons and not fall down the same path -- a story that hit especially CloseToHome for Bob, such that he wound up going off-script for over half the review to talk about it. And on top of that, it was an extremely well-made horror film in its own right, with Flanagan once more proving himself a modern master at this kind of low-key, melancholy horror.

to:

* ''Film/DoctorSleep'': He gave it a 10 out of 10, calling it "dark, spooky, [and] deceptively deep" and one of the best films of 2019 -- though to be fair, a big part of ''why'' he loved it so much came down to very personal reasons. It was a movie that shouldn't have worked, largely because ''Film/TheShining'' was such a ToughActToFollow that merely trying to do a sequel took serious guts, and the fact that writer/director Creator/MikeFlanagan (for whom Bob hopes hoped this film becomes would become his BreakthroughHit) actually managed to pull it off was unreal. It wisely saved the {{fanservice}} [[ShoutOut Shout-Outs]] to ''The Shining'' for the third act while serving as more or less its own film before then, [[AdaptationDistillation distilling the central arc]] of [[Literature/DoctorSleep the book]] to Danny fighting to overcome his father's demons and not fall down the same path -- a story that hit especially CloseToHome for Bob, such that he wound up going off-script for over half the review to talk about it. And on top of that, it was an extremely well-made horror film in its own right, with Flanagan once more proving himself a modern master at this kind of low-key, melancholy horror. At [[https://www.escapistmagazine.com/v2/bob-chipman-top-10-movies-2019-part-2/ the end of 2019,]] he named it his second-favorite film of the year.

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