I suspect the reason is quite simple: people have lost the capacity for sustained focus. It’s become much easier to binge three episodes of a series—each roughly 45 minutes—than it is to actually sit through a single ninety-minute movie.
I’ll be the first to admit that, personally, I find series easier to consume.
But, truth be told, I still derive far more enjoyment from movies.
The piano serves merely as a way for them to witness their own lack of synchronization. In other words, Psychic plants that very realization directly into their minds.
Perhaps Psychic just enjoys playing games with people. Or maybe he’s convinced he’s actually doing them a favor. Personally, I think he helped them—even if they didn't give him permission to do so.
As for those duplicates and the automatic door locks... look, duplicates exist. I won't get bogged down in the logistics because we're talking about science fiction here. Every sci-fi movie operates by its own set of rules. If we started nitpicking the feasibility of warp drives or Star Trek replicators, we'd never get anywhere.
And who’s to say the originals don't realize they've been replaced by a duplicate? It’s entirely possible they all figure it out and are perfectly fine with it. Or, they figure it out, hate it, and start making a scene, but Psychic simply sweeps it under the rug. We have no real idea just how much power he wields.
Now, regarding the husband. I can't quite grasp why you found him so exhausting, especially since we know the man was right. I saw it immediately. You might have felt like he was just whining or acting like some paranoid spy.
Steven Spielberg, much like Bong Joon-ho, is a true visionary. Along with directors like Tornatore and Haneke, they are arguably the most formidable forces in cinema right now.
While Beautiful City and Fireworks Wednesday feel a bit dated compared to his more recent work—mostly in terms of visual polish—they still hold up quite well.
stormyridge2 said:Neeson has turned into such a serious actor. It’s honestly a blast to watch. I mean, seriously, why can't kidnappers be a little more creative sometimes? Instead of just demanding cash, why don't they ask for something wild, like having Hillary Clinton film a video with George W. Bush or something crazy like that.
The guy hands Neeson a gun just to gain his trust, which is clever, but more importantly, he wants Neeson to stay in control of the situation inside the plane itself.
I finally realized my aunt is throwing a fit because she thinks I'm some little tramp. And apparently, she isn't about to fund a degenerate's lifestyle!
If I had to nitpick, the makeup was a bit off. Some of the characters don't seem to have aged nearly enough by the time the film reaches its conclusion.
Alright. Let’s say this insane piece of legislation actually passes... how exactly would they handle the taxation process?
Suppose I have a winning ticket showing a profit of $667. Would a company like DraftKings immediately withhold $67 to hand over to the IRS, effectively dropping my actual payout to $600, or do they wait until I actually hit the button to request a withdrawal?
If this absolute garbage of a bill actually passes and they start taxing gains from $500, I know many of you are claiming that fleeing to offshore online bookmakers is the only way out.
However, there is one thing weighing on my mind: how is a person supposed to navigate this landscape when it is common knowledge that those foreign sites heavily restrict their players?
What is one meant to do if a bookie refuses to let you deposit anything more than $100?
McAvoy is more than capable of pulling off a role like that.
By the way, what’s actually wrong with the characters? Sure, they look like they were painted with a house brush instead of an actual fine-art brush, but they work. The only thing is they used a heavy-duty easel for the lead.
The absolute best: Dallas Buyers Club. Because of the setting, it feels almost like watching a stage play, but the sheer brutality of it left me completely speechless.
If I had lived my life without ever hearing the name Meryl Streep, and this was the only film I ever saw of hers, I would be eternally indebted to her. If there were some kind of planetary Hall of Fame where every profession was represented by a single individual, Meryl Streep would undoubtedly hold the seat for "actress."
This movie is strictly for those who crave heavy drama.
There are four other films that came close, and each is fantastic in its own right:
The Best Offer. A love story wrapped in a mystery. How could you ask for anything more? It’s practically noir, just without the guns.
Adele. A total tour de force. While most of the heavy lifting in acting tends to focus on male roles, there are exceptions. Adele dominates every single scene she’s in. I can't remember the last time I saw such a captivating female presence on screen.
The Great Beauty. Another incredible performance from Toni Servillo. If he keeps this up, he’ll become my favorite actor alive. It’s essentially La Dolce Vita for the 21st century—and honestly, better than Fellini's original. That scene where the character describes the behavior on the waterfront belongs in the cinematic annals; I am certain history will prove that. It feels almost wrong to call this a "small" film, because it is anything but small.
The Pass. Farhad's last three films have all been solid 9/10s. This one is technically his weakest of the trio, yet it remains excellent. My only fear is that he might start repeating this specific formula in his future work.
As for the worst ones, fortunately, my brain seems to have wiped them from my memory. 🤷
I haven't sat down to watch Dallas Buyers Club, Her, or Philomena, but out of the rest of this list, I'd pick The Wolf of Wall Street without a second thought. Though, let’s be honest—there isn't a prayer of it picking up any Oscars.
First off, I have to say, I genuinely enjoyed the film.
But there is one particular detail that keeps gnawing at me... the protagonist's father explicitly tells him he must not travel back to any point before his own child's birth. And for most of the story, he honors that rule.
Yet, toward the end of the movie, the two of them decide to head back to the era when the son was just an infant!