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All I See Is You Is One of the Strangest, Most Satisfying Surprises of the Fall

movie review all i see is you

In our dead-nerve Cuisinart culture, it will be very easy to digest All I See Is You as a GIF-accompanied list of meme-able “can you believe they did that” facts. It is, after all, the movie where Blake Lively, she of Gossip Girl and the ill-fated Preserve lifestyle brand, plays a blind woman who regains her vision; it’s also the movie where Blake Lively goes to a Barcelona sex show and ties up her husband in a failed bit of train-car BDSM. It’s directed by Marc Forster, last seen with 2013’s World War Z and a particularly unloved James Bond entry; it has all the markings of a middlebrow Hollywood contractor grasping at something like “real art.” But to dismiss it as the sum of its parts and the filmographies of its principal players seems, pardon the pun, shortsighted. All I See Is You is weird, but it is emphatically not dumb.

Nor is it boring, but only because of its restless, only occasionally sweaty refusal to be the tasteful issues-driven Sundance-y movie it sounds like on paper. In examining my own reaction to it, I realized that what felt foreign about it wasn’t its many sex scenes or its insane Hitchcock-worthy plot or the continued, inexplicable cognitive dissonance of Lively as a movie star. It’s that it is a small film, focused almost entirely on two characters, and it looks, well, rather expensive. There is at least a healthy cinematography and effects budget; Matthias Koenigswieser’s camera has a habit of soaring up mid-conversation into perfectly composed aerial shots worthy of an Apple TV screensaver, and early in the film scenes often dissolve into shimmering, near-abstract blurs. It caught me off guard a bit to see that kind of cosmetic investment in a story that’s largely internal.

Lively stars as Gina, a woman who lost her eyesight and her parents in a car wreck when she was a child. She’s now living in Bangkok with her husband James (Jason Clarke, currently on a roll as Hollywood’s go-to problematic husband) in a state of near isolation, both as a blind woman and an expat in a foreign land. An early scene of her taking a shower is rendered as Lively alone in a seemingly endless steamy void; sex with James is a kaleidoscopic mishmash of body parts that she has little choice but to remain passive for. James works in insurance and frequently stays out late drinking with his work buddies, but he’s by all appearances devoted to Gina; as her prime mediator with the world, he protects and guides her through life. At one point, James takes Gina to a nightclub to help shake off the heartbreak of their continued inability to conceive a child together. When they are separated, her helpless panic is palpable, as is her dependence on him.

All I See Is You suspects that this is by design, without explicitly saying so. When Gina elects to undergo an experimental procedure to repair the vision in one of her eyes, her world opens up again. She has the bizarre experience of seeing her husband for the first time. (“You’re not how I imagined,” she says with a diplomatic smile.) She also realizes she looks like Lively and starts dressing the part, as well as taking a more active role in her and James’s sex life. Gina wants to take in everything around her, and so do Forster and Koenigswieser, as the film becomes positively drunk on stimuli, from the exuberant color explosion of a flower market, to the LED monitor of a camera display. Koenigsweiser uses POV camerawork judiciously; but often finds more creative ways to convey Gina’s deeply subjective impressions of the world.

The result is something like a Lifetime movie directed by Gaspar Noé, equal parts stylistic audacity and lurid, crackerjack plotting. James, it turns out, realizes that there were some upsides to having a blind wife, particularly when Gina starts to attract the attention of other men. I won’t spoil what happens next, but the script, co-written by Forster and Sean Conway, is subtle and well-observed about the hair-trigger sensitivities of this power dynamic. Gina feels like a very specific woman who is rankled by the newly discovered dullness of her partner in a very specific way. When they travel to Spain to revisit their honeymoon location, they get into a minor argument — he swears he booked the same room they had before, and she knows, sight unseen, that it’s different. The conflict is small but revealing: He’s still feeling unexpectedly exposed by this new pair of eyes in his life; she’s annoyed not only that he doesn’t believe her, but that he might not be as observant as she is, despite years of advantage.

All I See Is You goes to an improbably operatic conclusion that might not work for everyone, but it’s these smaller, interpersonal moments that keep it from being pure camp. Still, as a psychological not-quite thriller, it’s consistently entertaining; as a visual exercise, it’s more adventurous than most would be. And somehow Lively, in the midst of all these high concepts, finally feels like a real person onscreen, with real hunger and perspective.

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Review: ‘All I See Is You’ is a sensual and visual experience

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The premise of “All I See Is You,” wherein Blake Lively stars as a blind woman who has her sight restored, sounds unbearably sentimental. Thankfully, the film itself is far weirder than that.

Director Marc Forster explores questions of identity in relationship to sensory experiences in this erotic-ish thriller, about a woman whose whole self opens up to the world -- for better or for worse -- after cutting-edge eye surgery restores the sight she lost as a child in a tragic accident.

Forster, who wrote the script with Sean Conway, seems fascinated by creating a cinematic experience of blindness. It’s a unique viewing experience, as he weaves a visual spectacle of morphing light and color, melding into abstract shapes, a kaleidoscope of fractured, fantastical images coupled with detailed sound design in an attempt to represent the perspective of Gina (Lively) and her experience of the world.

Gina lives in Bangkok with her husband, James (Jason Clarke), for his job. But not much about their background or past is fleshed out, beyond her flashbacks to the terrible childhood car accident that took her sight and killed her parents. He’s the protector of his vulnerable wife, and seems to both relish and strain at the responsibility of caring for her and helping her navigate her small world.

“All I See Is You” posits that our selves are defined by how we experience the world. If a sense is taken away or restored, it changes the way we see ourselves, the way we move, how we relate to others. With her sight back, Gina wants to eat up the world in great gulps - explosions of color at the flower market, faces in the crowd, a kayaking trip, her own face with makeup, her body in a sexy dress, a Spanish peep show with her sister and brother-in-law. With her sight intact, she becomes a different person - it affects how she presents herself to the world, changes her sexuality - and that doesn’t sit well with her husband.

As an actor, Clarke seems to shape-shift if the light hits him in a certain way. He’s at once handsome and guileless, but at the right angle his visage darkens. As he toes the line between loving and sinister, we never quite trust him. He leaves blind Gina for a minute too long outside a nightclub bathroom and later he seems wary of her, when she changes as the result of her surgery. His power crumbles as she gains hers, and we’re never quite sure how exactly he might try to hold onto that power.

There are moments of the experimental, abstract and sensual in “All I See Is You,” where Forster keeps the audience utterly unmoored, questioning where this story could possibly go. That sensation is a rare experience in most genre-based cinema, and with a few notable exceptions, “All I See Is You” is refreshingly resistant to predictability.

But for all of Forster’s experimentation, and his willingness to prod at the strange, jagged edges of this relationship, he ultimately rejects darkness. The final message may tip toward sentimental, but it’s in line with the film’s embrace of light all along.

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Running time: 1 hour, 50 minutes

Rating: R, for strong sexual content and nudity, and language

Playing: In general release

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movie review all i see is you

  • DVD & Streaming

All I See is You

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movie review all i see is you

In Theaters

  • October 27, 2017
  • Blake Lively as Gina; Jason Clarke as James; Ahna O'Reilly as Carla; Miquel Fernández as Ramon; Xavi Sánchez as Luca; Yvonne Strahovski as Karen; Wes Chatham as Daniel; Danny Huston as Doctor Hughes

Home Release Date

  • January 16, 2018
  • Marc Forster

Distributor

Movie review.

Gina is blind. She had full sight when she was a little girl, but a car crash turned her pupils to pulp, leaving the visual world nothing more than a strange, uncertain whorl. Her life in Bangkok—where her husband, James, works in insurance—is filled with sounds and smells and sensation, but no color. No visual delineation at all.

But despite her blindness, Gina spies some hope: An eye specialist tells her that he just might be able to repair one of her eyeballs. Naturally, she and James latch onto this thread of hope. Gina goes under the knife and …

It works! She’s dazzled by colors. She’s fascinated by patterns. She looks at her husband and …

Well, OK, James is a little disappointing in the looks department. But no matter, because at least they live in a beautiful …

No, make that a fairly average apartment, I guess, where their outdoor balcony is so close to the neighbors that Gina could almost reach out and yank a cigarette from the old lady across the way.

So what if life isn’t quite as beautiful as she imagined. If someone saw her for the first time, maybe they’d be disappointed, too.

Or not! Because Gina’s beautiful ! Like, Blake Lively beautiful, in fact! She’s young! Adventurous! She has no reason to be scared of the big, bright world anymore, not now that she sees its true colors.

So just what, Gina begins to ask herself is she doing with plain ol’, boring ol’ insurance guy James in a semi-dumpy apartment? How, exactly, should a gorgeous woman in the middle of Bangkok spend her time?

She’ll soon see, I guess—quite literally. But will James wish that she didn’t?

