Morgan Vaughn10 said:Back then, Costner was stuck in that same phase Cage is in now—that stage where he just gets under everyone's skin.
His biggest setbacks were *The Bodyguard* and *Robin Hood*, which actually preceded those other two.
People got sick of hearing the same two songs from each movie played on loop—it led to total saturation.
On top of that, there was all this noise claiming he wasn't even that good an actor and that his *Oscar* for *Dances with Wolves* was a complete mistake.
I remember those days; it felt like the "cool" thing to do back then was to mock him and his films. It’s the exact same thing happening to Nicolas Cage right now, with people labeling him one of the worst actors ever. You see the same kind of hype surrounding Samuel L. Jackson too. Even Willis faced it during the *Hudson Hawk* era—people were calling him the worst actor around. Later, he changed his approach; he used to rely heavily on facial expressions... eventually, his acting just turned into the same single expression every time.
Then again, *Waterworld* ended up at number 12 at the box office that year, while something like *Braveheart* sat at number 18.
Or, to put it better, he never really had the DNA to carry a character like that in the first place. Those massive blockbusters just aren't his lane—just look at MOS.
He's much more suited for grounded, low-key roles. ☕
SR because it actually has soul and color, whereas Man of Steel is just a total miss. It’s way too serious. I mean, seriously, what idiot decided that superhero movies had to be this grim all the time? Look, you can do seriousness, sure, but it should feel forced in a way that's satirical or self-aware—kind of like how they do it in animated movies. Not this heavy-handed, soulless garbage these "filmmakers" keep shoving down our throats 🤦
The movie uses this really clever, smart way—honestly, just like everything else this director puts out—to take one specific scene and use it as a lens to show how messy and totally unfair gender dynamics can be in the Middle East.
That whole parallel play within a play thing? It’s a killer metaphor for that kind of hypocrisy. And man, that ending where they’re both just sitting there putting makeup on "old" versions of themselves... that’s easily one of the most piercing, clear-as-day endings I’ve seen in a long time.
Hands down the best film of 2016, even if you count Mel Gibson's *Hacksaw Ridge* as a contender.
I honestly think they need to bring in some heavy-hitting, independent foreign director or maybe even an actor—someone like John Malkovich!—to take over as director. You need someone who isn't tied down by any political agendas or ideological nonsense. They’d just pick their own tight-knit crew and let them actually call the shots on projects for once. I don't see any other way to fix this mess.
What are they even putting up with me for? Is it because I’m being super constructive and actually putting in the work? Like, I’m fully leaning into this, bringing all the energy, just moderating a thread about some sci-fi horror monster flick? Is that what this "tolerance" is all about?
Can someone actually competent please explain why certain users are being allowed to label us fans of those movies as some kind of weird little cult?
It’s like, when you try to give a reasoned response to these provocations—or let's call them what they really are—you find my post gets neatly deleted while the provocateur's comment, which is just pure condescension and cynicism, stays right where it is like nothing even happened 🤷
And honestly, even a kid could see which side the moderators are playing for ☕
I’d honestly describe this flick as some kind of female-led, non-criminal version of The Godfather meets Goodfellas. Like, if you look at the script alone, it’s giving me major Coppola vibes, but once the directing kicks in? It’s pure Scorsese style. ☕
Just finished watching this on HBO, and man, I am absolutely floored.
It’s this fluid, darkly funny, super smart, layered story told through a non-linear lens about chasing the American Dream. It feels uniquely American, sure, but there's something universal about it—it's basically saying you can only grab that dream if you're willing to smash through every single damn obstacle standing in your way, no matter how brutal.
Jennifer proves right now why she's the absolute number one actress, both here in the States and globally.
Honestly? This might just be the best movie of 2015.
wanderingcrane82 said:Kid filed the lawsuit against her Uncle Sam, not her mother....
briskhound2 said:The guy in the movie explains that the mom sued Reacher's army. I don't see how the kid could do it since she's a minor. Either way, it’s still unclear why they targeted him specifically.
wanderingcrane82 said:watch the 57 to 60 minute mark again... 🍿
Kid probably talked her mom into suing someone at random just because of an app 🤷
Given the absolute garbage they usually put out, this is actually pretty decent. It feels almost old school—like those movies they used to churn out back in the late eighties and through the whole nineties. I dig how the story plays with that triangle of their relationships. You think something big is gonna happen, like sex or some paternity test reveal, but that tension just keeps dancing right on the edge without ever landing...
Jesse Sullivan5 said:Now, I was actually thinking about including a "ROFL" in this particular post—really leaning into the humor, you know?—but looking back, there isn't a single "ROFL" to be found anywhere! It's just a whole string of Facebook-style emojis instead. ☕
ROFLs? Those things got eaten by mice years ago. Nobody’s using those stupid Facebook emojis either. 🤷
I mean, let's be real—that guardian character is "brilliantly" written to be all mysterious and vague, as if nobody could possibly guess her intentions are actually noble or whatever. Honestly, even for a Shaman, her whole vibe and the way she carries herself is just... questionable, to say the least. And if it’s that bad for someone with actual spiritual insight, imagine what it does to a regular guy walking down the street. 🤷
Bottom line? This movie treats goodness like it's some fuzzy, undecided concept, while evil? Evil is sharp, decisive, and hits you right in the face.