Feel the need to add. I got teary-eyed three different times in the movie.
At first a bit off-putting, but slowly transfixing. Slowly, as scenes transition and things become all the more abstract, it reaches a purely visceral level of hypnotism. I'm not quite sure I gathered all the pieces, but it's a delicate piece of filmmaking - and thoroughly perverse in its resonance.
Having settled down with more thoughts on it following a second viewing, I've easily decided that the film, even though equipped with a messy screenplay, very well is a truly great directorial achievement. Visually impressive and ugly, at times, and probably the director's pinnacle piece so far as an auteur goes. It's not a fun movie, and that can turn one off quite easily from enjoying it - but it is truly horror.
I haven't rated it yet because I'm still conflicted about what I thought. I understand the story and screenplay (dialogue, included) are very much silly and awful. I also kind of despise how pretentious the occultic imagery comes off as. But Zombie's direction is stupendous. His eye for visual design and for slow-burn horror is quite magnetic and burns into the brain. A depressing film, no fun at all. But horrifying.
I find myself disliking Raimi's films every time his newer one comes out. I understand that he feels the need to have B-movie elements in his work - but he can't capture the camp charms he's known for quite like he used to. There's only two elements of true camp to be found here - the rest of the movie wallows in a hollow realm of wannabe kitsch.
Even while Korine is busy animating his characters beyond recognition as human beings - the beating heart and floating soul of the movie still resonates as honest. Not completely finger-wagging as social satire, but deft enough with itself as to know how to pull off an immense atmosphere of dread beyond what any films has ever done before. A pinnacle contemporary American film.
Sometimes campy in its depiction of the addiction - what I loved most about "Shame" was the development of its two sibling characters. Both Fassbender and Mulligan shade these roles with intensity and history - where every word spoken and every action made toward the other feels completely rich. The ambiguity is quiet, but oh so obvious by the end of it all. I don't love "Shame" for the sex plot, but the sibling one.
I admit he isn't anywhere near as visceral as his golden years, but his recent work still feels like his own. (Have yet to see Dracula, though, and that trailer looks quite awful.) His work is always imaginative, deeply disturbing, and difficult to forget. Love the guy a lot.
The more I watch it and the more I think about it - the more I analyze it and the more I pick out things from it. The more I become sure that it's one of the most emotionally enthralling movies I've seen.
The girl could both make you laugh and knock the wind out of you emotionally without breaking a sweat. Now that she's gone, she also has an ethereal quality that makes her one of the greats, if you ask me. Her eyes were expressive - and she was an unconventional beauty. Whether supporting roles as disturbed characters or leading roles as offbeat rom-com lady - the girl could make me feel her state of mind. She had it. She really did.
A few good to great works surrounded by mostly shit. Ti West, you have lost a bit of my respect with your segment. Jesus Christ.
Yeah, what the fuck was with Ti West's segment? Just when I didn't think anything could possibly be worse than F is for Fart, M is for Miscarriage came along. A dreadful, meaningless attempt at shock value. It's offensive, but not in the way it intended, just in its stupidity and laziness. West knows better, but he clearly didn't give a shit. And to think this guy made one of the best horrors in recent memory, The House of the Devil.
A movie that grows richer with every viewing. Purely over-saturated satire with every bit of pathos underneath it all so that it doesn't lose its human touch. The direction is frantic and trippy - and the performances of the entire ensemble (most specifically the dynamite work of Rourke and Murphy) knock it out of the park.
I really like Jonas Akerlund's directorial stamp. It shows through in all his work - both features and music video. But the kind of emotional heights he reached in "Spun" aren't really present here. In fact, I kind of found this film weirdly empty. I'm not sure I caught onto what the hell it was supposed to even be about.
Seriously not joking around (or being the least bit hyperbolic) when I say that this ranks as one of the very worst films I've seen. Not only was it terrible in aspects that are technical (amateur Tony Scott wannabe editing and cinematography that shows no control or whimsy with its action), but insults the intelligence of the audience as if they're stupid, stupid, stupid people. Fuck this movie.
Completely relevant. Completely, truly powerful. One of the best things I've ever seen.