Positive Elements

Gina seems to love three things: sex, kids and dogs. And while her sexual predilections grow a bit … questionable, we have no quibbles with her desire to teach a young lass guitar or to save a pooch from being euthanized. Bravo, Gina!

Spiritual Elements

None, unless you read quasi-religious symbolism into a naked minotaur statue painted in what appears to be blood. (Bulls have long been associated in various religions with sex and virility, and plenty of gods over the ages have sported a bull’s head. In the context of the scene, the sculpture seems designed to evoke some sort of sexualized pagan ritual, with a naked man paying homage to the visage.)

Sexual Content

Before Gina regains her sight, she and James have a seemingly fulfilling sex life. The movie’s first scene takes us straight into their passionate lovemaking, descending into a literal kaleidoscope of naked arms and legs and backs and rears.

But when Gina begins to regain her eyesight, sex becomes less rewarding because of problems James is having. She later blindfolds and ties him to a bed. An explicit and lengthy conversation about fantasies and masturbation ensues. (Incidentally, she records the whole, uncomfortable act with a video camera, and James re-watches the scene later.)

Still other sex scenes involving other characters include more breast and backside nudity, as well as explicit movements and sounds. A woman’s shown showering from the side and rear. Another scene includes a man making suggestive pantomimes with the above-mentioned minotaur statue. We hear a suggestive conversation about a male swimmer’s “package.”

Gina takes a bath with Carla’s 9- or 10-year-old son—an interlude that Gina doesn’t find weird or creepy at all, but James believes is pretty inappropriate. (Both bathers have their critical parts covered in bubbles.) A man wears a woman’s dress, both as a joke and as something that’s apparently a turn on for him.

Someone apparently grabs Gina’s rear, and she’s upset when James seems unconcerned. She wears flattering, revealing garb. We see her in a swimsuit, too, at one point sharing the pool with what appears to be a squadron of gigantic sperm.

Violent Content

In flashback, we see images from the car crash that blinded Gina, including a shot of her blood-soaked face. (Both of her parents were killed in the accident, we also learn.) After Gina’s surgery, her eye often seems filled with blood. Someone else apparently is killed in a car crash. A neighbor wants to euthanize the family dog because she won’t have time to take care of it and her two children. A bird slams into a window and dies. (Gina stores the corpse in the fridge, for some reason.) Gina and James’ house is ransacked.

Crude or Profane Language

More than 15 f-words and five s-words. We also hear “a–,” “d–n,” “d–ks,” “h—” and “p-ss.” God’s name is misused seven times, while Jesus’ name is abused twice.

Drug and Alcohol Content

Gina smokes on occasion, even though James encourages her to quit. Others do, too, including the couple’s balcony-sitting neighbor across the street.

Everyone drinks, and frequently. Beer and wine seems to be the beverages of choice. James staggers into his apartment late one night, apparently drunk. Several scenes take place in bars or clubs.

Other Negative Elements

Gina and James’ dog experiences a long afternoon in their apartment, urinating and defecating everywhere. James steps in some excrement, and we see plenty of the stuff all around. There’s an image of toilet paper being flushed down a toilet bowl. Menstrual blood runs down Gina’s leg.

[ Spoiler Warning ] James isn’t so happy about Gina’s recovered eyesight, so he sabotages her steroid eye drops, sapping her ability to see. He lies to her and plays tricks on her sometimes, apparently to feed his own sense of power and increase her dependence on him.

The gift of sight is great. Really. But sometimes, sight is more trouble than it’s worth. Say, for example, when one must sit through a movie like All I See Is You.

But I’m getting ahead of myself.

Director Marc Forster has made some mighty fine movies in the past, including the family-friendly Finding Neverland , the surprisingly thoughtful Stranger Than Fiction and the super-problematic but widely lauded Monster’s Ball . You’d think he’d know what he’s doing and, as such, I wonder if All I See is You was intended, on some level, to be a metaphor: Gina might be a representation of female liberation, who can suddenly “see” a far bigger, broader, sexual world than she previously could experience, while James is a representative of manhood, fearful and threatened by the female’s newfound freedom.

But be it metaphor or not, it doesn’t make the movie any better. Indeed, from a spiritual point of view, it makes it significantly worse.

Gina’s sexual exploration dives into deeply problematic territory, both thematically and visually—from an extramarital affair, to an explicit peep show she watches, to her “innocent” bath with her not-so-little nephew. While the movie takes pains to sculpt James as a surly stick-in-the-mud, it kinda seems like he’s got a point: Maybe she shouldn’t be watching masked, naked performers do the deed live, in front of a paying audience. Maybe you shouldn’t be taking naked baths with young relatives on the verge of adolescence.

Freedom is a funny thing, and sexual freedom is no different: To be utterly, wholly free can be dangerous without judicious boundaries: To be simultaneously free and alive and fulfilled and healthy requires a certain level of restraint and self-policing. And maybe it’s just me being a James-like stick-in-the-mud, but it seems to me that just as Gina’s senses grow deeper, she herself grows shallower.

Aesthetically, the film fares no better. It’s so enraptured by its imagery and symbolism that it loses any sort of purpose and control of its own plot. This film is like a cake made entirely of food coloring. It’s bad, plain and simple—and not even the sort of bad that you marvel at its terribleness or puzzle over its deficiencies, but the sort of bad that feels like a stomach flu: You just want to be done with it and forget about it as soon as possible.

All I Can See Is You? Let’s not see this at all.

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Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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‘all i see is you’: film review | tiff 2016.

What seems a perfect union between Blake Lively and Jason Clarke hits a rocky patch when her sight is restored after years of blindness in Marc Forster's psychological thriller.

By David Rooney

David Rooney

Chief Film Critic

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Blake Lively might have been better off swimming with that shark in The Shallows than subjecting herself to the gummy toothlessness of Marc Forster ‘s wet psychodrama All I See Is You . Playing a woman blinded as a child and now living with her husband in Bangkok, she undergoes a successful corneal transplant to restore her sight, only to discover that clarity of vision exposes the cracks in her marriage. Or something like that. The Southeast Asian setting has minimal relevance, beyond recalling the Pang Brothers’ The Eye . That 2002 horror chiller and its sequels unleashed post-blindness visions of ghostly nightmares that were far more memorable than this underheated intrigue.

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Actually, the special end-credits thank you to the people of Thailand is a head-scratcher since we see only marginally more of them than Lively’s blind Gina does. She and her husband James ( Jason Clarke ) live there because of his apparently big-deal job in insurance, so I guess it makes sense they would mix with other ex-pats. While Gina is shown listening to a teach-yourself-Thai course at one point, her only real interaction with a local is giving guitar lessons to an English-speaking kid next door (Kaitlin Orem ).

The Bottom Line Blind boredom.

The tonally vague script by Sean Conway and Forster signals its overripe fascination with sex from the outset, as Gina and James get it on while the blurred images in her eyes give way to a picture of herself amid a writhing sea of naked men — like a pervy version of one of those art happenings by New York photographer Spencer Tunick . The fact that his wife can feel but not see seems to feed James’ sexual pleasure, and he can’t hear enough details about what she “sees” when they make love. Not that any of that helps with their so far fruitless attempts to have a baby.

Because this movie makes it seem that Bangkok is on the cutting-edge of world medical technology, Gina quickly finds herself at the top of the waiting list for a revolutionary corneal transplant. The doctor (Danny Huston) assures her that only one eye is operable but with surgery and a course of steroid drops to follow, she should expect vastly improved vision immediately. Since she’s yearning to see color again post-surgery, James takes her to the local flower market, in a scene that might be the movie’s most concrete justification for its setting.

As hints start surfacing that James is having trouble relinquishing his role as the no-longer-dependent Gina’s eyes, they jet off to Spain, which everyone knows is a land of torrid passions and combustible sexual heat.

They stay in Barcelona with Gina’s sister Carol ( Ahna O’Reilly ) and her husband Ramon (Miguel Fernandez). Like all men called Ramon, he’s a wild and sexual free-spirit artist, who takes them carousing through the teeming nighttime streets and whisks them off to a peep show. Uptight James waits outside while Gina gets a one-eyed view of a woman in a pig mask being shtupped from behind, something that definitely wasn’t in the Spanish Tourist Board brochure. The real purpose of the trip, however, was to revisit the scene of the accident where Gina lost her sight and her parents, a return to the painful past that yields surprisingly little in dramatic or emotional terms.

Back in Bangkok, Gina explores her new surroundings with heightened senses. She also goes blonde and starts dressing more provocatively, which James finds disconcerting. Clearly, this Gina is no longer the easily malleable wife he signed up for. He learns, from another top doctor in another steel-and-glass tower of advanced medical technology, that the couple’s failure to conceive is on him. But lazy swimmers will definitely not be a problem for hunky Daniel (Wes Chatham), another American who uses the pool where Gina exercises; a friend has already told her he’s packing serious equipment in his Speedos , which maybe now Gina’s newfound freedom will allow her to see for herself.

