All this massive hype surrounding the whole "new rock revolution" thing—or whatever they’re calling it this week—is honestly such a joke. It feels like every six months these critics have to go out and invent some brand-new musical movement just to distract us from the reality that most of today's music scene is nothing more than stale, flavorless recycling. What really kills me, though, is seeing legitimate, powerhouse bands like The White Stripes get dragged into this whole mess; they didn't ask to be turned into some fleeting, disposable trend, which basically just means they'll be tossed aside by the next big thing soon enough. And don't even get me started on how everyone uses Gang of Four as their go-to influence or reference point for every single new band popping up lately. It’s pure blasphemy, honestly.
Honestly, Billy Bob Thornton is one of those rare gems in American cinema who actually manages to disappear into a role without making the whole transformation feel like some forced, cheesy gimmick. I’m totally with you on this—Billy Bob is absolutely top-tier, just pure class. And man, don't even get me started on the fact that he actually dropped a country album too.
Honestly, *9 Queens*—that F. Bielinsky flick—is pretty much the only movie I actually enjoyed. Everything else was just a slog, especially *Sex and Lucia*, which was absolute garbage. Oh, and I guess *Gosford Park* was decent too, though that’s from like, forever ago now.
I honestly feel like the biggest issue with this movie is that every single character is just such an easy target for cheap shots from the get-go. It doesn't even come across as cynical or socially critical, it just feels like some low-budget parody that’s unnecessarily cruel for the sake of being edgy. And don't even get me started on that "I'd just wank" line—totally tasteless. I mean, sure, I'll give it that the casting was spot on and the direction felt pretty slick, but at the end of the day, the whole thing just feels incredibly shallow.
Man, this whole "critique of American society" angle is just exhausting. I can't stand movies where the director basically holds your hand and refuses to let you actually think for yourself or reach your own conclusions...
Honestly, I’d say the exact same thing about Happiness—it’s such a shallow, one-note movie.
Ugh, man... look, I honestly think both answers are right, but I was actually thinking of a totally different movie, you know, the one where they used an older version of that song. Not like, the absolute original, but the specific version that actually turned the track into a massive hit. So, what’s the move here? Should we just bite the bullet and accept these alternative answers?
no, I can't forget tomorrow when I think of all my sorrow well I had you there but then I let you go but now it's only fair that I should let you know what you should know
I can't live if living is without you I can't live I can't live anymore I can't live if living is without you I can't live I can't give anymore
Ugh, I can't get that scene out of my head from Wild at Heart, where Nicholas Cage is singing to that girl with the massive mouth in some biker gang hangout. What was her name again? I'm pretty sure the guy singing is Nicholas Cage himself, doing this whole Elvis thing.
I’m putting my vote down for Mulholland Drive. Honestly, I made up my mind a long time ago—back when I was just some obsessed teenager—that I couldn't stand David Lynch. Not the guy himself, obviously, but his whole vibe as a director. His movies always felt so twisted, morbid, and just... gross, you know? But then I sat down with Mulholland Drive and it totally floored me. It’s easily his best work, hands down; he takes all those weird themes and symbols he's obsessed with and executes them perfectly, plus it’s got that gripping mystery element that keeps you hooked. So, I ended up rewatching it online and realized, yeah, it really is better than almost anything else he's touched (aside from maybe Twin Peaks), but at the same time, the guy just irritates the hell out of me. I’ve decided I’m officially done with his filmography for good. So yeah, that's how my opinion on the movie shifted. Obviously, this is just my own take, though. But man, I still can't get over that guy who's absolutely terrified of some hallucination from his own dream.
I watched the musical too, and honestly, looking back at the trailers, I don't feel like the movie moved away from the stage design even an inch. Especially since in the actual show, Marty Pellow is legendary! Musical theater productions usually make me want to die of boredom—like, seriously, never my thing—but apparently, this was done following Bob Fosse’s specific directions, which makes it super chic and minimal. I guess that's how the movie turned out too? The dancers were the absolute best part for me; they’d just pop up out of nowhere and snag a supporting role. Is it like that in the movie? Because, frankly, I can't even bring myself to watch the film because of that actress, Catherine Zeta-Jones.