Without any fear or vanity, Del Rey presents a performance here that recalls ghostly emotion in a kind of historical Americana mishmash of spiritual motifs and figures. Throwing sex into the mix in disturbingly Lolita-ish ways has never felt more realized than it does here. Is "Ride" about a woman struggling to ditch her traumatic sexual history? This guys thinks so. And he thinks this short is a masterpiece.
This screencap is more Freudian than I think Scorsese intended in the film. xD
Flawed narrative and severely predictable. But the cast really sells it. The member of the cast to steal the show, for me, was Hana Mae Lee. Extremely funny performance.
She's so fantastic. Such a shame.
Weirdly, the film goes on like it's a procedural thriller and keeps us on the edge by delivering fact after fact with intense sequences and moments of job-oriented showcase. But when that final scene comes around, it makes us question the entire film. Bigelow once again takes the vigilante Death Wish-esque archetype and shows us how a woman saves the world from Bin Ladin due to her own personal goals. Moral guilt.
makes "us" question? What is "our" question, Doug? When the final scene plays, I was forced to look directly at someone who devoted themselves completely to something and after her ascension, she herself is lost. & "due to her own personal goals. Moral guilt"?– your suggestion that before her partners were killed, she didn't really give a fuck about her job...? I don't remember her ever having a lack of dedication, only her refusal to take a breath when walls were placed in front of her.
Just the fact that Boal and Bigelow developed the Chastain character the way they did kind of makes me disagree. Yes, she was already a workaholic and very decicated at her job... but its not until Bin Ladin does something personal that she dedicates the next five or more years of her life to avenging her friend's death. Ehle's character at the hotel asks: "Do you even have any friends?" - Chastain's reaction was subtle, but it was almost like she was thinking : "Well, aren't you?" ..... So when Ehle is killed, it sets her off in a deep way... it has become her someone to fight harder for.. an already workaholic turned FUCKING INTENSE... So she's not only doing it for her country, but because its a personal vendetta - an action movie archetype.. venegance on the one who killed a loved one... only its a woman and shes in offices and never really pulls a gun out. It's brains... a woman with brains and vengeance on said brains who saves a country/world... But then that final moment, her crying... its like it dawns on her that now... was she selfish? Was it selfish that it took her own personal vendetta to bring the world's biggest piece of shit down? Was it really for her "home" and what personal home does she have left?
Lee Daniels always drips intentionally dramatic stories with his own touch of maniacal and cynically colorful pretention. This isn't necessarily a bad thing, though, as his consistency with his features so far have proven that, while excessive and materialistic, he's still got this depressing gut under his shock value and camp aesthetic. This is easily his best film so far.
What's being satirized is obvious, but what it fails to do is really reach any level beyond the target. Selma Blair, though, once again reminds me why she's vastly underrated.
Tyler the Creator's spit makes for some of the more profound and clever I've heard - being emotional without sentiment or pretension. The short film, so simple, fits it well. Those final seconds are shocking.
One brilliant scene in the entire film: the shaking hands moment between Waltz and DiCaprio. If only the rest of the film reached that level.
Tarantino gets so full of himself, he forgets to invoke soul into the film. Because of this, his overwhelming amounts of humor come off as something akin to a lame parody film. This isn't Tarantino's typical great pop-heavy cinema - it's pure kitsch. It kinda sucks.
What it lacks sometimes in development, it gains completely in the two lead performances. Jones is enchanting, but Samberg is an absolute wonder. Who knew he had it in him?
Deeply hilarious, demented, and warped. But also not without its incredible soul. While the situations and the characters verge on hyperbole when it comes to their developments - Friedkin makes it all feel spontaneous and authentic. The climax and overall final scene is some of the richest hilarity this side of dark. John Waters should be proud, right?
It's a stupid movie. You'd expect more from Stone, considering with this he tries to be thoroughly cinematic and campy but finds himself in over his head. His attempts at developing the three-way relationship, the Mexican cartel of violent gangsters, and the overall way he constructs his film - all fall directly on their stupid face. Stone was ballsier and much more intelligent with his trash fifteen years ago. Shit.
Lopez's performance here is misunderstood as hell.