It’s around this time that the movie morphs from sluggishness to confused ludicrousness, as it turns into a thrill-deprived thriller. Gina begins to lose her vision again, and while the doc stands by the success of his surgery, it appears that the drops she’s been using may be the problem. Has James been tampering with them? Or has Gina been self-sabotaging in an effort to restore the former balance in her marriage? And is Daniel an obsessed stalker? Honestly, there’s not nearly enough tension here to make you care, or to make it worth sifting through the final act’s tangle of ambiguities.

Had the performances been more interesting, the lame script might not have been such an insurmountable problem. But Lively doesn’t do much to stretch her limited range, while Clarke shows none of the dangerous edge that has made him a distinctive screen presence in other movies. And their chemistry together isn’t exactly cooking. The relationship might have benefited from some script exploration of what drew them together in the first place, and of the ways in which James adjusted to Gina’s sightlessness early on.

Forster seems endlessly fascinated by the tactile sensations and disorienting mind state of navigating the world without sight, so the early part of the film in particular is filled with Gina’s blurry perceptions of a strange, densely populated city, full of abstract shapes and details that coalesce and evaporate in an instant, all of it echoed in matching sonic textures. That altered state is contrasted with high-rise buildings and office blocks shot by Matthias Koenigswieser with a cold, somewhat anonymous sheen. But whatever is happening onscreen, there’s very little here to engage the mind, making it more tempting to close your eyes and surrender to the blind blur of sleep.

movie review all i see is you

Venue: Toronto International Film Festival (Special Presentation) Production companies: SC International Pictures, Wing & a Prayer Pictures, 2Dux2 , Link Entertainment Cast: Blake Lively, Jason Clarke, Ahna O’Reilly , Danny Huston, Yvonne Strahovski , Wes Chatham, Miguel Fernandez, Kaitlin Orem Director: Marc Forster Screenwriters: Sean Conway, Marc Forster Producers: Marc Forster, Craig Baumgarten , Michael Selby, Jilllian Kugler Executive producers: Brian Wilkins, Ron Perlman, Renee Wolf Director of photography: Matthias Koenigswieser Production designer: Jennifer Williams Costume designer: Frank L. Fleming Editor: Hughes Winborne Music: Marc Streitenfeld Casting director: Pam Dixon Visual effects supervisor: Janelle Croshaw Sales: WME , Sierra/Affinity

Not rated, 111 minutes

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‘All I See Is You’ Review: Blake Lively Marriage Drama Is Blind to Its Own Shortcomings

There’s an intrigue to the dynamic between Lively and Jason Clarke, but Marc Forster’s POV excursions doom it

All I See Is You

A surfeit of visual noodling and little effectively directed and written drama make up “All I See Is You,” a what-if gimmick posing as a dissection of a marriage where one spouse is blind, yet it’s the other half who’s the needy one.

A kind of anti-Nicholas Sparks movie, in which good intentions unintentionally expose cracks in a union, Marc Forster’s superficially trippy Thailand-set movie — peppered as it is with amorphous waves of shapes and colors meant to evoke the point of view of the sight-impaired — never plays like something that had to be made about the human condition. Think instead a short faux-experimental film unnecessarily stretched to the yawning point.

Blake Lively plays Gina, a woman rendered blind as a child after a car accident that killed her parents. She lives in Bangkok with her insurance-executive husband James (Jason Clarke) in an unassuming apartment, but it’s a good life. There’s the friendly exoticism of a foreign country, a comfortable physical intimacy they hope will one day bring a child into the world, and James’s attentiveness, which feels natural and helpful instead of oppressive.

But the promise of something better arises when Gina and James make an appointment to see a surgeon (Danny Huston), who reveals that an operation to restore sight in Gina’s right eye has a good chance of working. Buoyed by what could be, they go dancing at a club that night, but the first fissures start to show when James’s insecurities (“We look stupid”) harsh her buzz. Forcefully leading her out, Gina finds herself separated and alone in a crowded rush of revelers, and there’s the teensiest hint in the air that the brief abandonment was deliberate on James’s part.

When the operation proves successful, Gina discovers a textured world of people, places and objects that stoke a desire to assert herself more, and to jazz up her and James’s lives. No longer is their modest pad acceptable to her — she now wants a traditional Thai house in a picturesque village — nor the perceived drabness of her appearance, nor the couple’s unadventurous sex. On a trip to Spain to visit Gina’s sister Carla (Ahna O’Reilly, “Marshall”) and her macho, expressionistic-painter husband Ramon (Miquel Fernández) — a loudly coital couple who practically ooze naughtiness — James is further confronted by a sense of sexual inadequacy. (Being goaded into attending a live sex show doesn’t help.)

His sense of control ebbing by the minute, uptight James feels increasingly as if he won’t be enough for his less-dependent, awakened wife, and back home, when Gina dyes her hair blonde and dresses provocatively for a work event, James can’t help but openly express his discomfort, further driving a wedge between them.

Eventually things veer into domestic-thriller territory with the emergence of a handsome swim pal friend of Gina’s named Daniel (Wes Chatham, “The Hunger Games: Mockingjay”) and a medical left turn. But that veer arrives with an obviousness that sparks a mental checklist in your head of scenes and moments you know are coming. Predictability doesn’t always indicate lack of suspense — Hitchcock’s whole point in the oft-referenced example is that you know there’s a ticking bomb under the table — but Forster seems hamstrung by the sudden emergence of plot mechanics as a window into emotion, and distinctly uninterested in burrowing into the psychology of Gina’s and James’s changed dynamic as a firm basis from which to ratchet up the creepiness.

It leaves the movie rushing through its rudimentary melodrama, while Forster sticks to his diet of phantasmagoric visuals (courtesy cinematographer Matthias Koenigswieser, “After the Fall”) and choppily-edited scenes that he believes hold some impressionistic truth about relationships between men and women.

The shame is that interesting actors Lively and Clarke get the short end of the stick by having little more to do than wander around in an underwritten movie. (Forster is credited with the screenplay along with Sean Conway.) The stars are perfectly believable throughout — Lively’s shift from innocent to emboldened is commendable, and Clarke knows how to sell nervous, queasy energy — but servicing a thin scenario, not to mention fighting for screen time with Forster’s kaleidoscopic digressions, squanders the potential for something thornier. The movie’s ambitions are misguided, which makes it all too fuzzy of an experience.

All I See is You (United States/Thailand, 2016)

All I See is You Poster

When the movie opens, Gina (Lively) is happily married to James (Clarke). They live in Thailand (presumably because that locale is deemed more exotic than, say, Brooklyn). Gina, blind for about 20 years as a result of a childhood car accident that killed her parents, learns from a doctor (Danny Huston) that an operation could restore sight in one eye. She agrees to the surgery and, in its immediate aftermath, the couple is thrilled. But a dark side emerges. Reality doesn’t match how Gina imagined things would look and, as she adjusts to life as a seeing person, she is gripped by a sense of melancholia. James, on the other hand, realizes that the “new Gina” is not the wife he had grown comfortable with. This woman is more independent and free-spirited. She no longer relies on him for everything. She shows a predilection for kinky sex and adventures, neither of which interest him. He comes to the conclusion that “they” (meaning “he”) were happier when she was blind and he begins to ponder whether there might be a way for them to return to that state.

movie review all i see is you

The movie perks up during the operation’s aftermath. The screenplay and actors do a good job portraying the shifting emotions that accompany this life-altering occurrence. Some, like Gina having difficulty coping with surroundings that don’t match the images she had created in her imagination, are expected. Others, like James’ jealousy of the freedom and independence sight imparts to her, are not. Had the movie explored these elements better (and with more energy), All I See Is You might have settled into an effective groove. Unfortunately, the story decides to take a lurid turn into B-grade psychological thriller material without bothering to worry about the “thrill” part of the equation. The grand finale is laughably absurd.

Had I not appreciated Forster’s previous work, I wouldn’t have been disappointed by what he accomplishes (or fails to accomplish) here. The story is pregnant with possibilities and the actors are committed to their roles (Lively, for example, does an excellent job with the scenes in which her character is blind) but the sluggish pacing and general lack-of-energy creates an impatience that’s exacerbated by the screenplay’s final act artifice. Blind to its missteps, the movie stumbles into a darkness from which it never escapes.

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‘All I See is You’ review: Marital drama jarringly shifts views

Blake Lively plays a blind woman whose life undergoes a profound change when her sight is restored by surgery in this brooding psychological drama. Rating: 2 stars out of 4.

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In an attempt to take the audience deep inside the psyche of his lead character, Gina, in “All I See Is You,” filmmaker Marc Forster (“Monster’s Ball, “Quantum of Solace”) adopts the strategy of using a point-of-view camera to convey what the woman is seeing. Or rather, not seeing.

Gina (Blake Lively) is almost totally blind, having lost her sight in a childhood car crash. Indistinct, glowing, swirling images are what the world looks like to her, and that’s what Forster lets the audience see. But only in snippets.

