Posts by David Edwards83

Don't tell me they aren't!
🙄
Aha, well then we're good.😁

Kyle White2 said:Yeah, people who've actually spent some time in Japan lately are saying the exact same thing...

It’s obviously not some authentic slice of Japanese culture—it’s just imported American stuff... I'd hope everyone realizes that by now.

See, I have a buddy who’s been living out in Japan for three years now, and he sees things totally differently. From his perspective, Lost in translation just stays on the surface level with these little anecdotal bits.
Look, if EVERY single Japanese person in a movie is portrayed as a punchline, then yeah—something is definitely off.

The leader said:First off—not once in this entire thing is a single Japanese person caricatured; everything is portrayed with actual realism.

Oh, so you’ve been to Japan or something? Now you're an expert?

David Edwards83 said:You were basically implying that nobody respects my take and that the movie is garbage! Well, now I see the light! Even my constant nitpicking couldn't have predicted an outcome like this.

David, my friend, listen. This movie is solid. How do I know? Just look at the facts. Who are you to judge? This film has dodged a few hundred legal loopholes—like when an OSHA inspector walks onto a job site and says, "Hey, this safety net has too many gaps!" You could catch all sorts of things in those holes, yet some things still slip right through. And me? I'm just a small fish in a big pond.

So, THAT proves the movie is good 😁 THAT is the bottom line! As they say 😍
I’ll give a more coherent response to this provocation tomorrow.

Sorry, I couldn't help myself—hope you aren't taking it personally—I just wanted to point out that the people (not here on the forum, mind you) whose opinions I actually respect are the ones who actually know about cinema. For instance, my film theory professor—everyone in his class absolutely tore this movie apart. I was one of the first to see it, and when I started ranting about how bad it was, nobody believed me until they saw it for themselves.
Of course, I also know plenty of people who loved it, but most of them are just the types who get defensive about the idea that you need to be sensitive or a bit of a dreamer to really "get" this film... People who, when you point out objective flaws, just snap back with, "Well, I LIKED it."
Now, I'm not saying you have to watch it with the cold, clinical eye of a Hollywood cinematographer or worry about the complete lack of significance in shot duration, for example—I love movies that are objectively 🙄 but mean a lot to me for personal reasons. It’s just... that doesn't really factor into the actual discussion.

blueranger12 said:LOL 😁 nothing beats those one-sentence condescending remarks 😁—especially when they’re wrapped up in italics, Jose Miller17, you can't do that to me...

I honestly think the split we're seeing with this movie isn't about whether people actually "get" cinema or not—it's more about who they are as individuals. I've seen plenty of users in this thread whose takes I really respect, even if they ended up hating the film.

Maybe it's actually the other way around. 😈

Compared to all the ABSOLUTELY STUNNING movies that have hit theaters over the last decade—I mean, seriously, the quality has been through the roof—these ten? They’re just... nothing special, really.

Henry Anderson47 said:I just noticed this...

You’re definitely missing the point here—she isn't some femme fatale or whatever you're thinking. She’s just a singer performing in a hotel bar, probably a middle-aged woman who feels a bit isolated in a foreign country and might be going through a midlife crisis—all while likely feeling a little starstruck by being so close to some famous actor. It's much more grounded than that.

Honestly, if I were in her shoes, I probably would've made a move too.

And that’s where we find ourselves—right in the thick of it, halfway through the film.
That Japanese woman screaming at the beginning—well, she’s probably just a hooker, I guess.

Richard Hernandez13 said:No.

Do you honestly see some deep, heavy-handed metaphor in that sentence? 🤔

Nah, I think I’m just out here searching for my actual self. 🙄

stormyraven15 said:🙂

Anyway, just jumping in to comment on a post from earlier in this thread—I honestly think one of Tarantino's movies (not Hell Strait, but the one after) is just plain bad.
Since I knew it was going to be packed with violence and blood, I never bothered watching it, and honestly, I’ve even forgotten the title.

It’s bad—an absolute disaster, really—and frankly, if anyone thinks that movie is actually good, there’s something fundamentally wrong with them. They just don't get cinema. 😁

But wait, how can you claim Jackie Brown is bad if you haven't even sat down to watch it?

Also, Lost in Translation is anything but "pretentious."
Is it really pretentious when Murray says, "I decided to start eating Japanese food"? 😲

Personally, I think the whole scene—the entire movie, really—is spot on.
Frank didn't get hit with some official statement from a stranger; he was talking to someone he probably grabbed drinks with back before the war started. The conflict just threw a wrench in both their lives, and the Mexican wasn't trying to make a formal declaration—he just wanted to say what was actually on his mind.

Man, what a massive letdown.
How can anyone call this movie "unpretentious"??? EVERYTHING about this film screams pretension—from that cheap, pseudo-intellectual "find yourself" philosophy to those overly artsy, self-indulgent camera movements.
One minute the shots feel totally random, like some gritty documentary, and the next they’re so tightly controlled they veer into pure pathos; the whole time you just have this nagging sensation that NOTHING feels organic.

My favorite part was when they poked fun at midlife crisis clichés, like "have you bought a sports car yet?"—only to fall headfirst into an even bigger cliché thirty minutes later: "I've decided to start eating Japanese food." Murray delivers it with such a serious, dreamy intensity, almost like Neo in The Matrix Reloaded.🙄

Also, PLEASE, someone give me a heads-up next time a movie features fifteen straight minutes of KARAOKE!!!!
Look, I get it—hanging out with friends at karaoke is great because it's all about having a laugh, but sitting there listening to Bill Murray howl away for fifteen minutes is just asking too much.

The only genuinely funny moment is that opening scene where the translator keeps cutting the director off. It's just a shame that joke is already twenty years old.

Ehm... am I really the only one who couldn't get into this movie? To me, it felt way too reliant on stereotypes—the scope is just too broad and frankly a bit cliché. It doesn't really dig into any specific, nuanced emotions; instead, it seems to just grab whatever feeling happens to be lying around at the moment. It’s also just a little TOO much of a crowd-pleaser—I mean, you've got soldiers playing soccer because, heaven forbid, director Salvatores isn't making movies for the "everyman" and his little passions. Even the occupiers are weirdly embraced, and then you have the soldiers, far from home, suddenly finding themselves 🙂

If you think that’s the most bizarre ending you’ve ever seen in a movie, then you clearly haven't experienced the madness of Mount Olympus by Alejandar Jodorowski 😲

Man, it really hit him—the way the nineties just wrapped up, right when he least expected it to happen😁

It’s just one bit of good news after another lately😢

If I’m reading the situation right—and thank goodness—it looks like he’s finally walked away from all that skateboarding drama!
It’s a win for him and a win for everyone else, really... though it makes me wonder—just out of curiosity—who was he actually filming *Panic Room* for?

Total disaster! It just hit me—the second one was actually pretty solid, which makes this third installment feel like absolute garbage.

He filmed six, obviously, but he’s still missing that third 😁

David Fincher just needs one more movie to seal the deal.
Honestly, it’s such a shame we aren't living in the nineties anymore.

Yeah, Parker says he’d probably handle certain things differently today—but hey, lucky for us, he wasn't allowed to—though honestly, I'm not sure anyone takes him seriously anymore after Evita. He said everything he had to say a long time ago, and he's pretty much run out of steam since then.