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Nicolas Cage! Some don’t think too highly of him, others – like myself – like to praise his great acting talent, which is on show here in Werner Herzog’s stylish police drama set during the aftermath of Hurricane Katrina.

There could be a moment during this film (Or perhaps many) when you’ll say to yourself “Wow! He really is a bad lieutenant! Such a comment is completely justifiable. In fact it’s not even the fact that he does a large amount of drugs, it’s the lengths he goes to and the risk’s he takes to keep up his lifestyle that will shock you most. He’s one corrupts bastard! But one that is gloriously fun to watch!

Eva Mendes isn’t anything special here. In fact she really could have made her presents a little bit more known, but it’s not really a big problem. Most of the supporting cast isn’t really noticeable in fact. They’re fine, but Cage is clearly the star here! Oh and those of you worried about music rapper Xzibit being in the film, put those fears to rest. He’s fine, good even.

Herzog direction is spot on with this film. He creates great moments of tension and genuinely keeps you totally entertained for the most part. He impresses with some lovingly composed shots and the look of the film in general is perfect.

People often say about some films that the “city is really a character in itself”… well this is certainly a film where such a comment rings true. I haven’t been to New Orleans but from what I’ve seen and what I’d imagine, it seems like Herzog and his team have done a great job of capturing the feeling of city. On top of all that, the score by Mark Isham is really something fantastic.

If I was picky I could say there was at least one character whose story should have been concluded rather than just ran out, but really this is a small fault.

This isn’t you standard cop action thriller, and I wouldn’t want it to be. What it is is a damn good character study of a man who’s living each day neck deep in corruption, guns and cocaine with a director sitting at the film’s rudder in full control of his medium.

This “Bad Lieutenant” gets 4.5/5 stars.

Sympathique petit film qu’Herzog nous pond là. Certainement pas son plus personnel, mais avec le personnage atypique de flic ripou et drogué de Nicolas Cage, le cinéaste pouvait tout de même s’en donner à coeur joie. Si la première partie s’avère assez classique dans la manière dont l’enquête est menée, la seconde part plus dans un délire de junkie où Herzog peut s’y retrouver. Entre Cage voyant l’âme d’un mort faire du break dance ou des caméléons chanter, il y a de quoi décontenancer les spectateurs. Cage retrouve enfin un rôle à la vraie mesure de son talent, il y avait longtemps qu’on ne l’avait plus vu à pareille fête. Seconds couteaux intéressants également même si on regrettera un rôle que trop en surface pour Eva Mendes. Par moment, le film connait quelques problèmes de rythme. Et sous cette histoire policière se cache tout de même le fléau de la dépendance à la drogue et aux médicaments dont la volonté seule n’est qu’un début pour pouvoir s’en sortir.

Werner Herzog’s take on the BAD LIEUTENANT isn’t a remake so much as taking a similar character and planting him in a different city. Gone is the Catholic guilt and Christian redemption of Abel Ferrara’s original, what this movie is is something much more bizarre (we are graciously spared the image of a stark naked Nic Cage full of heroin babbling to himself a la Harvey Keitel in the predecessor). Cage plays a police seargent who is promoted to lieutenant after jumping into the rising waters of a prison to save a criminal, but this promotion came with a price, as his heroics left him with a bad back and a painkiller addiction. Drug use, gambling, and family problems distract from his work, until he sinks in deep with the wrong side of the law. Cage’s brand of hammy acting is something I’ve always enjoyed, and Herzog, one of our greatest living filmmakers, puts this to good use as Cage melts down whilst hunched over like a movie monster, his insane outbursts recall Herzog’s work with Klaus Kinski, who certainly would’ve played this role back when. The storyline is almost a funhouse mirror version of your standard police-procedural with lots of debauchery mixed in that echoes Ferrara’s original.

The problem with BAD LIEUTENANT is that it’s hard to peg down what the movie is about, and perhaps this problem will disappear upon further viewings. Ferrara’s film is steeped in Catholicism, as Keitel’s out-of-control cop sees his life fall apart over drugs and gambling, making him the most unlikely person to find redemption, and yet he does before it all ends, albeit badly. Essentially, it’s about a person who does bad deeds who finally does one good deed before his death. On the flip-side, Herzog’s film is about a guy who does a good deed and spends the rest of his life paying for it with pain, driving him to do bad things. The reverse happens to the main character, but it doesn’t seem as interesting as what was going on before. Herzog’s protagonists are often insane and driven people, and Cage’s character is certainly the former, the latter is more questionable, unless you could call someone who desperately wants more cocaine “driven.” This one seems to bounce from one crazy strange situation to another, we’re just along for the ride. I think it may become more interesting on further viewings, we’ll just have to wait and see.