Movie Review ★★  

‘All I See is You,’ with Blake Lively, Jason Clarke, Ahna O’Reilly, Yvonne Strahovski, Wes Chatham, Danny Huston. Directed by Marc Forster, from a screenplay by Forster and Sean Conway. 110 minutes. Rated R for strong sexual content/nudity, and language. Several theaters.

The bulk of the picture is a mosaic of sharp, and often arresting, images shot by director of photography Matthias Koenigswieser. Among the most striking are vibrantly colorful scenes of Bangkok, Thailand, where most of the movie is set, and of Spain, where Gina and her husband, James (Jason Clarke), visit midway through the story.

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The shifts in perspective are jarring, to the point where the “blind” sequences feel gimmicky. Koenigswieser’s frequent use of spectacular high-angle overhead shots gives “All I See” a distantly pretty picture-postcard look that clashes with the ground-level story of Gina’s life.

That story is highly erotically charged. The relationship of Gina and her husband is a passionate one, depicted in a large number of quite explicit sex scenes. The passion undergoes a profound shift when Gina’s sight is restored by surgery. Suddenly, actually seeing the world for the first time since her sight-robbing accident, nothing seems the same. She tells James he’s “not the image I had in my head.”

She feels the need to break old patterns, like dyeing her hair or moving to a new home.

The gift of sight is a decidedly mixed blessing, and the couple’s relationship is gradually transformed as Gina finds herself redefined by her changed circumstances.

The brooding tone of the movie grows more and more downbeat until, by the end, it’s downright lugubrious. Forster gets decent performances from Lively and Clarke, but the overall impression “All I See” leaves is of a picture that fails to live up to its filmmaker’s ambitions.

All I See Is You (2016)

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movie review all i see is you

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For its initial 40 plodding minutes, the clumsy thriller “I See You” works very hard to get your attention. A boy, riding his bike through the woods, is yanked into thin air as if he had reached the end of a bungie cord. He soon joins the roster of other missing kids in a small town, where Detective Greg Harper ( Jon Tenney ) is trying to piece clues together (like a green Swiss Army knife) before there are more disappearances.  

On a smaller scale, something even more scandalous is afoot—his wife Jackie ( Helen Hunt ) has recently cheated on him, which comes up in numerous terse exchanges that she has with Greg or their moody teenage son, Conor ( Judah Lewis ). It’s a tense atmosphere, so much that when strange things start to happen they seem like diversions, like when Greg gets locked in a closet chasing the family hamster, or the silverware vanishes from the kitchen drawers. But as loud and in-your-face as these developments are presented, they amount to a shabby collection of Blumhouse-lite scenes that would be a parody if it weren’t so dull.  

This is the work of director Adam Randall , who is more of a poor salesman with this script from Devon Graye  than an inventive storyteller. Randall has a comical bounty of drone shots that swoop around locations and sometimes look they’re going to crash into the Harper house; Philipp Blaubach's score emphasizes the importance of every one of the script’s ominous visuals, and sounds like a steel mill in space. "I See You" loves to use these components to tease that a supernatural force might be lurking in the shadows, and then abruptly cut—like it does right before wielding its title card. But it doesn’t build promise that Something Scary is happening, so much as pile on a very tedious atmosphere.  

"I See You," has a shaky dramatic foundation too, as Graye's script isn’t interested in exploring the affair, so much as using it for blunt conflict between the mother, father, and son. Dialogue doesn’t help give it any nuance, nor do the performances, which are stuck in one-dimensional portrayals of anger or shame. Hunt’s talents are ultimately not applied to this movie’s elements of horror, but instead its undeveloped aggressions on how infidelity could destroy a home.   

This all turns out to be fairly false advertising, and   “I See You” does a disservice to itself by not revealing until midway through what kind of movie it actually is. So I have little problem in clearing up that this is a home invasion story, instead of a supernatural tale. The movie then retraces its bumps in the night from a different perspective, that of two grimy teens, Mindy ( Libe Barer ) and the much more chaotic Alec ( Owen Teague ). They dabble in an illegal activity known as "phrogging," which is a real term for when criminals stay in a stranger's home, uninvited, unnoticed. Their POV is first shown through footage they’ve captured on camera, running into the Harper's upper-middle class home one morning before the garage door closes. A little creepiness settles in, as it harps on the concept of your space being invaded, by people who are just out of your peripherals. It’s a disturbing idea, and also one of the film's few good ones.  

But even this method of bringing an initially dreamy horror back to your most private spaces becomes clunky and weak, with developments that I won’t spoil. As the mode of "I See You" changes so does the identity of its central monster, but the reveal comes from a heavily manipulated change in POV. Tying everything together with backstory revealed in the last few shots feels gratifying as someone who had to trudge through the first half, but it's not fulfilling on the story’s aimed terms to be unsettling and tricky. It would be impossible to guess the ending of “I See You” during its tiresome first act, which is something numerous films can’t tout, but the movie uses cheap tricks to earn that kudos. 

Nick Allen

Nick Allen is the former Senior Editor at RogerEbert.com and a member of the Chicago Film Critics Association.

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I See You movie poster

I See You (2019)

Helen Hunt as Jackie Harper

Jon Tenney as Greg Harper

Judah Lewis as Connor Harper

Owen Teague as Alec

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Nicole Forester as Mrs. Whitter

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Review: ‘All I See Is You’ can’t see past its weirdness

Blake lively stars in oddball thriller about sight, marriage and freezing dead birds.

Blake Lively exists in a strange stratosphere of movie stardom where the oddly left-of-center movies she makes seem to only exist in their own realm, in their own genre. They’re not thrillers, they’re not dramas, they’re Blake Lively Movies.

“The Age of Adeline” was a movie where Blake Lively didn’t age, “The Shallows” was a movie where Blake Lively was circled by a shark and made friends with a seagull named Steven Seagull. Now comes “All I See Is You,” a movie where Blake Lively is blind, but only temporarily. And it is the most Blake Lively-ian experience yet.

Lively stars as Gina, who has been blind since a childhood accident killed her parents and took her sight. She lives in Bangkok, for some reason, with her husband, James (Jason Clarke), and is seeking treatment to restore her vision. When she gets it, it brings clarity ... to the shaky foundation of their marriage?

That’s a swerve, but it’s indicative of this peculiar thriller, which mixes honest and upfront questions about long-term relationships with truly bizarre moments that go more or less unexplained (a bird smacks into a window and Gina stuffs it into a glass bottle and freezes it; Gina side-hustles as a guitar teacher and ends up stealing a talent show spotlight from her student to put her husband on blast in song).

Directed by the once-pedigreed Marc Foster (“Monster’s Ball”), “All I See Is You” has been sitting on a shelf for more than a year, and you can see why. Somewhere in this interestingly shot mystery there’s an exploration of identity, masculinity and marital discord, but those themes are obscured by the sublime, strange Blake Liveliness of it all.

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‘All I See is You’

Rated R for strong sexual content/nudity, and language

Running time: 110 minutes

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Blake lively film is interesting but just okay..

Movies | “All I See Is You”: A thriller with more…

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Movies | ikon pass price increases, comparable to 2024-25 epic price hikes, things to do, movies | “all i see is you”: a thriller with more marital melodrama than mystery.

Jason Clarke and Blake Lively in ...

One and one-half stars. Rated R. 110 minutes.

The thriller-ish premise of “All I See Is You” sounds familiar enough: A woman, blind since a childhood accident that killed her parents, undergoes surgery to restore sight in one eye, only to discover that her seemingly devoted husband is — well, what exactly? A prude? A control freak? Someone who doesn’t like dogs?

In this bait-and-switch of a movie, marketed like a modern “Gaslight” but in truth a dim-bulb marital melodrama, the chills — let alone the shocks — are nonexistent. And the secrets that are revealed, to the extent that a viewer is able to make out what they are, remain murky, even to the end of the movie.

Blake Lively plays Gina, who, as the film opens, is living with her adoring, insurance-executive husband James (Jason Clarke) in what an on-screen title informs us is Bangkok. We are again reminded of the unlikely setting — given the scarcity of actual Thai people seen — when Gina is shown eating carryout from Bangkok Kitchen. Never mind that this sounds more like the name of a restaurant in Cleveland than in Thailand.

Director Marc Forster (“World War Z”) juices up the mysterious atmosphere in his story (written with Sean Conway) from the get-go, shooting with a blurry, impressionist evocation of blindness that you might call impair-o-vision. Sudden, loud noises intrude on the inchoate swirl of light and shapes, meant to suggest Gina’s enhanced sense of hearing but actually evoking a cheesy horror film. The movie has barely begun, and already it feels like we’re supposed to be afraid of something. Yet it isn’t clear what — or whom.

Once Gina regains her sight, her relationship with James almost immediately starts to deteriorate. She’s an animal lover, he isn’t, and he complains about the dog she has adopted without his permission. Permission? Uh-oh.

