I felt the same way. It was as though the writers got bored/impatient with building mood.
The script is weak and there's virtually no character development to foster audience sympathy or engagement when things go wrong. You would think scientists would be smarter. The film is strongest at the beginning when silence and mood are used to build a sense of dread, echoing Alien. It quickly falls into muddled territory, however. I enjoyed myself anyway. One set piece alone makes the price of admission worth it.
Sinister and disturbing to the core. I can't pretend that I understood it though - it will probably require another viewing. If you're going to watch this, do yourself a favor and don't read anything about this. Don't even watch the trailer.
I watched this last night and still can't get it out of my mind. Molly's slow descent into madness is a terrifying affair. Standout performance from Gretchen Lodge. The creepiest film I've seen all year.
Extraordinary. Nuanced performances and razor sharp dialogue. And it's incredibly entertaining. Watching this as a software engineer made me feel like how most doctors probably feel when they watch House: a freaking genius.
There is a sense of tension throughout this movie that is impossible to adequately convey here. Familial bonds are tested and stretched to their limits. The land and its people are cold and unforgiving. A slow, wonderful burn.
As popular as it is these days to shit on this film and its myriad of plot inconsistencies, it's impossible to deny how much fun there is to be had in watching it. Even more than once.
Every wrong decision that can be made is taken by the world's most irresponsible scientists. If you can accept that, the movie is tense and enjoyable. And very wrong.
Mesmerizing. The cloaked mirror-face figure is extremely disturbing and is referenced in Tightrope.
This film is abusrdly long and outside of a few notable scenes (the beginning trip from the airport, carlos stepping out of the shower to admire himself, japanese red army attack on the hague) is unforgivably boring.
Fell asleep in this once or twice. It was a long day, but that should tell you something about the film.
Javier Bardem is amazing in this film. Incredibly sad, sentimental and moving.
Ignoring the awkward sequences in English and the fact that Japanese humor is unabashedly racist (why is the African ambassador a drug trafficker?), this movie is fun times. The story is merely a vehicle for classic Kitano violence.
French teen angst, sexuality and a great soundtrack (Sonic Youth) combine with Donnie Darko levels of creepiness and dread to make this one of the more engaging films I've seen this year.
Enjoyable, with enough twists to keep it interesting. It falls apart towards the end, but at least we get to see Gemma naked. Full disclosure: I'm deleting this comment and giving it 5 stars if I ever meet her in person.
The still for this film reminds me of my birthday. Minus the dead dude.
This film is so good that I'm too intimidated to try and say something clever about it.
Strangely rhythmic and mesmerizing, this film presents a fascinating insider's view of the chaotic Tokyo Fish Market.
Watching this makes me happy.
I really enjoyed this. Aesthetically, it's a marvel to behold. Clocks, signage, wood-panelled cars: every element of every frame has been meticulously rendered into prime fashion. Proustian moments are more real and vibrant than life itself can be, connecting the viewer with his profound loss. Colin Firth is mesmerizing.
This is an incredibly cool film -- and I mean that in terms of attitude, mood and color. Perfectly executed shots build tension and an air of hopelessness throughout. And it's just so damn cool.
There's a quiet playfulness to this film that charmingly invokes the 60's zeitgeist while validating my own continuing fascination with the French. It was incredibly easy to connect to the story and the characters. Standout performances from Mulligan and Sarsgaard.
Joseph Gordon-Levitt is brilliant in this. Very enjoyable to watch.
Visually stunning, but the triptych nature of the film is frustratingly disparate. Even still, the way the film explores themes of faith and carnality is engrossing. And the Korean woman is incredibly sexy.
Endearing. The sense of fraternity that develops between the two 'lost brothers' is touching.
Equal parts charm, wit and awkwardness. One of Anderson's finest (and warmest) pictures to date.
Intense and surprisingly sexual. The demon mask emerging from the darkness remains a haunting image.
This film is incredibly challenging and at no point attempts to explain itself. I left the theatre feeling a bit confused and unsatisfied. That being said, I can't stop thinking about this movie, which I suppose is the mark of a great film. Probably going to watch this one again at some point.