I never thought I’d say this, but I honestly enjoyed this movie. If you can just try your best to not think about the 1992 “Bad Lieutenant” (probably Harvey Kietel’s best performance ever) you’ll enjoy this movie. In fact, if you haven’t seen the original Bad Lieutenant, maybe that’s a good thing (as messed up as that sounds). In this new version of Bad Lieutenant, Nicholas Cage plays a tormented police officer currently trying to solve a drug related, execution style murder of an African family. Werner Herzog’s version does keep a few things from the “original” ‘92 version; the cop being a drug addict, having a gambling problem, haunted by a gruesome case he’s currently working on, etc. Herzog even goes so far as to re-create his own version of the infamous scene from the original Bad Lieutenant where Keitel pulls the 2 teenagers over in the car and takes advantage of them. The major difference with Herzog’s Bad Lieutenant is that even though the main character is still a scumbag, he does have a few redeeming qualities and you don’t totally hate him like you do Harvey Kietel’s character. There are so many silly parts in this movie Herzog had to know no one would take it seriously. For example, there’s a scene where Nicholas Cage kills this guy, and then the recently deceased’s “soul” begins to break-dance while the music from the end of Stroszeck plays. Seriously, I’m not making this up. There’s an interesting supporting cast with the likes of character actor Brad Douriff, Xzibit, Faruza Baulk, Eva Mendez and Val Kilmer, who i hadn’t even thought about in years until I saw him in this movie. I can seriously see this movie being a new-age cult moviet. I’m telling you, seeing this movie with a group of people will probably make the viewing experience even more enjoyable.

Campy and absurd. Imagine a Werner Herzog/Law and Order mash-up – with a crazed out Nicolas Cage.

What could be seen as uneven, sloppy, or narrative distractions actually, in my opinion, make up the spine of this film.

The out-of-the-blue handheld animal moments – The dutiful Assistant District Attorney Jeremiah Goodhusband – The scene when Cage is hiding behind a closed door in a retirement home only to reveal himself coked out and shaving [hilarious!]

Ultimately, this is a Stroszek (1977) or Even Dwarfs Started Small (1970) within the shell of an American cop genre movie. A satirical rendering of the absurdities and contradictions of America (the nation and movie industry). Cage is the excessive, indulgent American. The more I think about it, the more I appreciate this pastiche of weirdness and cliche.

Bad Lieutenant: Port of Call: New Orleans merupakan sebuah film drama bertema kepolisian yang diarahkan oleh sutradara Werner Herzog. Walaupun memiliki judul dan tema yang sama dengan film Bad Lieutenant karya Abel Ferrara yang pernah dirilis di tahun 1992, Herzog dalam beberapa kesempatan menegaskan bahwa film ini sama sekali tidak berhubungan dengan film Ferrara tersebut. Bukan sebuah remake maupun sebuah sekuel.

Bad Lieutenant: Port of Call: New Orleans sendiri memiliki latar belakang cerita yang berbeda dengan Bad Lieutenant. Jika film Ferrara tersebut berlatar belakang di New York, maka film karya Herzog ini berlatar belakang tempat di New Orleans, beberapa saat setelah terjadinya badai Katrina yang meluluhlantakkan kota tersebut.

Dikisahkan, sersan Terrence McDonough (Nicolas Cage) mengalami sebuah kecelakaan ketika sedang menyelamatkan seorang tahanan yang sedang terjebak di sebuah penjara ketika badai Katrina sedang menghadang. Kecelakaan tersebut ternyata menyebabkan kerusakan pada struktur tulang punggung Terrence, dan mengharuskannya untuk selalu mengkonsumsi obat-obatan untuk mengurangi rasa sakit.