James also disapproves when Gina begins dressing more provocatively, dyeing her straw-colored hair light blond and, during a visit to Barcelona to see her sister (Ahna O’Reilly), watching a peep show featuring a couple copulating in animal masks. Although Gina and James’s sex life seemed fine before, it’s obvious that something is off now. In one scene, James panics when Gina ties him up, blindfolds him and mounts him in, one assumes, an effort to turn the tables.

Clearly, there was something unhealthy about their relationship all along: a power imbalance that has uncomfortably shifted now that Gina has gained more independence. At the same time, some of her new behavior is demonstrably odd. The trip to Spain, for instance, includes a morbid pilgrimage to the spot where Gina’s parents died. She also bathes with her nephew (Xavi Sánchez) and places a dead bird in the fridge after it flies into a pane of glass.

Throughout all of these head-scratching red herrings, Forster’s Hitchcockian camera keeps drawing our attention to the eyedrops that Gina’s doctor (Danny Huston) has prescribed to reduce inflammation but which seem to have the opposite effect, causing a loss of visual acuity. At one point, there’s a mysterious break-in at James and Gina’s apartment, and the couple’s dog goes missing. Gina, who seems to be drifting further and further away from her husband — to the point of infidelity — is going blind again. Whether it’s because of tainted drops — and who is doing the tainting and why — is an enigma, albeit not much of one.

“All I See is You” is a drama of sexual compulsion and control masquerading as a mystery. Despite a modicum of visual style and competent performances, it is unable to keep us guessing — or, more important, to make us care — long enough to work up true suspense.

Does James want Gina to go blind so he can feel needed again? Or does Gina, having experienced a world that is simultaneously more — and less — than the one she dreamed of, decide that she was better off in the dark? These are all good questions. But they are not answered, let alone asked, in “All I See Is You.” When Gina tells James that the world in front of her is “not how I imagined,” you may find yourself sharing that same sense of letdown.

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All Quiet on the Western Front

2022, War/History, 2h 28m

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Both timely and timeless, All Quiet on the Western Front retains the power of its classic source material by focusing on the futility of war. Read critic reviews

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An outstanding update to an all-time classic, All Quiet on the Western Front puts you right there on the battlefield -- and reminds you once again that war is truly hell. Read audience reviews

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All quiet on the western front videos, all quiet on the western front   photos.

All Quiet on the Western Front tells the gripping story of a young German soldier on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war turns into desperation and fear as they fight for their lives, and each other, in the trenches. The film from director Edward Berger is based on the world renowned bestseller of the same name by Erich Maria Remarque.

Rating: R (Strong Bloody War Violence|Grisly Images)

Genre: War, History, Drama, Action

Original Language: German

Director: Edward Berger

Producer: Malte Grunert , Daniel Dreifuss

Writer: Lesley Paterson , Ian Stokell

Release Date (Theaters): Oct 7, 2022  limited

Release Date (Streaming): Oct 28, 2022

Runtime: 2h 28m

Distributor: Netflix

Production Co: Amusement Park Films, Sliding Down Rainbows Entertainment, Rocket Science

Sound Mix: Dolby Atmos

Aspect Ratio: Digital 2.39:1

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Felix Kammerer

Paul Bäumer

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Where to watch Dune: Part Two in IMAX 70mm (and why it’s worth it)

Jason Struss

The first movie event of the year is here. Dune: Part Two  opens today in theaters nationwide, and it’s already a hit with critics. With a great 95% Rotten Tomatoes score, it’s safe to say that Dune: Part Two is good … very, very, good. It might even be better than Star Wars: The Empire Strikes Back , but we’ll save those debates for later.

Where can you watch Dune: Part Two in IMAX 70mm?

Why the digitally shot dune: part two was converted to imax 70mm.

  • What’s so great about watching Dune: Part Two in IMAX 70mm anyway?

Directed by Denis Villeneuve, the sci-fi sequel is more epic in both length (it’s nearly three hours long) and scope (tons of new characters and actors appear, including Christopher Walken!). It’s the type of movie you go to a theater to see it in all of its glory. That explains why many showings in IMAX and other premium format theaters like Dolby Cinema and 4DX are already sold out.

The holy grail of Dune: Part Two ‘s premium format versions is the IMAX 70mm one. Because of its rarity (only 12 theaters worldwide are showing it in this format), it’s the one that dedicated Dune fans want to see the most. This fan demand is similar to last year’s release of Oppenheimer , which also had a 70mm IMAX version that played in only a handful of locations worldwide.

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If you live in North America and the U.K., you’re in luck. Dune: Part Two should be playing in this format in your country. Everywhere else, I’m afraid, will just have to make do with the digital IMAX and Dolby versions, which are still great! According to the IMAX website , here are the 12 locations showing Dune: Part Two in IMAX 70mm:

Harkins Arizona Mills 25 & IMAX – Tempe, Arizona

AMC Metreon 16 & IMAX – San Francisco,

Regal Edwards Irvine Spectrum & IMAX – Irvine, California

TCL Chinese Theatres IMAX – Hollywood, California

Universal Cinema AMC at CityWalk Hollywood & IMAX – Universal City, California

IMAX, Indiana State Museum – Indianapolis

AMC Lincoln Square 13 & IMAX – New York

Regal UA King of Prussia & IMAX – King of Prussia, Pennsylvania

Regal Opry Mills & IMAX – Nashville, Tennessee

Cineplex Cinemas Vaughan & IMAX – Ontario, Canada

UNITED KINGDOM

BFI IMAX, British Film Institute – London

IMAX, Melbourne Museum – Melbourne

Unlike Christopher Nolan with Oppenheimer , Villeneuve and cinematographer Greig Fraser did not shoot Dune: Part Two on film. Like they did with the first Dune , the sequel was shot using Arri Alexa LF digital cameras . Yet because Oppenheimer was such a big hit with its IMAX 70mm version , Warner Bros. gave permission for Villeneuve to convert a digital print to film, which allowed for the movie to be presented in this unique format.

In an interview with Screen Crush , Villeneuve revealed the thought process behind the decision: “Thanks to Chris Nolan, who gave me the chance to do that because of the success of Oppenheimer . There was a joy and an excitement about [converting to IMAX 70mm]. When Warner Bros. asked me what I would think of doing a film release, I was moved and excited by the idea. So as much as I worked very hard on the digital version to be perfect, I will say that it’s quite moving to see the 70mm prints and IMAX prints. They have different qualities, but both have strengths and advantages.”

What’s so great about watching Dune: Part Two in IMAX 70mm anyway?

So what are the advantages to seeing Dune: Part Two in IMAX 70mm? For starters, you get to see more of the movie. That’s because it’s being presented in a 1.43:1 aspect ratio, which lets audiences see more of the image at the top and bottom of the screen. Note that not all of the movie is in this ratio; only 40 minutes are presented in 1.43:1, while the rest is 1.90:1.

The second, and most important reason, is that Dune: Part Two in IMAX 70mm allows viewers to more fully immerse themselves into the world of Arrakis. The images have more weight to them due to the film stock; the textures of Arrakis look grittier, and the emotions conveyed feel more raw.

Don’t take my word for it, though. Just watch and listen to Christopher Nolan himself, who recently interviewed Villeneuve about Dune: Part Two and expressed his love for the IMAX 70mm version:

Yet there’s no getting around the fact that only a select few can see Dune: Part Two in this format. 12 cities worldwide isn’t a lot if you consider the movie’s large fan base, and there’s an uneven distribution of locations in North America that speaks to how few IMAX theaters there are that can screen movies in this very specialized format.

If you live in California, chances are, you have a better chance of seeing it in all of its large format film glory. Yet, the rest of us can see Dune: Part Two in “regular” IMAX or other formats and still take away the essentials: the superb acting, the larger-than-life spectacle, and the sweeping Hans Zimmer score . Great movies are great any way you see them, and Dune: Part Two , like its predecessor, is just as good at home on a flat-screen TV as it is in a fancy IMAX theater.

Dune: Part Two is now playing in theaters.

Editors' Recommendations

  • A war begins in the new trailer for Dune: Part Two

Jason Struss

It's a battle of NorCal vs. SoCal tonight, as LeBron James and the Los Angeles Lakers host De'Aaron Fox and the Sacramento Kings. It's the third time these teams have met this season, with Sacramento taking each of the first two matchups.

The game starts tips off shortly, at 10:30 p.m. ET (7:30 p.m. PT), and will be televised locally on Spectrum SportsNet (Lakers markets) and NBC Sports California (Kings markets). It won't be televised anywhere else, but there are some ways to watch a live stream of the game whether you're in or out of market. Is There a Free Kings vs Lakers Live Stream?

