Q: What's an example of a movie review?
An example of a movie review is here: Jonathan Rivers (Michael Keaton) suddenly becomes a widower when his wife dies. Soon after, he's approached by a Dr. Price, an expert in Electronic Voice Phenomena (EVP), who claims he's been receiving messages from Jonathan's departed wife Anna via sundry electronic gadgets. Is Anna trying to tell Jonathan something? Is this merely a hint of something on a larger cosmic or otherworldly scale? It's good to see Keaton in a leading role, but the story he's stuck with is convoluted and absurd at points; it's as if the movie doesn't know how to answer any of the questions it brings up, so it just distracts the viewer with new, unrelated questions.

Keaton himself is pretty good, convincingly cast as the bereaving widower desperately trying to communicate with his late wife. He's matured quite a bit as an actor, leaving behind the frat-friendly waacky-hijinks roles he played 15 or so years earlier. He looks a little craggy, with a perhaps few more wrinkles than one might expect, but he's lost none of the guile and panache that he's shown during his quarter century in Hollywood.

So it's not that Keaton turns in a mediocre performance, it's that the script itself is subpar. Written by Niall Johnson, the plot gets more confusing as it progresses, each tortuous path ending in another tortuous path. This is all well and good if the path leads to some sort of acceptable denouement, something that ties more or less everything together and explains... something. But not White Noise; I knew less about what had happened to Jonathan than I did before I'd first seen him.

Keaton's really the only reason to watch this junk, although he gets fine support from Ian McNeice (as Dr. Price) and Deborah Kara Unger as the requisite love interest.

Q: What's an example of a movie review?
An example of a movie review is here: In today's world of digital fabrication, there is no computer than can replace the actor and writer. Alas, this type of "character driven" film is far too rare these days. Duvall's performance as well as James Earl Jones are faithful to their audience's high expectations. I wonder if this movie was made for TV? It has a "close-up" personal quality to the narrative. It is an understatement to say that the performances are all Outstanding. The only thing that keeps it from being a cinema Masterpiece is the lack of a great Cinematographer, but pretty pictures are not everything. How can talent the likes of Jones and Duvall continue to produce such fine work in an age where actors pose for the digitizing?

Q: What's an example of a movie review?
An example of a movie review is here: Six for the price of one! So it is a bonanza time for Cinegoers. Isn't it? Here it is not one, not two but all SIX-love stories, an ensemble cast of top stars of bollywood, plus all stories in the genre of your favorite top directors Johar, Bhansali, Chopra et al. You will get to see every damn type of love story that you enjoyed or rather tolerated for years now. So no big deal for you. Do you need anything more than this? No sir, thank you. Why sir? Enough is enough. Please spare us. They signed every top star that they manage to sign, whether required or not, so they end up making a circus of stars, believe it or not. Too crowded Every thing depicted here is exactly how it is prescribed in bollywood textbook of romances. Plus you have to justify the length given to each story, as each has stars. Therefore, it is too long-three hours plus. The gags are filmy. Characters are filmy. Problems, Barriers, situations, resolution yes you guessed it right, again. filmy-tried and tested. Same hundreds of dancers dancing in colorful costumes in background. Why they have no other work to do? All couples are sugary-sweet, fairy tale type, Picture perfect. All are good looking. Each story beginning in a perfect way and therefore should ends also in that impossible perfect manner? Too haphazard. You can't connect to a single story. Here you have everything that you already seen a million times. Bloody fake, unreal, escapist abnormal stories considered normal for more than hundred years since evolution of this Indian cinema. What a mockery of sensibilities of today's audience? Yes it could have worked as a parody if he just paid tribute to love-stories of yesteryear but alas even that thing is not explored. At least, Director Nikhil Advani should have attempted one unconventional, offbeat love story but then what will happen to the tradition of living up to the mark of commercial bollwood potboiler brigade? Oh! Somebody has to carry on, no. Imagine on one hand audience finds it difficult to sit through one such love story and here we have six times the pain. I mean six damn stories. I mean double the fun of chopra's Mohabbatein (Year 2000) In this age and time, get something real, guys. We are now desperate to see some not so colorful people and not so bright stories Oh, What have you said just now- come on, that is entertainment. My advice, please don't waste your time henceforth reading such reviews. Go instead, have some more such entertainment! Thank you.