Setelah mendapatkan penghargaan dan promosi ke pangkat letnan, Terrence menjadi ketagihan atas obat-obatan yang ia konsumsi. Bahkan, seringkali Terrence juga mengkonsumsi obat-obatan terlarang yang ia peroleh dengan cara memeras setiap tersangka yang ia tangkap atau mengambil dari barang bukti yang disimpan di kantor polisi tempat ia bertugas. Di tengah permasalahan ketagihannya pada obat-obatan tersebut, Terrence dihadapkan pada persoalan pembunuhan satu keluarga imigran ilegal asal Senegal. Film ini, kemudian mengikuti jejak langkah Terrence dalam menyibak misteri siapa pembunuh satu keluarga tersebut, sekaligus menceritakan bagaimana Terrence menghadapi masalah ketagihannya akan judi dan obat-obatan serta permasalahan pribadinya dengan sang pacar, Frankie Donnenfeld (Eva Mendes), dan keluarganya.

Memulai jalan cerita dengan sedikit lemah, Bad Lieutenant: Port of Call: New Orleans ternyata mampu bangkit di menit-menit berikutnya dan tampil sebagai sebuah film drama kepolisian yang sangat menarik. William Finkelstein, sang penulis naskah film ini, memberikan begitu banyak permasalahan untuk dihadapi sang karakter utama. Walau begitu, dengan sangat cerdas, Finkelstein juga mampu sedikit demi sedikit memberikan jalan keluar dan menyelesaikan berbagai permasalahan yang telah ada. Tidak mengherankan memang jika mengetahui resume penulisan naskah Finkelstein yang pernah memenangkan Emmy Awards untuk naskah yang ia tulis untuk serial-serial televisi bertema kepolisian seperti L. A. Law, Law & Order, NYPD Blues dan Brooklyn South.

Naskah yang cerdas tentu saja tidak akan berarti jika tanpa adanya eksekusi yang cerdas pula dari sang sutradara maupun penampilan para jajaran pemerannya. Herzog mampu memberikan visualisasi yang tepat untuk berbagai kisah yang ingin ditampilkan di film ini. Ia juga mampu menentukan pace yang tepat untuk cerita seperti ini, tidak terlalu cepat namun tidak mengisahkannya dalam pace yang terlalu lambat maupun terlalu didramatisir.

Jajaran pemeran di film ini juga seluruhnya mampu memberikan penampilan yang sangat mengesankan, khususnya Nicolas Cage. Sudah lama rasanya tidak melihat Cage tampil begitu rapuh sekaligus tetap terlihat berbahaya semenjak Matchstick Men. Disini, Cage tampil dengan sangat baik menampilkan seorang tokoh polisi pelanggar hukum yang sangat mengesalkan namun tetap mampu menampilkan kerapuhannya ketika ia sedang menghadapi masalah keluarganya, pacarnya sekaligus masalah punggungnya yang sangat mengganggu. Para pendukung film lainnya juga, secara mengejutkan, mampu tampil baik, termasuk nama-nama seperti Eva Mendes (she can act!), Jennifer Coolidge (yang biasanya tampil melucu dalam film-film komedi) dan Val Kilmer (Kilmer… is that you?). Film ini juga menampilkan penampilan singkat yang cukup berarti dari Fairuza Balk dan Michael Shannon.

Bad Lieutenant: Port of Call: New Orleans tampil sebagai sebuah film drama kepolisian yang sangat sederhana. Tanpa berbagai adegan tembak-tembakan yang fantastis maupun adegan drama yang menyentuh. Namun, disinilah letak kekuatan film ini. Bad Lieutenant: Port of Call: New Orleans mampu mengejutkan para penontonnya dengan membawa mereka ikut serta dalam cerita yang bergulir untuk melihat bagaimana perubahan setiap karakter yang ada di film. Sebuah film yang gelap, aneh namun mampu tetap dapat menghibur.

Rating: 4 / 5

La pelicula de Herzog facilmente pudo haber tomado dos rumbos totalmente diferentes: el que me atañe hoy a escribir un review de la película o el que ni me hubiera tomado la molestia de verla. “Bad Lieutenant: Port of Call New Orleans” para la gente que no sabe, que no conoce o que nunca ha escuchado hablar de Werner Herzog, puede parecer la continuación de “Bangkok Dangerous” (si se llama así esa chingadera?) o una película del estilo de Charles Bronson (sin afan de despreciar las horas de dicha y risas que nos ha regalado el Sr. Bronson). Pero que es lo que hace que esta película, dentro de sus estructura “clásica” o “tradicional”, apegada al genero policiaco, tenga tintes de obra maestra? Sencillo. La alteración del curso cinematográfico, las digresiones estupendas que hace Herzog al brincar entre géneros con una inmensa facilidad. La respuesta esta en la versatilidad de Herzog, la inclusión de momentos verdaderamente hilarantes dentro de una trama sombría ambeintada en una Nueva Orleans postapocalíptica (Post- Katrina para ser precisos).

