Reviews by The Mighty Celestial

So far, the most updated amazing computer animation in any animated feature.
Simply put, the computer-generated visuals in this film truly have to be seen in order to be believed.
However, even though the story is solid, as the sci-fi epic that Appleseed's visuals aspire to be, it does lack some originality in it's plotline. It is for this reason, combined with the indistinguisnness of the faces (as is usually common for most 3-D anime) that prevented this film from being ranked higher on this list, despite the fact that the graphics are, so far, some of the most favorite that my eyes have ever laid upon.
That said, there wasn't a frame in this movie where I just wasn't completely stunned with awe. The technical details & intricate designs in Ex Machina are some of the most striking ever to be generated on film.
Iron-Man's armor looks like it was created by Fisher-Price compared to the hardware these guys are wearing.
A true marvel to behold.

I thought that the limited comicbook series was just okay.
But then Zack Snyder & the writers took Frank Miller's story & used this movie to add a whole different dimension to the telling of this early historic battle. While the story itself suffered a bit because it had to be shorten into a "two-hour" movie ( or however long this thing ran), it seemed to be made up by the surrealist matrix-like effects that were used to enhance the story-telling in a manner such as when an artist uses a new medium for his/her artwork.
In this history epic, I have seen the future of film storytelling.
And it works.

A big giant glob of pink snot that only gets bigger & bigger as the movies progresses.
Could somebody hand me over a city-sized piece of tissue, please?

A great classic sci-fi horror that thrills by channeling it's chills thru the use of the fears that we tend to hold most as a general populace. The fear that we & our brethen are not we seem to be.
And rarely does the black & white look of the time capture this cultural sub-genre fear of the unknown & magnify it so that even today, Invasion makes the viewer feel the sparseness of trust that was running amok during this era of red scares & McCarthyisms.
At the time, this movie could've easily influenced one to view his neighbor with a questioning look of "Are you a friend, a Pinko or a pod?"

Call me simple, but when it comes to starting my day right, I prefer breakfast at MikkyDees. Those Egg McMuffins wit' Egg sandwiches, surely, they be nought but the very food of the gods themselves.

Audrey Hepburn falls in love with a man old enough to be her dad.
.... again.

Anyways,
the best thing that I like about this movie is that it's both a spongy thriller & a creamy romantic comedy, in one.
In other words, it's a cinematic Twinkie.

The very first Hitchcock movie I ever saw.
During my early years on this planet, my dad used to pack our family into the panel-sided Buick station wagon & take us to the drive-in theatre where we were exposed to alot of those 70's campy "when animals attack" movies, like Food Of The Gods, Night Of The Leapus, Swarm, etc...
Goofy escapist fare of whose cheese I ended up developing a taste for.
Therefore, when I first caught film on the on the tube, my initial reaction was "Coo-hoooooollll.... Kinda like the movie 'Frogs!'! Except with birds!"

For a long time, I used to think that I was the King of Sinful Sots.
Then I saw this.
And I realized that compared to this guy, I'm just a moldy purple spot
on the dead tomato splot that is his heart.
You are the true rotter,
Mr. Grinch.

How cool is Cool Hand Luke?
He's so cool that he's willing to eat 50 hardboiled eggs within an hour just to win a bet. This, in a prison where he has to share his immediate space with a
bunch of hardcore criminal chain-gang types, who are well within his ratio of flatulenciated influence. And if you can't understand that,
well then,
what we've got here
is a failure to communicate.

For me, this movie exemplifies everything that I like about all things Kubrick. IMO, he tends to make movies that are an inch away from being abstract beyond understanding, but yet keeps the flow of the film reeled in just enough to make it seem like it makes sense on some kind of creative level. And while I don't mind discussing what the underlying meaning(s) of ACO might be, I find that too much discussion on it tends to get in the way of the enjoyment that I get from noticing things like how colorfully crafted the art-direction is for a movie that doesn't bat a single lashed eye towards subjects like ultra-violence & the old in-&-out.
Visually, a beautifully crafted film with such a bite in it's theme that it acts as a well-balanced counterweight against the brightly set designs. Seldom do we see the contrast of light & darkness stitched on film in a manner that is instinctual, crazy & perfect all at the same time.