Posts by Raymond Anderson4

Erdogan is a mess. He basically told me he’s gotta win this thing because if Kemal takes the lead, the Republican Party isn't going to cooperate with him in Congress at all. 🤣

Carol Newman2 said:Erdogan: Biden gave the order to take me down

It’s the classic dictator playbook. They wrap themselves up in the flag, acting like they *are* the state itself. Then, when anyone dares to challenge them, they play the victim card, claiming any move against them is an attack on Turkey.

It was a solid film. It definitely had enough breathing room to spiral into melodrama, but in my opinion, it stayed tasteful and restrained. I’d give it a strong seven out of ten.
Great acting, and the pacing kept things moving...

Bryan Adams6 said:Josip Simunic is the new president over at Rudes.

There isn't a single role out there where they won't find a way to squeeze him in. 🤣

I don't know why people are even bringing up The Rock in this conversation... he’s just not right for a movie like this. If you look on IMDb, I can't find anything in his filmography that even resembles this genre, despite how many movies he's been in. He basically sticks to action flicks and adventures, like Jumanji or those projects he did with Reynolds. You've got Baywatch, Adam, and so on.

Dave Bautista is essentially acting as a mentor to Dwayne Johnson.
It’s interesting to see how Dwayne Johnson handles his roles when he's learning from someone like Batista, almost like a seasoned pro guiding a young apprentice.

I’m sure the first responders on the ground are doing everything humanly possible; the only real limitation here is likely just the sheer number of people available to help.

Clearing out collapsed buildings is an incredibly grueling and slow process. A lot of people seem to think you can just roll up with a bulldozer and start digging until you hit someone, and just keep going like that. It’s not that simple.

Patrick Martin said:because all his movies follow the exact same pattern. He just churns them out, trying to replicate that one winning formula, but it’s getting old.

He really needs to switch genres and try something fresh for a change.

Right now, he’s just coasting on his past successes.

What kind of pattern?
His plots are actually pretty diverse, which is usually his strength—he can come up with different stories. The issue is more about how they're executed. Still, he's put out some solid work, like Knock at the Cabin, Glass, Unbreakable, and Signs...

By the way, I don't see him coasting on old glory or being pushed by the media. If anything, his films tend to fly under the radar rather than being forced on us.

An earthquake just hit Turkey, and the death toll is already high. Honestly, more lives will likely be lost if they don't start conducting much stricter building inspections soon. : /

Male, early 30s, living in Washington, D.C. I work, I pay my bills, and I’m just navigating life. I'm looking for some pleasant company to spend time with. I genuinely enjoy people, going to the movies, long walks, art galleries, and getting lost in books or libraries. I also love those relaxed evenings hanging out on a patio. When it comes to films, I usually lean toward quality cinema, but I’m open to being surprised if something looks interesting. As for reading, I dive into just about everything—politics, social issues, travelogues, astronomy, and even the occasional bit of nonsense online.
Character-wise, I’m pretty laid back and calm. I gravitate toward positivity and really value when people aren't afraid to express how they feel. I'd like to think I'm a perfectly normal guy who won't embarrass you when we're out together, and I can hold a decent conversation when it matters.
So, if this sounds like your kind of vibe, feel free to reach out.
Take care!

Back when I was younger, I actually thought this movie was great. It felt light, easy to watch, and had that quick-fire action where scenes just flowed into one another perfectly.
I watched it again yesterday, just like I have a few times before 😁, and honestly, it doesn't hold up nearly as well.
First off, the ending is just incredibly poorly executed. I see people in the comments claiming it somehow strikes a balance between science and faith, but I couldn't disagree more. To me, the ending is a total victory for theism. In fact, the way the film pushes theistic themes through MM's role always feels heavy-handed and forced, which I really dislike. Every time there's a dialogue between Jodie Foster and MM regarding space, God, and all that stuff, Jodie Foster comes across as completely lost—just looking confused and insecure about her own mission. When the topic of God or faith isn't on the table, she seems fine, but the moment it's mentioned, her character retreats into this defensive shell. It happens throughout the whole movie and it’s just poorly handled.
Beyond that, the way the US Government gets involved feels cheap. Having James Woods play James Woods is just typical; he puts on that persona and gives the whole thing an Independence Day acting vibe, which definitely isn't a compliment.
The rest of the cast is just mediocre at best, mostly background players who don't leave much of an impression.
I thought Tom Skerritt gave the best performance. He wasn't overacting, but he played his part well as that subtle power player pulling the strings behind the scenes.

For me, this is just a mindless evening watch. The deeper themes they try to tackle simply aren't executed well enough to stick.