Herzog abre la cinta con la imagen de una víbora recorriendo aguas pantanosas, introducción que funciona como perfecta alegoría de lo que estamos a punto de ver, el movimiento natural del personaje de Nicolas Cage dentro de los “pantanos” de Nueva Orleans, entre la mierda de su sociedad se mueve como la serpiente, sigilosa, ansiosa de cometer su ataque contra la primera figura reconocible que cruza su camino.
El personaje de Nicolas Cage cruza y baila en la delicada y fina línea entre la justicia y la corrupción, la locura y la sanidad, sufre de personalidad limítrofe, dependiente, tremendamente volátil, una estructura totalmente perversa de pensamiento. Obtiene su droga de las incautaciones que hacen sus compañeros policías o lo roba de las putas y juniors que se esconden en un callejon para drogarse y coger a gusto. Y es en estas escenas cuando vemos la naturaleza del Capitan McDonald, un hombre que irrumpe a la escena con el peso, el abuso de poder y la pretensión de la justicia norteamericana para romper el esquema para finalmente dejarse masturbar y absorber la propia mierda que intenta detener. La ambivalencia del personaje de Terrence McDonald es expresada en infintas maneras a través de la película, McDonald en su uniforme en las memorias de condecoración y McDonald en su, ahora icónico, traje beige con el cabello alborotado, las fosas nasales y las pupilas dilatadisímas de tanta pinche cocaína, que puede ser tan buen hijo como para llevar al perro de su alcoholico padre (otro perverso) con el y en escenas siguientes desconectar a una anciana de su respirador artificial y acosar a una mujer negra mayor para obtener información que lo lleve al testigo del crimen que sirve como leit motiv de toda la cinta.

Y es que, estimado lector, el Capitán McDonald se toma en serio esa madre que reza: “El fin justifica los medios”, Pero McDonald no ditingue medios claros, su fin ya esta tergiversado, su objetivo, toda su cuestion existencial se encuentra manchada por el lodazal en el que se encuentra inmerso, La brujula de McDonald ya no tiene rumbo, empieza a divagar, cree que se aproxima cada vez mas a los responsables de la masacre de la familia de origen africano, sin embargo, cada paso que da lo aleja más de su objetivo y lo sume en la desesperación, comete pendejada tras pendejada en su ciego afan de “justicia” y “redención”. Llega un momento en que los pedos de McDonald son tantos y tan complicados que decide pasarse al otro bando (con el rapero XZibit, de “Pimp My Ride”) y cooperar con los “malos” (herencia de la estructura maniquea). Pero al final, la película toma una resolución “deus ex machina” de la cual unicamente podemos reír sin parar, Herzog, utiliza un recurso hollywoodense sobadísimo (“deus ex machina”) y lo torna en algo totalmente original dentro de un contexto cómico (como lo hizo Charlie Kaufman en “Adaptation”). Yo literalmente moje los pantalones por la forma en la que Herzog resuelve los problemas del Capitán McDonald.

Solo un actor con una tremenda habilidad e inteligente pudo haber dado en el clavo con un personaje tan complejo como el de el Capitán Terrence McDonald, ¿Nicolas Cage? (no mames, replica uno de los lectores), pero sí, la actuación de Cage es brillante, nos recuerda al icolas Cage que vimos en “Leaving Las Vegas” y “Adaptation”, un actor que en esta cinta presenta una capacidad camaleónica que haría al mismo David Bowie decir: QUEEE PEDO?. La actuación de Nicolas Cage es la mejor que ha dado en una carrera llena de altibajos y encuentros con putas y transexuales (esa ultima parte la invente yo). Herzog, un estupendo director de actores, saca de Nicolas Cage un personaje que con sus inflexiones (la risa socarrona cada vez que pronuncia en la película “G”, el amor con el que mira a las iguanas, en una secuencia en video HD que haría al mismo Lynch poner cara de estar oliendo un pedo y los manierismos perfeccionados de los que Cage dio muestra en “Matchstick Men”), tono de voz y los ya mentados manierismos nos hace recordar los mejores trabajos que obtuvo de sus legendarias putizas con el Sr. Klaus Kinski.