Q: What's an example of a movie review?
An example of a movie review is here:
One reason Pixar has endured so well, and been so successful, is that while their films remain technical marvels and visual mosaics, they have a story to match their style. And often very moving style at that: affecting, charming and cross-generational. That a lot Anime (speaking in broad terms) and a great many other animations fail to match their technical virtuosity with real substance is, I think (and I might be wrong) partly because either the makers aren't bothered with character and plot and focus far too much on sound and image, or the sheer effort that goes into making some animations is so enormous, so enervating that they don't have the energy to create a really engaging story.

That same cannot be said of Renaissance. There are flaws in its plot, but I'll get to that later. Those same flaws, however, are not reflected in the visuals - Renaissance is nowt short of stunning. The ultra-high contrast images (sometimes so high-contrast that is nothing but one face or one beam of light visible) and incredible detail are always impressive, always a joy to behold. The futuristic Paris on display is the grim offspring of Blade Runner and Brave New World; dark, murky, quite affluent and even clean, but shrouded in intrigue, corporate malfeasance, obsessed with beauty (capital of the catwalk, after all) and disguising the squalor and neglect of its labyrinthine passages with a veneer of monumental, sophisticated architecture.

It's a compelling environment, not entirely original, but great all the same. The film's much-touted 'motion-capture' technology and incredible attention to human and design minutiae result in images a black-and-white photographer would die for. Not that the detail prevents entertainment, because Christian Volckman crafts some superb action sequences: a hell-for-leather care chase, a couple of gruesome(ly imaginative) murders, several tussles in the dark and a nasty dust-up in a gloomy apartment. The locations are great, too (I want to visit the nightclub). While the central character of Karas is your regular off-the-shelf maverick cop, the other two female characters (who are sisters) are the real motors of the movie. Coming from war-torn Eastern Europe, products of a war, diaspora and a family spat, they're a compelling metaphor for Europe as a whole.

The film is tremendously atmospheric, its dizzying, swooping faux-camera moves and adult tone making for a very engaging experience. However, the plot... It never becomes more interesting than the initial hook, in which indefatigable plod Karas must find Ilona Tasuiev, a drop-dead gorgeous and pioneering scientist, after she's snatched from the street. The sinister corporation Avalon (is ANY corporation ever not sinister?), which she was working for on 'classified', projects are hell-bent on her retrieval, and soon Karas is up to his neck in official reprimands, dead bodies, cigarette-smoke and narrowly-missed bullets, and falling in love with Ilona's sister Bislane (very sympathetically voiced by Catherine McCormack), as he plumbs the depths of the city's sordid underbelly (and his own past).

Text-book noir, in other words, but while I enjoyed the film a lot more than Sin City (to which it bears a passing visual resemblance), the plot and resolution are dull, the theme of immortality being raised but never examined, and the shenanigans of high-rolling Avalon CEO Paul Dellenbach are also dull , undercutting a lot of the dramatic tension. The basic ideas are familiar sci-fi genre materials, and there's a nagging sense that the visuals and atmosphere are disguising the mundane material.

However, the film as a whole is lucid and perfectly coherent, even if some of the scenarios the characters get into occasionally feel like excuses for displays of technical wizardry. But it's the projection of life in Paris circa 2054, the vision of community and creation of another city from the ground up that makes this film something to behold. I may be taking it too seriously, and if that's the case I can at least say that it's superbly made, extremely entertaining (and pretty mature, too), and with an ambiance like no other.