Lady Bird (2017)
Labor Day (2014)
Lady in the Water (2006)
Lady Macbeth (2016)
Lake House, The (2006)
Lakeview Terrace (2008)
Jackson adds the right touch to this sometimes-over-the-top thriller which has enough unique plot points to keep it interesting, but as it eventually loses control and “spirals” into back and forth bantering and improbable issues, there becomes no possible way for a positive conclusion, for both the characters involved, as well as the viewer.
La La Land (2016)
Land of Mine (Under Sandet) (2017)
Land Of The Lost (2009)
Very good for a Will Ferrell film. One of his best. Very laughable moments & true to the old TV show for the most part. Danny McBride is fantastic. Surprised me in how good the film ended up being & hitting its marks in making me laugh. Great one liners.
Lara Croft: Tomb Raider (2001)
Lars and the Real Girl (2007)
Ryan Gosling was the best part of the film. It was nice to see a different storyline for once, all around a “fake” character. I enjoyed the quirkiness of the neighborhood in following along with the craziness, but eventually the story grew stale and I wanted the movie to end. The best part of the film was the brother feeling it was his fault. I really enjoyed that performance. Otherwise, not as good as I thought it would be.
Last Airbender, The (2010)
Last Days in Vietnam (2014)
Last Exorcism, The (2010)
“Last Exorcism” is a morbidly out of touch horror flick with absolutely zero originality, zero thrill factor, and honestly one of the worst shaky camera, fake documentaries I have ever experienced. Re-watch “the Blair Witch Project” and wipe your hands of this monstrosity.
Last House on the Left, The (2009)
Disturbing. The father in the film was subtle. At the beginning of the film I thought he would barely be a part of the film but made a huge jump as the star of the film. Aaron Paul and Garret Dillahunt are great bad guys. Though the content was disturbing, I enjoyed the storytelling.
Last Kiss, The (2006)
Last Men In Aleppo (2017)
Last Night (2011)
Slightly reminiscent of the film “Unfaithful”, “Last Night’ revolves around a young married couple with doubts. The film is frustrating but wonderfully acted with a stellar cast in place with Sam Worthington, Keira Knightley, and Eva Mendes. Knightley basically accuses Worthington of fancying Mendes, so much so that she stresses the relationship. In one night, the couple is tempted by fate and sex and it results in unease and psychological torment for the viewer. As always you want the couple to pull through but “Last Night” strays away from transparency, yet still borderlines on too predictable.
Last Song, The (2010)
Last Station, The (2010)
Late Afternoon (short) (2018)
Law Abiding Citizen (2009)
Layer Cake (2005)
I liked Rock’N’Rolla better. It had more character.
Lazarus Effect, The (2015)
Leap Year (2010)
Amy Adams is stunning. Adam Scott had some lines that actually made me laugh but the implausible nature of this film really made it hard to suspend my disbelief… coming from a guy who loves the unbelievable. Seemed like a really cheesy remake of It Happened One Night.
Leave No Trace (2018)
Leaving Las Vegas (1995)
An alcoholic and a hooker engaged in an unabashed and unadulterated Las Vegas romance. It’s like a trashy version of Romeo and Juliet, except the Montagues and the Capulets are replaced by alcohol and tricks. The only thing keeping these two from having a fulfilling life together is their self-destructive natures. Absolutely endearing performance from both stars. I truly wonder when Nicolas Cage first discovered his flexible grasp on reality. Cage is like the contortionist of cinema. The Joker of the drama film. His sanity can easily be questioned, but he plays his parts so well, we let him continue on in society to see what he can do next. Elisabeth Shue is gorgeous and distraught, continuing her sexual evolution in front of the camera, further exploring herself later on in “Palmetto” with Woody Harrelson.
Ledge, The (2011)
The Ledge lacks any real, three-dimensional characters, consisting of people reading lines and adhering to the generic roles they have been placed with no shining or rising above. Do not get me wrong, the film is filled with great actors. Charlie Hunnam and Patrick Wilson are great opposites, they just are not given much to work with. The story told through flashbacks is utilized poorly, there is no danger until the last few moments, and the side story does little to hold relevant next to the unfolding main plot line. Chalk this up to poor writing choices and misdirection.
Legally Blonde (2001)
Legend of Tarzan, The (2016)
Paul Bettany was absolutely awesome but I wish I could say the same to the overall concept of the film. It is a shame Paul Bettany had to be the shining start in this film. Lucas Black should not act! EVER! Would have been better if it were taking the Drag Me To Hell approach and been intended to be over the top, but it was trying to be serious and ending up laughable.