As much as we enjoy watching free movies on Amazon Freevee, sometimes you really get what you pay for. While it's true that there are a handful of great movies on Freevee, they are badly outnumbered by flicks that aren't even good enough to be called direct-to-video B-movies. It can also take a long time to search through all of the lesser titles before you find something worth watching.

Fortunately, we've already done the work for you with our selection of the three underrated action movies on Amazon Freevee that you should watch in March. This month's pics include a video game adaptation with a massive budget, an icon of Hong Kong cinema, and an early '90s action flick starring Alec Baldwin and Kim Basinger. Warcraft (2016)

In a rematch of last year's Leagues Cup final, Lionel Messi and Inter Miami head to Geodis Park to take on Nashville SC in the first leg of their CONCACAF Champions Cup Round of 16 matchup tonight. This will be the first-ever appearance for both clubs in this tournament, which was previously known as the CONCACAF Champions League.

The match starts at 9:00 p.m. ET and will be televised on both Fox Sports 2 (English broadcast) and TUDN (Spanish) in the United States. There are also several different ways you can watch a free live stream of the match. Is There a Free Nashville vs Inter Miami Live Stream?

ScreenRant

Out Of Darkness Review: Caveman Horror Movie Has Night Scenes You Can Actually See

  • Out of Darkness is an immersive horror thriller.
  • The film's atmospheric style adds to the immersive experience.
  • The movie's shift in priorities in the third act detract from its overall impact.

Horror fans are a generous audience, and as much as everyone wants to see great movies, there are really two key questions that need answering: Is the premise interesting, and is it creatively executed? Even one yes can be enough to make the experience worthwhile. In that framework, Out of Darkness is certainly worth a look. It takes a simple, familiar survival setup and winds back the clock 45,000 years, dropping us with a rag-tag group of cavepeople. Having left their tribe to explore unknown territory and found it barren and unforgiving, we meet them already in dire straits.

Then, they are beset by something . After seeing no life, they find evidence of death, in the form of a mammoth carcass picked to the bone. At night, huddled around the fire, they hear prowling in the dark. Suddenly, Heron (Luna Mwezi), son of the group's leader Adem (Chuku Modu), is taken, but they must wait for daylight to pursue. Not knowing if Heron is alive or dead, they track the creature to the woods. To enter would sacrifice the visibility of the open landscape, and put them all at risk.

Out Of Darkness' Immersive Style Is Its Greatest Strength

Haven't you missed well-filmed night scenes.

If I were aiming to pique the interest of the film's intended audience, I could stop there, but the execution of this idea is worth unpacking. Director Andrew Cumming's debut feature is impressive; the first word that comes to mind is "immersive." The film is committed to grounding us in a strong sense of time and place. The dialogue is in a fictional language created for the movie, and the natural landscape is shot in a way that emphasizes open, empty spaces. It's easy to believe we're glimpsing an era before we filled the world with evidence of our existence.

Out of Darkness is a horror thriller by director Andrew Cumming, and centers on a group of six survivors living in the distant past - 45,000 years ago. Escaping from their homeland, a group of survivors reaches the shore of a new tundra, hoping to find a new home in the caves of mountains in the distance - but nightfall yields a new dangerous set of challenges - some of them involving those who were there first.

  • The filmmaking is atmospheric and immersive
  • Crisply filmed night scenes give darkness a real texture
  • The movie builds great tension from the unknown assailant
  • Half-commitment to character development proves frustrating
  • The movie's less-interesting themes win out
  • A third-act decision dissipates some of the quality horror atmosphere

It's just as easy to feel that we've slipped out of time entirely. This film very cleverly opens with the six characters encircling a fire, the surrounding night total blackness, telling the story of their arrival as if it's already passed into legend. More than exposition, it establishes the tone that will keep us in suspense once they're attacked, as we are left to wonder along with them whether their tormentor is natural or supernatural. Out of Darkness primes us to experience a primordial fear; this is how campfire stories were born.

There is also something lost, atmospherically, when the group's assailant is finally revealed. This isn't the filmmakers dropping the ball, but shifting their priorities, letting story and theme take precedence.

The feeling of being unsafe powers the film for a while, but it's inconsistently sustained. The cinematography is a real asset — at a time when we've been plagued with underlit night scenes, here we actually see what we're meant to. Fearful faces are clear against the void, and campfire blindness becomes a well-deployed cinematic tool. Pair that with the way settings and actors are framed, and Cumming's visual style is usually the reason for any creeping sense of danger.

10 Horror Movies Where You Never Actually See The Villain

Out of darkness is two different, incompatible movies, and it all comes out in the third act.

The approach to characterization, however, pulled me out of that. The six are introduced to us, through the opening story, as archetypes, and there is indeed a flatness to them. But as the " stray, " Beyah (Safia Oakley-Green), emerges as a pseudo-protagonist, the movie shows more interest in the specificity of the group's dynamics. These aren't developed enough to make more than a couple of characters feel fleshed-out, but even that level of development detracts from the overall feeling of universality. Instead of seeming intentionally archetypal, open vessels occupying familiar shapes, they become half-sketched individuals.

There is also something lost, atmospherically, when the group's assailant is finally revealed. This isn't the filmmakers dropping the ball, but shifting their priorities, letting story and theme take precedence. Narratively, I think this section is handled quite well, though the ending tries to sum up its message too neatly. But it made me aware of how much my investment was based on the mystery.

The filmmakers cite as inspirations Alien , The Thing , and The Texas Chain Saw Massacre , and a critical component of these horror movie classics is the fundamental unknowability of their antagonists. They aren't kept from us — we even get lectures on the two extraterrestrials. But there's a sense that the more we see of them, the less we understand. Where Out of Darkness wants to take us, by contrast, hinges on understanding.

It's almost like Cumming has made two films, one through aesthetics and atmosphere and one through story and theme, that ultimately can't coexist. Neither is a bad film, but the former makes a much greater impression, and I wish it had been seen through to the end. Still, Out of Darkness offers enough in its current form to be worth your time, and suggests a promising future for its director. If his next movie can fully synthesize story and style, it could prove one of the horror standouts of its year.

Out of Darkness releases in theaters nationwide on Friday, February 9.

Out of Darkness

Director Andrew Cumming

Cast Safia Oakley-Green, Kit Young, Chuku Modu

Runtime 87 Minutes

Genres Thriller, Horror

Writers Ruth Greenberg

Studio(s) Escape Plan, BFI, Creative Scotland

Distributor(s) Bleecker Street

Out Of Darkness Review: Caveman Horror Movie Has Night Scenes You Can Actually See

'Megamind vs. The Doom Syndicate' Review: This Hero Should Stay a Villain

Fourteen years after the first movie, 'Megamind 2' doesn't know how to justify its own existence.

The Big Picture

  • Megamind vs. The Doom Syndicate lacks a compelling plot and has underwhelming stakes.
  • This sequel to Megamind does not elevate the animation in any aspect, lacking humor and depth.
  • The sequel seems more like an extended TV episode than a feature film and offers nothing to older fans of the original.

One of the things that set the title character Megamind apart in the 2010 animated film was that his limited wits made him funny and kind of helped you root for him throughout the story. The sequel, which is coming out way later than one would expect, is tasked with showing Megamind as a full-blown hero with a villain background, as well as what that implies for Metro City inhabitants and the protagonist. But, even just a few minutes in, i t becomes clear that Megamind vs. The Doom Syndicate has no idea what to do with any of its characters .

Picking up only two days after the events of Megamind , the sequel centers around the villain-turned-hero (voiced this time by Keith Ferguson ) learning to come to terms with his new identity. His life gets difficult when he is visited by The Doom Syndicate , his former team that still thinks that Megamind is a major villain who is devising a master plan to take over Mega City. Meanwhile, he deals with three allies who are trying to become some form of sidekick to the new hero.

'Megamind vs. The Doom Syndicate' Lacks... Well... Everything

The first head-scratcher from Megamind vs. The Doom Syndicate is that you’d think there’s a reason for the creative decision of having virtually no time since the events of the first movie. It would make sense if the story focused on Megamind acclimating to his new superhero role and the sort of ethical decisions that come with the title. But there’s none of that here. Of course, we can’t always expect very complex storylines from a kids’ movie, but even Despicable Me ’s Gru managed to have a less-than-basic journey from villain to hero. Also, the first Megamind was a wildly entertaining ride that had fun with superhero vs. supervillain tropes, while the sequel barely seems to know how to construct a story.

In Megamind vs. The Doom Syndicate , the stakes are surprisingly low . While the title character struggles to protect his secret from his former friends, the group of villains never pose a real threat because they spend a good chunk of the movie waiting to see Megamind's non-existent evil plan come to fruition. Meanwhile, it’s never really clear why Megamind holds on so strongly to the façade that he’s still a villain. In the hands of more skilled screenwriters, that could make a pretty good conflict and/or identity crisis that formed the core of the story, but here it is just a stalling technique to make the movie longer than a TV episode.

