Posts by goldenhound32

@Dennis Martin6/">@@Dennis Martin6
I don't have much time to spare right now, so I'll just say that I agree. I didn't grasp every single nuance of what you were saying, but there is certainly logic to it. It belongs among the better films of 2018.

@fadedmason7/">@@fadedmason7
In what sense exactly is Boeing considered "heavyweight"?

Good evening! 🙏

Loveless.

Good grief, how could 😢

ever be gone.

I watched the black-and-white version, just as intended. Twice.

Cheers.

I didn't bother reading the full text of what you wrote; I just caught the thread title and decided to weigh in.

No.

Well, when you consider Mulholland Drive, the others aren't even in the same league.

@Ashley Grant66/">@@Ashley Grant66
As far as I can tell, he likely just put the money exactly where he always does—upfront, out of pure habit.

But there is no doubt in my mind that he knew she wasn't his usual contact.

I can’t quite recall the specifics of what my neighbor was saying, but I vividly remember the exchange between her husband and an old man.

The husband asks him, "When you walked into the apartment and saw a woman in the bathroom—realizing she wasn't the one you were looking for—why on earth didn't you just walk out right then?"... To which the old man simply replies, "I couldn't resist the temptation."

I suppose we could spend our time speculating about what actually went down there.

photo.

That’s all down to the cinematographer. I mean, Roger Deakins is the reason those scenes look so damn incredible. Just look at that hotel sequence in 'No Country for Old Men,' Harrelson versus Bardem. It seems like such a simple, straightforward scene on the surface, but it’s absolutely masterful.

Or take that moment in 'Prisoners' when we get our first real look at Jake, the detective.

@electrictrucker82/">@@electrictrucker82
This was exactly what I was dreading—that we would inevitably spiral into politics. I'll provide you with a response over in the 👍
thread.

@Jeremy Harris21/">@@Jeremy Harris21
What on earth does that have to do with anything?
Just because an African film or a Russian film happens to be set in a historical era doesn't mean you should skip it, does it? It's sheer nonsense.

Grace Sanchez50 said:Fine, let's call it a smartphone. But tell me, which smartphone in this day and age doesn't have a PIN? Mine has one, yours has one—who on earth is using a high-end device they paid thousands of dollars for without any sort of passcode?

Mine doesn't. Hahaha. 🤣 If I’d actually had a PIN set, who knows if I would have even been able to get back to my phone when I lost it once. Some stranger found it at a concert.

And by the way, you know how older folks often carry their bank cards and a little scrap of paper with their PIN written on it in their wallets? That’s why I'm assuming it's entirely possible an elderly person wouldn't have a PIN on their phone; they don't necessarily have to memorize it. Besides, not all smartphones cost a fortune; some are just cheap $100 burners. We have no way of knowing if the old man actually bought a new device. 😉

Even if the old man did have a PIN on his phone, it would have taken maybe ten seconds to try. At least then we'd have proof that the guy actually TRIED. As it stands, we have nothing.

It wouldn't have been much of a delay, honestly. If it weren't for Pine, the protagonist would have reached the truck owner significantly faster.

The phone isn't some relic from '97; we're talking about a smartphone here. And sure, an iPhone comes with its own proprietary charger, while everything else uses a universal one. Even if he were stuck with some obscure, outdated charging cable for an older model, he certainly would have tracked down a charger much sooner than he would have bothered asking a student to have his retired cop father run a quick check on some license plates.

The one thing I would have handled differently was that whole bit with the phone. When the husband finds the intruder's device sitting there in the apartment, he sees it's powered down. But he doesn't even attempt to plug it in or try to boot it up? Nothing at all?

I just couldn't get past that. This movie is supposed to be set in the modern day, and we all know that everyone uses the same standard chargers nowadays.

If he had simply plugged the phone in, turned it on, and realized it was locked behind a PIN, the logic would have held up. As it stands, it's just a minor narrative failure.

Farhadi. Hands down the most formidable director working today. The man seems fundamentally incapable of producing a mediocre film. It feels a bit strange for me to be the one saying it—I’m essentially overpaying for this experience at a mere eight out of ten, a rating I've held since his absolute masterpiece, 'A Separation.'

Following the brilliance of 'The Salesman,' Farhadi shifts the setting back to the US. There is a genuine intellectual pleasure in sitting through any of his work, including 'The Salesman' itself. The narrative centers on a married couple; he's a professor, she's an actress. They even share the stage in a production of Arthur Miller's 'Death of a Salesman.' After their building begins to crumble due to an earthquake, they move into a new apartment. However, it’s the events unfolding within those new walls that trigger the true seismic shift, testing the very foundation of their marriage. As for what actually transpired? Neither we nor the protagonist truly knows.

And honestly, what is the connection between Arthur Miller's drama and the plot unfolding here?

Give 🙂
a watch.


P.S. I'll say it again, just so it's documented here as well: an eight.

@bluenomad2
The whole point, I suppose, is that in Rosemary's Baby, we’re never truly certain if any of it is actually happening. As for The Ninth Gate, I find myself forced to agree with you.

@bluenomad2
Well, look, I wouldn't be surprised if there's some foul play involved here. Then again, do you really think Polanski would let Tornatore walk away with all the credit if that wasn't the case? 😉

I was browsing some message boards regarding this film, and someone raised the exact same question. One user made a rather compelling observation: in Polanski's films, the supernatural simply doesn't exist. Even when things seem unhinged, it's always just a byproduct of the protagonist's own madness or paranoia—much like what we saw in 'Repulsion' or 'The Tenant'.

@Raymond Walker5
I did. I watched 'Dean Spanley.' It was quite remarkable. An eight out of ten, if I'm being honest.