LEGO Batman Movie, The (2017)
LEGO Movie 2, The: The Second Part (2018)
Les Misérables (2012)
Several factors make “Les Miserables” the success film that it is. Tom Hooper’s willingness to bring the frame of the camera in closer to the actors is always appreciated. His slightly cocked camera positions are highlighted in “The King’s Speech” and continue on into this latest Hooper adaptation. Also, the decision to record the singing performances on the set instead of re-recording afterwards is a bold choice and often allows for much more appreciate of the actors abilities and the ability of the mixers and composers to match these aspects after the fact. The performances from the leads are astounding. Anne Hathaway delivers a breathtaking performance, revealing a devotion to the role in losing her hair for it, and baffling with the ability to sing some of the strongest melodies while sobbing, what seems like almost an impossible feat. Hugh Jackman carries himself superbly, never drawing too much attention to himself, but never quite losing our focus. Russell Crowe surprises, despite the negative press around his singing and performance, and actually becomes one of the most enjoyable parts of the film for me. Sacha Baron Cohen continues to impress with his ability to “turn it on”. As much as he appears as a bumbling idiot outside of films like this and “Hugo”, he really has a knack for certain roles, including these, to which he will one day be recognized for. Where the epic drama loses me is in the constant singing, even with spoken words that are song. It, at one point, becomes quite laughable and, upon multiple viewings, has the possibility of losing my attention completely. Many of the songs are quite memorable, including Anne Hathaway’s last number, Cohen and Carter’s soiree, and the multiple revolution songs, my favorite being the one of the young boy as he makes his way through the town. Overall, “Les Miserables” is a film to behold, a film that sets itself apart from all the other films released in 2012, and for that, it deserves a standing ovation.
Let Me In (2010)
So “Let Me In” is practically a shot for shot remake of the original Swedish film “Let The Right One In” which sort of infuriates me. The original was absolutely stunning and there is something about foreign films that make them all the more creepy. The story is obviously still good, but the acting just leaves a void compared to the eerie demeanor of the Swedish characters. Just another result of Hollywood having to have their fingers in everything. I feel as though the people that enjoy this will either not know the original exists or not like subtitled (or dubbed) films and will prefer this one. Either way, it makes me sad.
Letters to Juliet (2010)
Let The Fire Burn (2013)
Let the Right One In (2008)
Liar Liar (1997)
Licence To Kill (007) (1989)
Timothy Dalton brings a sense of seriousness to the role of James Bond and the against the odds schtick that 007 faces, with one of the many revenge/out for blood plots that Bond faces. Much more personal in nature, Bond chases down the drug lord Franz Sanchez (Robert Davi), who has killed his best friend Felix’s wife. More interesting than the main villain is the young Benicio Del Toro, playing the henchman, Dario. “Licence to Kill” offers up plenty of memorable moments and lands Dalton on the higher end of the spectrum when it comes to all the actors that have played 007.
Life After Beth (2014)
Life, Animated (2016)
Life Aquatic with Steve Zissou, The (2004)
With such a stellar cast playing almost unrecognizable roles, Life Aquatic with Steve Zissou powers through the extremely dry humor and tongue-in-cheek nature to deliver a truly unique adventure. Though often hit-or-miss, Anderson brings the film to a thoughtful and endearing conclusion.
Life as We Know It (2010)
Mainly a film stuck between a comedy and a drama but never really embracing either. One day there will be an entire genre for films where characters dramatically chase their loved ones to the airport… Kind of wanted Katherine Heigl to end up with the doctor…
Lifeboat (short) (2018)
L!fe Happens (2012)
Juggling multiple different storylines, “Life Happens” is saved mostly by an amazing ensemble cast, headed by uber talented Krysten Ritter, brought together by a commanding performances from the lovely Kate Bosworth. Definitely with the makings of an HBO or Showtime based television series, this sometimes lacks the cinematic feel of an actual film, however entertains enough to remain average and somewhat enjoyable.
Life in Flight (2008)
Life of Pi (2012)
With some of the best use of visual effects ever witnessed in a film and one of the first films I’ve ever said “perhaps I should see the 3D version”, “Life Of Pi” is a visual masterpiece. Telling the inspirational story of a young Indian man stranded in the Pacific ocean with a Bengal tiger, there’s enough tension between the two character to carry the film through its over two hour run-time. Despite some questionable transition choices and a lagging interview used as a bookmark, Ang Lee proves his vision can break the stigma that the book “Life of Pi” is “unfilmable”.
Like Dandelion Dust (2010)
Great film and social commentary. Consider this Robert De Niro passing the torch to Bradley Cooper. “Limitless” more or less makes you wonder what the world would become given the existence of this drug. The film found a way of working on the action and thriller level as well as the dialogue driven dramatic level, evenly matched throughout.