I personally preferred Terrifier 1. It felt raw and gritty because of how Art the Clown carries himself, and the kill scenes were executed with a certain tactical precision—it’s a slasher, sure, but it knows when to pull back. To me, Art the Clown was much more terrifying; he actually kept me on edge...
Terrifier 2, on the other hand, felt like a slasher pushed way past its limit. They didn't hold back on the blood, the organs, or the decapitations, but it eventually crossed a line where it stopped being scary or even gross. It just became gore for the sake of gore. I see this same pattern in what Damien Leone has been saying about the third installment being even worse—like that bathroom scene at the carnival park. He claims the third one will have even more stomach-churning moments. From what I read, they're just raising the stakes for no reason, at least not for me.
They already tried this "escalation" tactic in the sequel, and those scenes were way too much for my taste. I'm not a fan of the direction Damien Leone is taking. We went from the tension of Art the Clown's presence in the first movie to this weird, sprawling universe in the second where the lines between reality and something else are totally blurred. Even the carnival park doesn't feel like just a park anymore; it feels like some separate dimension of pure evil.
Then you have characters who are essentially being absorbed into this cosmic lore, like Sienna and her whole resurrection deal—I mean, wtf was that? In Art the Clown's world, there clearly aren't any boundaries like we think there are, and anything seems possible. Fine, that's the director's vision, but it makes Art himself feel less important. The focus has shifted from the character to this overarching universe ruled by Art and populated by various antagonists who get sucked into his orbit...
If that's the path the director is taking, then for the third part to work for me, it needs to be atmospheric. I want to see more horror details and spooky imagery, not just a mountain of slasher kills.
Also, I don't see the point in developing the protagonist's character if they aren't going to be pulled deeper into this cycle in future sequels. The buildup regarding Sienna's family situation and their relationship with her mom felt completely irrelevant given the direction of this film.

nimblemarlin6 said:Art the Clown is basically a brilliantly designed, silent version of Freddy Krueger.
The costume design is top-notch, and the actor’s performance is just phenomenal... That guy deserves an Oscar! Just through facial expressions and a single look, Art becomes someone you can't forget.
Given how much damage he can take, his ability to seemingly teleport wherever he needs to be, and the appearance of that little supernatural girl helping him out, it's pretty obvious he's some kind of demon.
There isn't much of a backstory yet, but they'll definitely need to come up with something more substantial than just a loose plot and a series of killings for the third installment. I think it'll be fun to see where they go.

If you ask me, things went off the rails because of that final scene in the first movie.
Why did we need to know or point out exactly what he is? It would have been much better if they had just left it a mystery. Instead, we ended up with Michael Myers in a clown suit.

Patrick Martin said:Call it whatever you want, but it’s just pure evil in human form.

Maybe it’s just a reflection of our own deepest fears. 🤷

Maybe that whole thing is just a way of personifying some typical teenage psychological turmoil. 🤷

Maybe it’s just a personification of the system itself—the kind that constantly suffocates young people and those struggling to get by.

Who knows? 🤷

I can't really wrap my head around seeing Art the Clown as just some pure manifestation of evil. To me, he feels like something much more complex than that. Even back in Terrifier 1, he had these specific ways of moving, a certain gait, and even those moments where he looks genuinely confused—just like he does now. It’s those little nuances that feel too human to him. If he has those kinds of traits, then calling him a mere symbol of evil just doesn't sit right with me.
I honestly can't get behind the whole concept of him coming back to life at the end of the first movie. It just feels unearned to me.

Honestly, what they did in the sequel was just completely over the top. It was way too much to take in. At the rate they were going, they might as well have thrown Harry Potter or Nicolas Cage into the mix just to finish the job.

The movie felt a bit disjointed; the middle section lost its way, filled with too many jumping events where George was constantly being pulled into different situations.
Personally, I think the film would have landed much better if it hadn't tried to pack so many life events into just an hour and 40 minutes... everything seemed to happen so fast from start to finish.
The acting is top-notch, and Steven Spielberg is truly outstanding. As time goes on, I find myself appreciating his performance even more—I actually went back and watched it again just to see his work.
Those random bits of humor didn't really sit right with me, especially since half the theater was laughing at them. To be honest, it felt out of place for a movie this heavy; it should have stayed serious until the very end. Don't throw jokes at me when I'm trying to engage with something profound.

The story feels somewhat stereotypical, though it isn't just a critique of the healthcare system; it touches on the police and offers a broader look at how systemic failures prevent people from getting help. It might even be a critique of society as a whole, considering we heard George mention twice that none of his friends suspected anything was wrong or gave him any warning...

Klinka is stepping up as minister. 🤣

Timothy King said:I don't have the bandwidth for a full-blown review, just a few things that caught my eye (SPOILERS):

Yeah, I agree... those first two instances happen, but they're definitely the exception rather than the rule. It's just that when we're making a movie, we tend to cram everything into the same scene. As if that were perfectly natural...

I should probably send an email to Central Park to see if they can get it on the schedule. 🙂
Maybe I'll just list ten of his movies. I know it doesn't work quite that simply, but I'm just thinking out loud.

I wasn't really feeling this one. The movie owes its entire identity to The Hunt, but things move way too fast. It felt like everyone just killed each other off in the opening act, leaving me just sitting there waiting for the resolution.
The characters were pretty thin; most of them die off so quickly that it barely feels like a movie about Crystal anymore.
That group of wealthy elites—maybe they deserved a few more minutes of screen time to actually feel like people...
From a writing standpoint, the train sequence and the whole bit about arriving at the camp felt unnecessary and honestly a bit dull.

The movie could have worked much better as a simple story about the wealthy hunting the poor. We could have seen more of the hunters themselves; even the little bit we got of them was actually quite good.
That scene in the convenience store was ten times better than all those sequences on the train, in the car, or arriving at the military camp. If that kind of tension works so well, why not give more scenes like that some breathing room?

The fight at the end dragged for me, and overall, I found the whole Crystal vs Athena narrative to be pretty underwhelming...

I remember this movie.

The crew supposedly sent to save the world? I wouldn't trust them to change the oil in my Ford. They looked so incredibly clueless in the film.