At the same time, it would be better if Megamind vs. The Doom Syndicate was advertised as the extended first episode of the companion series Megamind Rules! , because the production values certainly reflect it. For a feature film, Megamind vs. The Doom Syndicate has a pretty underwhelming style, with lifeless production design and simple character looks that certainly don't help the story come alive. In the era of gorgeous-looking animations like Spider-Man Across the Spider-Verse and The Super Mario Bros. Movie , Megamind 2 falls flat even if you lower your standards and compare it with productions from the 2010s, which would be more or less when this new story takes place.

'Megamind' Is Sorely Missing Will Ferrell's Voice

It doesn't help that Megamind himself suffered a change in his voice . You wouldn't expect the personality of a character to be modified when the voice actor gets swapped, but this is what happens here. When he was voiced by Will Ferrell , Megamind had a fresh excitement to his tone that also hid a desperate attempt to be accepted. With Ferguson, all of that is gone (along with the strong accent), and the fact that only a couple of days passed between movies makes it seem like Megamind changed personalities altogether in the blink of an eye.

The same is true for the supporting characters’ voices and individual storylines. Roxanne ( Laura Post ) wants to do more than report catastrophes in Mega City, but Alan Schoolcraft and Brent Simons ' script has no idea how to make the connection between where she starts and where she ends in the movie. In fact, her ending comes as a bit of a surprise and out of nowhere. Additionally, Ol' Chum ( Josh Brener ) wants to prove his worth, and that leads him to part ways with Megamind. But we never really see a journey for the character , and it seems like the movie just waits it out to put them back together, then call it evolution.

'Megamind 2' Is Indeed Best Suited For TV

These kinds of thin plots are usually what you see in TV episodes that are basically designed to keep kids distracted. Megamind vs. The Doom Syndicate ignores that there’s a whole slate of fans of the original who are now older , and the sequel offers them nothing. This would all be fine if the movie focused instead on being funny, but aside from a quip now and then, Megamind 2 is devoid of humor.

With vaguely established threats and storylines, Megamind vs. The Doom Syndicate is the movie equivalent of meeting a friend you missed for many years only to realize that the encounter didn’t really need to happen . The movie does serve as an introduction to Megamind Rules! – especially due to the final scene – but it’s hard to imagine that Peacock didn’t just take some episodes of the show and bundle them together to form this movie.

Megamind vs. The Doom Syndicate

'Megamind vs. The Doom Syndicate' Doesn't Know What To Do With Its Main Character

  • A couple of jokes here and there work.
  • Megamind's switch from villain to hero adds nothing to his storyline.
  • The supporting characters have barely any development.
  • The production design is lackluster at best.

Megamind vs. The Doom Syndicate is now available to stream on Peacock in the U.S.

Watch on Peacock

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‘Dune: Part Two’: Here’s Everything You Need to Know

Before you see the second film in Denis Villeneuve’s adaptation of the sci-fi epic, try this refresher on spice, the Imperium and the Kwisatz Haderach.

  • Share full article

A hooded, intense looking Timothée Chalamet in close-up.

By Danielle Dowling

Since the weird, wild universe of “Dune” emerged from the pages of Frank Herbert’s novel in 1965, filmmakers have yearned to bring it to the screen. In the 1970s, Alejandro Jodorowsky was thwarted in his attempt to turn his elaborate vision into cinematic reality. In 1984, David Lynch was forced to cram volumes of lore into two hours, and the result was an ugly-beautiful disaster . In the latest foray, Denis Villeneuve has created an engrossing, believable world , smartly dividing the first book in the series into two parts. “Dune: Part One” was a critical and box office hit when it was released in 2021, and now “Part Two,” which opens in theaters nationwide on Friday, is poised to pick up where the last film left off. Here’s a primer to bring you up to speed.

Where are we?

“Dune” is set about 20,000 years in the future, and much of the series takes place on the desert planet of Arrakis. Part of the galactic empire of the Imperium, which is ruled by the Padishah Emperor Shaddam, Arrakis is vital because it offers a necessary resource — spice — that exists nowhere else. In “Part One,” the emperor transferred control of Arrakis from the brutes of House Harkonnen to their longtime foes, House Atreides. But the gift was a trap, something Duke Leto Atreides suspected but hoped to turn to his advantage by establishing an alliance with the Fremen, a native people of Arrakis who live mostly in its hidden corners. Before Leto’s plans could bear fruit, the emperor secretly sent his elite force to aid Baron Vladimir Harkonnen (Stellan Skarsgard) in regaining control of the planet and in destroying Leto’s troops and family. (In the process, Leto died.)

Why is spice so important?

“Part Two” opens with the words “Power over spice is power over all.” After a religious revolt against robots millenniums before the start of the series, the use of intelligent machines was banned. People have since relied on preternatural abilities that are developed through training and the use of psychotropic drugs such as spice, which can expand consciousness and extend life. The resource is particularly crucial to the navigators, who enable interstellar travel.

What’s the deal with Paul Atreides?

Paul Atreides (Timothée Chalamet) is the son of Leto and his concubine, Lady Jessica (Rebecca Ferguson), who is a member of the Bene Gesserit, a mystical sisterhood that surreptitiously manipulates the levers of power. It has been seeding self-serving myths and conducting a breeding program for generations. The relationship between Leto and Jessica had been arranged in hopes that she would give birth to a daughter who could then conceive the Kwisatz Haderach — a male Bene Gesserit with “a mind powerful enough to bridge all space and time.” Instead, Jessica bore Leto the son he desired. (A Bene Gesserit can control everything that goes on in her body.)

Though Reverend Mother Mohiam (Charlotte Rampling), Jessica’s Bene Gesserit mentor, suspected that Paul was in fact the Kwisatz Haderach, she was also aware of the Harkonnens’ plot to murder him. During the attack on the Atreides, the Harkonnen forces chased Paul and Jessica into a treacherous sand storm and assumed that it killed them. But they survived and crossed paths with a Fremen group that is led by Stilgar (Javier Bardem), an ally of Leto, and that includes Chani (Zendaya), a young woman who had been appearing in Paul’s dreams.

What happens now?

In “Part Two,” we will finally meet Emperor Shaddam (Christopher Walken); his daughter, Princess Irulan (Florence Pugh); and Feyd-Rautha Harkonnen (Austin Butler), nephew and heir of Baron Harkonnen. We will also see Paul and Chani’s love blossom as he assimilates into the Fremen way of life — taking the name Muad’Dib, learning to summon and ride giant sandworms — and then rises up to lead the Fremen rebellion.

What remains to be seen is how Villeneuve will handle the contradiction at the heart of “Dune”: Despite its resemblance to a hero’s journey, Herbert intended it to be a cautionary tale against placing all hope and power in a savior. He clarified this point in the subsequent five books he wrote for the series, starting with the first sequel, “Dune Messiah.”

Will Villeneuve make ‘Part Three’?

The director recently said he was working on a screenplay of “Dune Messiah,” which would be the third and final film in the series. The plot takes place 12 years after the events in the first book, and he has said he would like to wait a couple of years to allow Chalamet to age into the role. But Warner Bros. has yet to officially approve that project.

Rino Movies - EventManager Box 12+

All in one place rino movies, hanane charkaoui, designed for ipad.

  • 4.3 • 264 Ratings

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Description.

Welcome to Rino Movies - EventManager Box, your all-in-one destination for an unparalleled entertainment experience! Immerse yourself in the world of movies, anime, and TV shows with our feature-rich app designed to cater to every entertainment enthusiast. Key Features: Comprehensive Tracking: Keep tabs on your favorite movies, anime series, and TV shows effortlessly. Our intuitive interface allows you to manage your watchlist seamlessly. Discover New Releases: Stay up-to-date with the latest releases and explore a diverse range of content. From blockbuster movies to trending anime, we've got it all covered. Cinema Exploration: Find nearby cinema theaters with ease. Plan your movie nights and cinema adventures conveniently using our app. Personalized Recommendations: Experience tailored recommendations based on your preferences. Whether you're into drama, action, or anime, Glovi ensures your entertainment choices are curated just for you. Versus Game: Challenge your movie knowledge with our exciting Versus Game! Choose between two movies, and vote for your favorite. Compare vote rates and see how your opinions align with the Glovi community. Vibrant Community: Join a lively community of entertainment lovers. Share your thoughts, discover hidden gems, and connect with like-minded individuals who share your passion for movies, anime, and TV shows. Why Rino Movies - EventManager Box? Rino Movies - EventManager Box Scouter is more than just an app; it's your gateway to a world of entertainment possibilities. Our dedicated team is committed to providing you with accurate information, innovative features, and a delightful user experience. Embark on a thrilling adventure with Glovi and explore the magic of entertainment like never before. Download the app now and let the cinematic journey begin! Important Information Purpose of the App: The app you are using isn't for streaming movies, animes, or TV shows. It serves as a comprehensive tracker, allowing you to keep tabs on your favorite movies, animes, and TV shows. Data Source: This app utilizes The Movie Database (TMDb) library to display posters, titles, cast, crews, and some trailers. We are grateful for their extensive database, which enhances your experience within our app. Usage Guidelines: The app has the right to display posters, titles, cast, crews, and some video trailers sourced from TMDb. For detailed information about content rights and terms of use, please refer to the "Content Rights & Terms of Use" section in your profile settings within the app.

