Posts by goldenhound32

briskbison41 said:Well, that depends on who you ask.🙂 I don't really watch much drama, to be honest, so I find it a little tough to give an actual critique.
It doesn't look half bad to me, though if you check the IMDb page, they’ve got it categorized as a romantic drama. I guess whether it actually feels romantic or not really comes down to your own perspective—it’s one of those things where everyone sees it differently depending on how they watch it.🙂

When you’re dealing with a film that blends multiple genres, it’s common for one to dominate while the others just feel like afterthoughts. That’s exactly what happens with Breaking the Waves; the dramatic weight completely overwhelms any sense of romance. In fact, those specific moments that lead people to tag this as a "romance" on IMDb aren't even the kind of romance we’ve been conditioned to expect from cinema. If you want the full picture, you really have to sit down and watch the film itself. 🙂

Michael Ortiz68 said:Well, damn. I didn't realize that. I just assumed it might be, given the way it was shot.
Thanks👍

It is my small pleasure to provide information to someone who will actually appreciate the insight. There is a certain quiet satisfaction in being part of a forum where one can learn from others, or perhaps even teach a thing or two along the way. 👍

Michael Ortiz68 said:Mucan's work here is clumsy yet absolutely brilliant. It’s been a while since I last sat down with it. That was actually my first introduction to the Dogma style—all handheld camera work and zero musical score. It didn't miss a beat when it came to delivering those raw, unfiltered emotions.

It’s the only Dogma film by von Trier.

Michael Ortiz68 said:So then you just missed the part where Leonardo DiCaprio, right in the middle of a firefight with bullets whizzing past his head, pulls out his cell phone to call some girl over in Europe just to tell her she's the love of his life.🤮

I’m reading this and I honestly can't believe it.

🤣

Michael Ortiz68 said:Judging by the director, I’m expecting nothing but pure, unadulterated melodrama.

I feel the same way. Honestly, I have zero intention of watching this.
I remember starting Blood Diamond once and having to turn it off halfway through because it was just too much.

I look at a title like that and immediately think, "Great, here comes another one of those movies that gets more buzz for its provocative headline than for the actual content."🙂 ...and honestly, I was right.

The pacing is all over the place, and as someone else already pointed out, it feels like the director didn't have the slightest clue what they were trying to achieve. All in all, a disappointment. 5/10.

Pacificist said:I only saw it once, during a Robert Bresson retrospective at the local independent cinema. I walked out thinking, "Mouchette; wow, Mouchette," only to find out much later that someone—I think it was Ingmar Bergman—was asked his opinion on "Mouchette" and simply replied, "Mouchette? Ahh, Mouchette." 😁
I'm telling you the truth, honestly.

For me, it actually felt worse than when I first watched it. I don't get much out of this film, so it’s just a 7 out of 10 for me.

And Bergman is a terrible film critic.

mellowwalker10 said:The movie was total garbage—just typical American trash, especially for a Christmas flick. Even Reese Witherspoon couldn't save this one, and Vince V. wasn't exactly shining either. Sure, there are some funny moments here and there, but it's all just cliché and honestly pretty pathetic. The only decent bit is the joke about the brothers being named after where they were conceived: Denver, Orlando 😂

Noted.
It reminds me of when that interviewer sat down with the Beckhams and asked them why on earth they chose Brooklyn as a name for their child.

Brenda Lee50 said:He’s certainly more charming, but he lacks depth, too. He seems to constantly lean into this specific political-historical "right-wing" perspective.

I actually started watching 12 Angry Men and ended up turning it off (somewhere around when the double nose appears). Those scenes outside the jury room felt unnecessary to me, and the whole jury dynamic is just a carbon copy of 12 Angry Men. Nothing new under the sun in the East! 🙂

I agree on both counts—he’s pleasant enough, but there’s just no substance there. As for that right-wing slant, I might actually catch it today if I finally sit down to watch 'The Barber of Siberia'.

IMDb claims:
"Runtime: 180 min | Russia: 275 min (TV version)"

The local TV guide says:
"Italian-American film (PG) (155')"

So, does that mean they chopped off 25 minutes of the movie? What on earth...

Anyway, it looks like a decent enough film.

Brenda Lee50 said:I'm just so jealous! 😢

Same here.

David Walker4 said:I walked away feeling like she wasn't even particularly devastated by her sister's death.

