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Kirk Bage (1775 KP) rated Eurovision Song Contest: The Story of Fire Saga (2020) in Movies
Aug 6, 2020
Much like Eurovision itself, this film shouldn’t be entertaining in any way, but after watching it for ten minutes it becomes a compelling car crash you kinda have to see out to the end. It doesn’t really matter what you think of the songs, you are watching it waiting for the one thing you can make fun of, rubbing your eyes in disbelief that anything so camp and lame can exist.
Will Ferrell understands this of course. There is so much about the weird world of Eurovision to make fun of. The naff music, the costumes, the lost in translation moments from obscure countries trying their best and mostly failing to realise how daft they look. Enjoying this film depends on how funny you find Ferrell, not on any love of cheesy pop songs. Fortunately, I find him usually hilarious.
Not that every joke lands, or even makes sense at all. It is as bizarre as the contest itself; you just have to leave your brain at the door and go with it. There is a lot to like. Not least the adorable and consistently watchable Rachel McAdams who seems the perfect choice to play Sigrit, the girl dreaming of having the world hear her sing and strive for her spirit note. There is also an odd turn from Pierce Brosnan, who makes no effort whatsoever to make it good, and comes full circle in being so bad it’s amazing.
The joke is that they are from Iceland, who never win the thing, or ever come close. The country itself doesn’t want to win, as they would have to pay for it next year, so, after a bizarre accident where every other candidate explodes, they turn to the naive duo of Fire Saga, who are guaranteed to be a joke. And they are. But of course we are on their side, as they live the dream and go for underdog glory. What can go wrong does, and every comedy trope in the book is trotted out, along with a huge dose of sentimentality.
Naturally there is music. Ranging from the excruciating to the actually not too bad, to the hmmm, I actual like that! One highlight is a montage piece in the middle, as all contestants jam at a pre-final party – just so much fun and a totally catchy song. I am not entirely ashamed to say that it kinda got me. The pathos leading up to the climax hit me in the vulnerable feels, as I lay on a Sunday morning helpfully hung-over and tender. This is the way to watch it, I feel, or, you know, with young kids, who will lap up the silliness and talent show sensibility.
Look, it’s terrible on any artistic or serious level. The script is a mess, the direction could have been phoned in by a chimp, and the plot serves to say nothing new or inciteful, but it doesn’t matter. Watch it, have a chuckle and then throw it away. I can think of many less innocent comedies that are far less worthy of attention. And at the very least, there is a bit with elves that had me pressing pause till I got all my laughs out.
Pick a day when you have no energy to fight the world or string two thoughts together and just enjoy it.
Decinemal Rating: 63
Will Ferrell understands this of course. There is so much about the weird world of Eurovision to make fun of. The naff music, the costumes, the lost in translation moments from obscure countries trying their best and mostly failing to realise how daft they look. Enjoying this film depends on how funny you find Ferrell, not on any love of cheesy pop songs. Fortunately, I find him usually hilarious.
Not that every joke lands, or even makes sense at all. It is as bizarre as the contest itself; you just have to leave your brain at the door and go with it. There is a lot to like. Not least the adorable and consistently watchable Rachel McAdams who seems the perfect choice to play Sigrit, the girl dreaming of having the world hear her sing and strive for her spirit note. There is also an odd turn from Pierce Brosnan, who makes no effort whatsoever to make it good, and comes full circle in being so bad it’s amazing.
The joke is that they are from Iceland, who never win the thing, or ever come close. The country itself doesn’t want to win, as they would have to pay for it next year, so, after a bizarre accident where every other candidate explodes, they turn to the naive duo of Fire Saga, who are guaranteed to be a joke. And they are. But of course we are on their side, as they live the dream and go for underdog glory. What can go wrong does, and every comedy trope in the book is trotted out, along with a huge dose of sentimentality.
Naturally there is music. Ranging from the excruciating to the actually not too bad, to the hmmm, I actual like that! One highlight is a montage piece in the middle, as all contestants jam at a pre-final party – just so much fun and a totally catchy song. I am not entirely ashamed to say that it kinda got me. The pathos leading up to the climax hit me in the vulnerable feels, as I lay on a Sunday morning helpfully hung-over and tender. This is the way to watch it, I feel, or, you know, with young kids, who will lap up the silliness and talent show sensibility.
Look, it’s terrible on any artistic or serious level. The script is a mess, the direction could have been phoned in by a chimp, and the plot serves to say nothing new or inciteful, but it doesn’t matter. Watch it, have a chuckle and then throw it away. I can think of many less innocent comedies that are far less worthy of attention. And at the very least, there is a bit with elves that had me pressing pause till I got all my laughs out.
Pick a day when you have no energy to fight the world or string two thoughts together and just enjoy it.
Decinemal Rating: 63
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DaveySmithy (107 KP) rated Fight Club (1999) in Movies
Dec 3, 2024
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
Bird (1704 KP) rated Prison Break in TV
Nov 29, 2024
A Riveting Ride with a Few Bumps:
Prison Break is a show that deserves its reputation as one of the most exciting and original dramas of its time. While not without its flaws, the series delivers a thrilling mix of suspense, clever plotting, and character-driven storytelling that keeps you invested throughout its run. With an intriguing premise and a solid cast, it’s easy to see why Prison Break has garnered such a devoted fanbase.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.
The China Factor: Leveraging Emerging Business Strategies to Compete, Grow, and Win in the New Global Economy
Wiley, Amy Karam and Ken Wilcox
Book
The Innovation of Globalization proven strategies to succeed and out-compete emerging competition...
5 Minute Movie Guy (379 KP) rated A Walk Among the Tombstones (2014) in Movies
Jun 28, 2019 (Updated Jun 28, 2019)
Liam Neeson puts in a commanding performance and is a natural as a detective. (2 more)
The film has great visual flair and creates an effectively dark and moody atmosphere.
The solid supporting cast strengthen an otherwise dull and derivative film.
The heavy graphic content of rape, mutilation, and murder is extremely off-putting. (1 more)
There's not a single likeable character to be found in the whole movie.
A Walk Among the Tombstones is unsettling but never really all that compelling. It's a decent detective movie, but your enjoyment of it may depend on how well you can handle its grimy setting and extreme violence.
After watching A Walk Among the Tombstones, I literally felt like I was going to puke. This mystery-thriller, based on Lawrence Block’s popular novel, is a gross and grisly foray into the criminal underworld in search of sadistic kidnappers. Director Scott Frank paints a portrait of a dark and twisted 1990s New York City where women are disappearing, only to later show up chopped into pieces. The film is grim without remorse or reason, and if you’re anything like me, you’ll be eager for it to end so you can wash your hands of it entirely. It stars Liam Neeson as an unlicensed private detective named Matthew Scudder who leads an investigation to find the people responsible for these horrific murders. While it may appear from the trailers to be another entry in Neeson’s growing lineup of ass-kicking action-thrillers, it’s actually far from it. A Walk Among the Tombstones plays out more like a brooding, slow-paced horror film. If you’re expecting Taken, then you’re walking right into the wrong movie.
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)