Version 2.1.0

The Rino Movies Updates: - Enhance Performance. - App has been re-branded. Contact us for more..

Ratings and Reviews

264 Ratings

I had this app on my old phone and was watching the vampire diaries and the originals and now the legacies but it won’t come on my new phone since I downloaded the app it only shows movies.. it’s a good app though to watch movies and stuff for free by just watching ads it’s like an ad every 15 minutes which yeah is annoying but for a free movie it’s worth it. I wish I could watch the legacies on my new phone
The app looks great when I download it even if I try to watch the movie the App glitch out and not let me watch the movies. It was so glitchy and not worth getting. :l

It only lets you watch adds

It only lets you watch adds it’s also only letting people watch the trailers

App Privacy

The developer, Hanane Charkaoui , indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .

Data Used to Track You

The following data may be used to track you across apps and websites owned by other companies:

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The following data may be collected but it is not linked to your identity:

Privacy practices may vary, for example, based on the features you use or your age. Learn More

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  1. Movie Review: All I See is You

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  2. Movie review: "All I See Is You"

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  3. All I See is You

    movie review all i see is you

  4. All I See Is You Trailer (2017)

    movie review all i see is you

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COMMENTS

  1. All I See Is You movie review (2017)

    Reviews All I See is You Glenn Kenny October 27, 2017 Tweet Now streaming on: Powered by JustWatch This is a movie so particular in its godawfulness that it makes an exhausted reviewer want to come up with the film equivalent of Tolstoy's observation of happy families versus unhappy families.

  2. All I See Is You

    Tomatometer 54 Reviews 31% Audience Score 1,000+ Ratings What to know Critics Consensus All I See Is You hints at a number of intriguing questions with its premise, but they dissolve in a...

  3. All I See Is You

    All I See is You's commitment to be scenic reflects its forgetfulness to be thrilling. Full Review | Original Score: C | Oct 11, 2018 Gerard Casau Sensacine In [Marc Foster's] lucid balance...

  4. All I See Is You (film)

    Plot Married couple Gina and James live together happily despite her dependence on him due to her blindness. He appears to enjoy the dependence, saying that it makes him feel special. As they try for a baby, Gina prepares for a cornea transplant, which will restore the sight in one of her eyes.

  5. Review: In 'All I See Is You,' Sight Is Restored and a Marriage Rocked

    Directed by Marc Forster Drama, Mystery, Romance R 1h 49m By Jeannette Catsoulis Oct. 26, 2017 "All I See Is You" is halfway through before something resembling a plot kicks in, and even then...

  6. All I See Is You Movie Review

    Parents Say: age 17+ 2 reviews Any Iffy Content? Read more Talk with Your Kids About… Read more A Lot or a Little? What you will—and won't—find in this movie. Positive Messages A character who has to completely rethink her worl Positive Role Models Two sisters love each other very much. But charact Violence & Scariness Brief fistfight.

  7. All I See Is You Review

    All I See Is You is weird, but it is emphatically not dumb. Nor is it boring, but only because of its restless, only occasionally sweaty refusal to be the tasteful issues-driven Sundance-y movie ...

  8. Review: 'All I See Is You' is a sensual and visual experience

    Movies Review: 'All I See Is You' is a sensual and visual experience By Katie Walsh Oct. 26, 2017 11:35 AM PT The premise of "All I See Is You," wherein Blake Lively stars as a...

  9. All I See Is You (2016)

    IMDb RATING 5.4 /10 13K YOUR RATING Rate Play trailer 2:16 6 Videos 99+ Photos Drama Mystery A blind woman's relationship with her husband changes when she regains her sight and discovers disturbing details about themselves. Director Marc Forster Writers Sean Conway Marc Forster Stars Blake Lively Jason Clarke Ahna O'Reilly

  10. All I See Is You

    Directed By: Marc Forster Written By: Sean Conway, Marc Forster All I See Is You Metascore Mixed or Average Based on 25 Critic Reviews 43 User Score Mixed or Average Based on 22 User Ratings 5.2 My Score Hover and click to give a rating Add My Review Where to Watch ($3.99) All Watch Options Top Cast View All Blake Lively Gina Jason Clarke James

  11. All I See is You

    January 16, 2018 Director Marc Forster Distributor Open Road Reviewer Paul Asay Gina is blind. She had full sight when she was a little girl, but a car crash turned her pupils to pulp, leaving the visual world nothing more than a strange, uncertain whorl.

  12. All I See Is You

    Overall: Mixed (Divisive) Despite Blake Lively's usual charm, an uninspiring romance and the pursuit of being too artsy makes for a dull film. Summary Since her early teens, Gina has been blind - after a tragic car accident. Something which, even in her later years, haunts her. Luckily, in her adult life, she has James.

  13. 'All I See Is You': Review

    'All I See Is You': Film Review | TIFF 2016 What seems a perfect union between Blake Lively and Jason Clarke hits a rocky patch when her sight is restored after years of blindness in Marc...

  14. 'All I See Is You' Review: Blake Lively Marriage Drama Is Blind to Its

    October 26, 2017 @ 12:53 PM. A surfeit of visual noodling and little effectively directed and written drama make up "All I See Is You," a what-if gimmick posing as a dissection of a marriage ...

  15. All I See is You

    All I See Is You is different in tone and intent from any of those but, considering Forster's flexibility, it can't be considered a "change of pace." Lively also likes playing in different genres. All I See Is You comes on the heels of her time-traveling romance The Age of Adaline and her kick-shark-ass adventure The Shallows. The other ...

  16. 'All I See is You' review: Marital drama jarringly shifts views

    Movie Review ★★ 'All I See is You,' with Blake Lively, Jason Clarke, Ahna O'Reilly, Yvonne Strahovski, Wes Chatham, Danny Huston.Directed by Marc Forster, from a screenplay by Forster ...

  17. All I See Is You (2016)

    2/10 All I See is Ew questl-18592 21 September 2019 All I see is a film school thesis movie that should have been failed and forgotten. Instead, the director's lust for Blake Lively led to a near pornographic experience that lacks any satisfaction 39 out of 47 found this helpful. Was this review helpful? Sign in to vote. Permalink 1/10 review

  18. I See You movie review & film summary (2019)

    I See You. For its initial 40 plodding minutes, the clumsy thriller "I See You" works very hard to get your attention. A boy, riding his bike through the woods, is yanked into thin air as if he had reached the end of a bungie cord. He soon joins the roster of other missing kids in a small town, where Detective Greg Harper ( Jon Tenney) is ...

  19. Movie review: 'All I See is You' can't see past its weirdness

    Review: 'All I See Is You' can't see past its weirdness ... Blake Lively exists in a strange stratosphere of movie stardom where the oddly left-of-center movies she makes seem to only exist ...

  20. Parent reviews for All I See Is You

    Blake Lively film is interesting but just okay. All I See is you, starring Blake Lively, is a creepy drama film that is very interesting but it isn't the best. This film does have a lot of sexual content and nudity, since that's the reason it is rated R. This film does have a little bit of violence, too. Definitely for kids 16+.

  21. Movie review: "All I See Is You"

    One and one-half stars. Rated R. 110 minutes. The thriller-ish premise of "All I See Is You" sounds familiar enough: A woman, blind since a childhood accident that killed her parents, undergoes...

  22. ALL I SEE IS YOU Movie Review

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  23. All I See Is You

    Vegas Film Critic (Jeffrey K. Howard) reviews All I See is You starring Blake Lively, Jason Clarke, Wes Chatham, Danny Huston and directed by Marc Forster. F...

  24. All Quiet on the Western Front

    All Quiet on the Western Front tells the gripping story of a young German soldier on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war ...

  25. Where to watch Dune: Part Two in IMAX 70mm (and why it's worth it)

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  26. Out Of Darkness Review: Caveman Horror Movie Has Night Scenes You Can

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  29. No One Will Save You

    See All 16 Critic Reviews 9. Signal1 Sep 26, 2023 [SPOILER ALERT: This review contains spoilers.] Read More Report. 6. gabrieldsanchez Jan 7, 2024 ... this is a very dumb movie. Only recommend if you are truly die hard fan of sci-fi horrors. Read More Report. 3. Mauro_Lanari

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    Comprehensive Tracking: Keep tabs on your favorite movies, anime series, and TV shows effortlessly. Our intuitive interface allows you to manage your watchlist seamlessly. Discover New Releases: Stay up-to-date with the latest releases and explore a diverse range of content. From blockbuster movies to trending anime, we've got it all covered.