El resto de las actuaciones son uniformemente buenas, aunque todas son eclipsadas por el Capitán McDonald de Cage, Eva Mendes, por primera vez en su carrera hace un papel decente y hasta podría decir entrañable como una puta cocainomana (go figure). Val Kilmer sale poco en la película y su personaje no da mucho para rumiar. Jennifer Coolidge (“Bend and Snap” de “Legally Blonde”) ofrece un personaje diferente a todo lo que le hemos visto como la mujer del padre del Capitán McDonald, otra alcohólica. Irma P. Hall (la inquilina inmortal de “The Ladykillers”) nos da momentos de tensión junto a Nicolas Cage en un papel de una abuela necia y mezquina que busca la protección de su nieto. Brad Dourif ( Grima de “Lord of the Rings”) tiene estupenda química con Nicolas Cage como el bookie de el Capitán McDonald.

Las digresiones que hace “BL: POCNO” son brillantes y exaltan el valor artístico y estético de la película, son momentos surrealistas que caen dentro, si se me permite la categorización, del estilo “Lynch”, por su naturaleza bizarra y el uso de baladas para sacarnos aun más del contexto de “la cinta policíaca” que estamos viendo. Asismismo, sus personajes ofrecen momentos cómicos (todo Nicolas Cage, la “cat fight” entre Eva Mendes y Jennifer Coolidge, por citar algunos).

Una vez que termina la cinta, estimado lector, usted se encontrará citando al Capitán McDonald, cuando después de un tiroteo, e inducido por exorbitantes cantidades de cocaína, ve a un tipo haciendo “break dance” entre los cadaveres de gangsters. el Capitán McDonald se quedará incrustado en su memoria colectiva y se encontrarán diciendo: “His spirit is still dancing”. (“Su espíritu aun baila”).

Nicolas Cage has returned from the land of popcorn flicks to deliver a great performance, but unfortunately the direction of the movie was like that of the Bad Lieutenant himself; just didn’t know whether to be good or bad. Seeing the original back in 1992 with Harvey Keitel, I can remember that it shocked me much more than this remake, if you can call it a remake, as it’s quite a different movie. Although I was much younger then, so might have become more sensitized to the big bad world since.

Nicolas Cage plays a pain ridden Lt. Terence McDonagh who is addicted to hard drugs and turns corrupt in the streets of New Orleans, whilst trying to investigate a brutal gang killing. This guy is quite a sick little alligator, and Cage plays it so well. Werner Herzog throws in some fear & loathing Iguana bat shit camera work, that looked amateurish, and there where a few flaws in the script that takes away from the actors a bit. But still a good movie, just for the performances alone… http://bit.ly/bad-lieut

Remakes sempre são questionáveis, mas o anúncio de que um filme como este seria produzido parecia ainda mais bizarro: o alemão Werner Herzog assumiria a refilmagem de Vício Frenético, um dos melhores filmes de Abel Ferrara, e o caricato Nicolas Cage, que há séculos não nos apresenta uma interpretação razoável, viveria o papel que um dia foi de Harvey Keitel. O melhor papel de Keitel, diga-se. Mas o que se vê no cinema é de fazer cair o queixo. Além de não ser literalmente um remake (apenas as ideias centrais são reaproveitadas), Herzog encontra caminhos improváveis que transformam este filme numa viagem alucinógena completamente deliciosa.

Assim como no filme de Ferrara, aqui Nicolas Cage também vive um policial para quem o termo “dependente químico” nem faz cócegas na tentativa de adjetivá-lo. Eu, e provavelmente metade dos espectador razoavelmente exigentes de cinema, já havia desistido desse ator que vinha escolhendo papéis que só faziam ressaltar sua caretas. Em Vício Frenético, Cage encontra a interpretação de sua vida. E ele, perdoem-me pelo superlativo, está magistral, equilibrando o humor, que percorre toda a metragem do filme, e a seriedade. E faz isso usando todos seus maneirismos usuais.