Daniel Day-Lewis’ performance is the closest representation of the 16th President we will ever witness in our lifetimes. With thoughtful resolve and abundance of history, Steven Spielberg garners the task of bringing these well-known events to an audience saturated with knowledge about this iconic historical figure, yet with an effortlessness only a veteran director could possess, he creates a film that is not only enriching and empowering, but entertaining and emotional along the way. With countless familiar faces filling the roles of our fore-fathers, “Lincoln” is grand in all the ways one would expect. Although the conclusion could have come slightly sooner, the overall pacing of the film carried on quite well, helped mostly by the ever constant stories and anecdotes told by Lincoln, which allowed a glimpse of the man beneath the hat that is never alluded to in any prior embodiments of Abraham Lincoln.
Little Fockers (2010)
I am hard-pressed to say a single good thing about this film. The concept is tired, the kids are hardly the center point of the film, and Jessica Alba’s caricature performance was disastrous. I really hope they are done with this franchise because it was never that great to begin with.
Little Miss Sunshine (2006)
Live and Let Die (007) (1973)
Although I respect the ever shifting themes of each Bond film, a trip to the marshlands of San Monique is much less interesting than it sounds, especially when completed with a voodoo worshiping cult. Roger Moore earns the spot as my least favorite James Bond, while Jane Seymour as Solitaire earns a spot as one of the most memorable Bond Girls. The Paul McCartney song is nicely done, still remaining a highlight in original movie music, however, it can’t completely save this lackluster and skip-a-beat film that is “Live and Let Die”.
Live Free or Die Hard (2007)
As the “Die Hard” franchise enters the 21st century, one thing has to be said: this film is gorgeous. With impeccable graphics and a sheer, sexy quality to the film, “Live Free or Die Hard” is the best looking “Die Hard” yet. Following a similar plot to that of the 007 film “Die Another Day” where the villain is standing in a control room calling the shots instead of fighting, this fourth “Die Hard” film is all punch and no plot. Bruce Willis continues his sordid love affair with the role of John McClane, this time introducing the character of his daughter, played by Mary Elizabeth Winstead. The biggest element I like about the continued plot of “Die Hard” is that we never delve into rich back story, but instead experience these small slivers of a man’s life whenever disaster tends to strike. We witness this man at different stages of his life, all without needing to know what led to each decision and how he’s changed (because honestly he really hasn’t). When we meet McClane in this film, he is picking up a known hacker (Justin Long) in order to bring him to Washington amidst the threat from ultra-hacker Thomas Gabriel, played effectively by Timothy Olyphant. “Live Free or Die Hard” hits most of the same marks as the previous installments, providing much more bang for your buck, and delivers an entertaining although somewhat vapid action film, replacing interesting dialogue (constantly repeating the term “fire sale”) with explosions and chase scenes or a mixture of the two (with the highlight being a car that is driven into the helicopter). Everyone delivers at an above average presence and begs the question whether John McClane can gain a foothold in this new era of action films and if so, where he’ll be at the next glimpse into his life.
Living Daylights, The (007) (1987)
On the fence with the quality of Timothy Dalton as James Bond, “The Living Daylights” both entertains yet repeats a lot of the same themes used in earlier Bond films, including the smuggling of diamonds (“Diamonds Are Forever”). What saves the film is an interesting build up to the final act, which takes place on a cargo plane flying above Afghanistan. With plenty of double crossing and reveals, this may attempt to change things up, but never actually achieves any real originality in comparison to the previous films.
Lobster, The (2016)
performance he can under the stale “one man versus the world” schtick and the unending spatter of sarcasm in his every line of dialogue. The fact of the matter is, Lockout rarely makes sense. Glossing over any sort of struggle connected to the means to the end, everything happens in double time in Lockout and not in an exciting action-filled way, but in a “can’t be bothered to explain this” sort of way. It takes one rogue in-mate to successfully take over the space station, the crew is filled with gun-shy “obedients”, and there are portions of the film so laughable, they detract from the entire film.
Lock, Stock and Two Smoking Barrels (1999)
Ritchie delivers in his first feature film, a slight-of-hand that causes you to guess what will happen around every corner. There is a progression of fondness towards these characters throughout the course of the film, introducing Jason Statham, Vinnie Jones, and Vas Blackwood who literally steal the show and exhibit veteran-like qualities in their feature film debuts.
Loft, The (2015)
Logan Lucky (2017)
London Boulevard (2011)
With the spot-on advertising and stacked ensemble cast, I wanted to love this film. Instead, I only mildly enjoyed it. Truth be told, Colin Farrell has a lock on these character types, with London Boulevard coming off similar to In Bruges. Farrell fits the part, playing the suave, cool-headed ex-con on the up-and-up, taking a job as a bodyguard and getting caught up in the wrong crowds, all while falling for the girl. Though the pacing of the film could have used some work, the performances make the film worth it.