I had the exact same impression. It leaves one wondering: is this just some cheap, pretentious grab by the director, or was there some underlying resentment because her sister was actually attractive?

David Walker4 said:I find myself without any particular complaints regarding romance or All About My Sister.

Why didn't that heavy-set woman mention she had been raped?

I haven't actually sat down to watch the film yet, though I must admit, it does seem rather intriguing.

I find myself wondering... does Giuseppe Tornatore ever actually make a bad movie?

William Gonzalez said:I stumbled upon them quite by accident. I was listening to a Beatles album, and it turned out there were a few tracks from Nirvana on there. I can't tell if it was some sort of joint project or if they just happened to end up on the same record 😁

I doubt they ever actually collaborated. But then again, who knows? These days, anyone can work with anyone. It's all pretty great, I suppose! 🙂

Arthur Garcia59 said:I suppose we'll just have to wait and see how many other similar films actually get an audience...

It only takes two people to hold a conversation, after all.

Have you even sat down to watch any of her work yet? I'd be curious to hear your take on them.

From what I’ve gathered, her films are notoriously polarizing on IMDb. Honestly, it’s a tough sell—trying to justify including full-blown pornography in a mainstream feature is a hard line to draw for most people. The only time I didn't find the explicit nature jarring was during *The Piano Teacher*, though I have to admit, Catherine Breillat is still miles away from reaching Haneke's level of mastery. 🙂

I’ve only sat through *All About My Sister* (which actually holds up better in the ratings), and I found it to be decent enough. That unexpected ending actually felt earned and made sense to me.

I would certainly be interested in seeing more of her work.

I just finished watching Violent Cop. It wasn't great.

I can't quite put my finger on why, but the pacing of the characters feels incredibly sluggish. Every time an action sequence kicks off, the momentum dies because the characters themselves seem to move in slow motion.

Take this first instance:
The criminal—who is clearly a heartless killer and a total sadist—stabs the protagonist. The lead manages to escape into an alleyway, but then the villain catches up, presses a gun to his head, and instead of pulling the trigger, he just stands there for an eternity.

Second example:
A guy bursts into a garage, spots an armed enemy, and decides to just walk toward him, risking his life needlessly instead of simply opening fire immediately.

Third example:
When they raid that dealer's apartment... the guy just stands at the doorway while the dealer beats those three people up. He stays glued to the door instead of stepping in to help. What was that?

Beyond that, the editing is frustratingly disjointed. A character approaches another... pause... says something... pause... the other responds... pause... they walk away. What is the purpose of these constant, awkward pauses?

The fight scenes aren't edited well either; it makes the cops look like they’re fighting like some rough middle schoolers.

The same goes for the scene where the guy hits the dealer with the car for the first time... it’s painfully obvious he just threw himself onto the ground.

I did appreciate the underlying message, though. Nothing actually changes. The young trainee becomes corrupt, and one mob boss is simply replaced by another.

Violent Cop: 5 out of 10.

Kyle Wilson74 said:I wonder how much this constant accessibility has ruined the whole experience.

It hasn't affected me one bit.

Personally, I find having more options to be quite refreshing.

And I see absolutely nothing wrong with skipping an entire album after just a single track if that's what the mood calls for.

Sandra Scott21 said:when you feel this desperate urge to jump down someone's throat just because their take isn't to your liking

And honestly, since I’m already here, why not? That’s what a forum is for—to argue, isn't it?

By the way, debating tastes is the whole point.

Personally, I can't stand movies without a solid score because, more often than not, the music is what actually elevates the film and drives home certain effects. And "No Country for Old Men" is just plain tedious and wildly overrated, so when all those elements fail to click...🤮

What can I say... I simply dislike it when something in a movie feels off. Beyond that, I don't really have any set demands (I mean, who am I to tell a director how to execute his vision?). It doesn't even need actors. It doesn't even need dialogue.
Given that everything feels "off" in my eyes on some sites, I just give them a high rating and move on. In some films, a character just walks into a room and sits on a bed, and frankly, that works for me. 🙂

Long before they ever stepped foot in a recording studio to cut an album, they were just grinding it out playing gigs at local restaurants and small venues. It was actually Kris Novoselic who brought Jello Biafra to a Nirvana set, which eventually paved the way for them to get that album recorded.