Todas as soluções que Herzog encontra para todas as sub-tramas do novo longa são extraordinárias, inclusive as que passam pelas cenas – já antológicas – das viagens alucinógenas do protagonista. O diretor evitar colocar o personagem como herói ou vilão. Sua amoralidade não é celebrada, mas apresentada da maneira menos provável possível. Eva Green, Michael Shannon, Jennifer Coolidge, Fairuza Balk e Val Kilmer, todos em papéis minúsculos, servem como a escada perfeita para os devaneios desta obra-prima do personagem de Cage e do diretor de primeira que Herzog, de vez em quando, insiste em querer nos relembrar que é.

This was a film I expected to be fun and really enjoy, Yet I found this to be another disappointment. It has good and interesting characters. But for all the great actors in the film they have characters who would be interesting if they really had something to do and fit more into the film.

Nicholas Cage gives a great performance and this film is practically a one man show. As he is a live wire from beginning to end. Now knowing that his character is on legal and illegal medication most of the film. It strikes me as odd that none of his co-workers think that he is on high on illegal substances considering how jumpy he is and always seems to be on. I only wish the film could be as off the wall and entertaining as his performance.

The film is missing interesting scenes and a good story to keep interest up. I guess the lack of these things gives the film and cage more free reign to maneuver. I like the films divergences with the trippy iguana and alligator scenes. But even with that the film lacks Director Herzog’s amazingly surreal images. It lacks his visual appeal. It’s a thriller that never feels suspenseful nor dramatic.

The film feels like a good pilot episode for a warped police TV show, because it sets up character types who you suspect are deeper and richer but are never really explored. So you are presented with just a shell of them.

The screenwriter is a former TV Writer and you can tell because the script is more episodic then anything and most actions seem to happen with little rhyme or reason.

One scene Puzzles me as to why are mobsters always philosophers when threatening people. Yet the film still has some tricks up it’s sleeve to preserve it and save it. Especially when things look like they will be going for a storybook ending.

The actor Xzibit laughs so much in this film as a drug kingpin half the time I just think it is his natural reaction to cage’s performance.

The film is one of Herzog’s recent stabs more into the mainstream genre of cinema this and RESCUE DAWN may be an attempt to make mainstream movies that make money so that he can fund his films that more fit his interests.

The film feels like what I would never describe a Herzog film as dull. It seems small potatoes compared to the things we know he is capable of as a director.

It’s worth watching only for Nicholas Cage’s performance really.

Do not watch this movie if you don’t like Nic Cage. There are plot holes, inconsistencies, nonsensical elements and a ridiculously perfect ending that you will not forgive unless you understand that this film was made for one reason and one reason only: to let Nic Cage do whatever the fuck he wants. If you ask me, there’s nothing wrong with that. The supporting cast here is dotted with recognizable faces and even some competent actors (Brad Dourif being the standout). The tone in this is questionable. I’m not sure if Herzog really knew how he wanted to make this movie, since there are many questionable scenes and choices throughout. I think the attempt here was to put you in Cage’s drug-induced state during scenes like “his soul’s still dancing” and the infamous Iguana shot, even if it doesn’t really work all that well. Herzog’s direction is rather straightforward aside from a couple wacky shots here and there, but if you’re going into this looking for Herzog being Herzog, you won’t find it. I think the man made this movie to let loose and not be burdened by plot or logic. And you know something, I’m completely fine with that.

Have you ever had a funny dentist? You know: full of sarcastic one-liners and puns? Sure, you may chuckle or grunt, but his dark wit doesn’t make up for the fact that your mouth is full of painful implements. Too rarely funny, and too often agonizingly inconsequential, watching Bad Lieutenant: PoCNO is like that experience.

You’ll find a more interesting take on the character of addiction watching House, M.D. Herzog’s dialogue on institutional failure doesn’t hold a candle to The Wire. And apparently, nothing spirits me away from a film moment faster than Nick Cage’s epileptic, schizophrenic timbre.

Low contrast, gritty, and cocksure, Herzog lands on a stylistic swagger I’d expect for a movie with the synopsis at hand. However, I was left wondering how these choices contribute to the sort of thoughtful character study, serviceable commentary, or even worthy spectacle I’d need to sustain a shallow interest.

Takeaway: This film features #crack, #prostitution, #gambling, #guns, and #rape, but like a tweet with too many #hashtags, spends its 140 characters without saying anything at all.