Longest Week, The (2014)
Longest Yard, The (2005)
Look of Silence, The (2015)
A time-travel film that focuses more on its characters and story than explaining how the physics work, “Looper” is a tight-knit action thriller with a hint of science fiction. Led masterfully by writer-director Rian Johnson (“Brick”), his connection with actor Joseph Gordon-Levitt cannot be denied and JGL’s unbelievable and unrelenting talent is fully showcased in this leading role, selling every minute of his screen-time while pulling off a convincing prosthetic Bruce Willis face. Pierce Gagnon plays the young boy, Cid, whom JGL’s character is protecting, and effectively displays some of the most mature emotions I’ve ever witnessed from a child star. Add to that a superior supporting cast in Paul Dano, Garrett Dillahunt, and Jeff Daniels, and a stellar soundtrack, and you’ve got one of the best films of the year and one of the best science fiction thrillers out of this decade.
Lord of the Rings, The: The Return of the King (2003)
By the time one reaches “The Return of the King”, they have experienced enough battles, traveling, and impossible odds to have felt the wears of war. Yet somehow the third and final entry in “The Lord of the Rings” is just as epic, if not more than the previous two films, delivering even more battles, even more villains, and an emotional conclusion to one of the best told stories in the history of the medium. Again, the story is told in fragmented segments, with Frodo leaving Sam behind to follow Gollum into Shelob’s lair, just inside Mordor, growing ever so close to Mount Doom. Gandalf heads to Minas Tirith to convince them to fight, while Aragorn rallies an army of cursed souls. The visual effects are at the height of their game, the cinematography and editing are shining examples for years to come, and there’s a feeling of honor towards the creators of this franchise, especially Peter Jackson, for daunting the task of such an insurmountable series. All of these epic tales lead up to the pinnacle moment that concludes the trilogy, leaving an utterly impossible-to-shake impression that continues on throughout the years.
Lord of the Rings, The: The Two Towers (2002)
Much more fulfilled than most second films in trilogies, what was a group adventure in “The Fellowship of the Ring” now becomes a segmented journey, following three different groups; Frodo and Sam heading to Mordor and coming across the maniacal Gollum, Merry and Pippin in the company of Treebeard and the Ents, and eventually the Battle of Isengard, and Aragorn, Legolas, and Gimli, meeting Gandalf in his re-emergence and fighting alongside Theodin, King of Rohan, in the Battle of Helm’s Deep. “The Two Towers” still has plenty of villains and henchmen, the most interesting being Wormtongue, Theodin’s right-hand man who is poisoning the king’s mind for Lord Saruman. Each character has a complete arc, which is what differs this film from other middle entries. By the end of this film, you are begging for the third and final entry in “The Lord Of The Rings” trilogy in the best of ways.
Lost In Translation (2003)
Lost World, The: Jurassic Park (1997)
Lot Like Love, A (2005)
Don’t know how many times I’ve seen this movie, but enjoy more and more each time I see it. Not to mention the greatest soundtrack of any movie, maybe ever. Great scenes, great acting, great music. I want Ashton’s brother in this movie.
Louis C.K.: 2017 (2017)
Louis C.K.: Live at the Comedy Store (2015)
Dated and blatant, Where The Heart Is basically tries too hard and mish-mashes far too many events and ideas into one film. A critic said it best when he referred to it as “a great big ol’ commercial for the Wal-Mart”.
Love & Distrust (2010)
Absolutely cussing horrible. It takes a lot for me to turn films off, but I had to with this one.
Loved Ones, The (2012)
Taking the torture-and-gore genre to new levels, “The Loved Ones” is almost a social commentary on the secluded nature of our lives, where high school boys can go missing and no one can find them. I often felt a tinge of “Texas Chainsaw Massacre”, especially involving the strange dinner scenes and the use of the power tools. The cast is brilliantly put together, attractive yet gruesome, the soundtrack makes the film stand out, delivering heavy metal to beef up several moments of the film while pertaining to the plot, and overall, the film comes off fresh and unique despite landing in a genre that gets its kicks off of the fragile human state.
Lovely Bones, The (2009)
Absolutely horrid film… Really hope the book actually is better than the movie.
Lovely, Still (2010)
Loving Vincent (2017)
Lucky One, The (2012)
“The Lucky One” is your run-of-the-mill Nicholas Sparks drama, no more, no less. What Zac Efron lacks in his stoic representation of a man returning from war, Taylor Schilling makes up for with her enthusiastic personality and constant inquisitive demeanor. Hitting the same marks as almost all romantic dramas, it doesn’t go quite as dark and depressing as most of Sparks’ previous endeavors, yet still has the same basic and predictable formula.