This one and Nicole Kidman. Two absolute ice queens.
Of course she’s filming garbage—I guess when you're busy bowing down to the Hollywood elite, you just pick up whatever trash is lying around. Honestly, if it weren't for Lynch, I don't think she'd have anything worth watching at all.
I just wanted to mention how my husband showed some actual empathy toward a woman in a taxi—he even gave his student a whole lesson on it, explaining how much women have to deal with in this society. But the second a woman actually suffers? The whole system just falls apart. 🤷
Lawrence Edwards58 said:So you don't think the scene where the boss is in bed with someone else while Star walks in is forced or unnecessary? It's not like Star was born yesterday—she's known the boss's "I don't give a damn about anyone" attitude for a while now without needing it spelled out explicitly. That whole part just rubbed me the wrong way.
But the way she burst into the house with those three and acted like she was totally clueless? It felt like she was born this morning.😁
Lawrence Edwards58 said:Her character setup works fine, but the whole subplot with the boss? Total plot hole—something's just missing there. I'm worried, honestly. Arnold—both her previous movies were better than this one.
The boss is an interesting character, but I don't see any holes here. She functions as the foil to the group, and that tension between the boss and the crew is exactly what’s needed to shake up Star and provide some actual momentum to the plot.
Lawrence Edwards58 said:American media: I get what you're saying, really—but you can't have a character without an environment. There have to be interactions. She fell for one guy, sure, but what about everyone else? Personally, I’m dying to know why they all just stick by the boss lady. Not a single one of them leaves...
Because they're sheep—they can't handle anyone actually leaving. But honestly, the more interesting part is why *she* doesn't leave. It's like how the boss takes care of them; Star is basically hunting for someone to look after because that's her only way out of their little bubble. She's got this nurturing streak—look at how she looked after those kids, or saved those animals on the road, or even stepped up to protect him when that client was giving him trouble. She can't break away on her own.
Lawrence Edwards58 said:It’s irritating as hell, honestly—but I’ve accepted her as a character. She’s fine. My main issue is that the plot just sits there for three hours. Actually, there isn't even a plot. They travel around selling magazines... okay, and then what?
Wait, didn't you watch Certain Women twice??🤔
The movie flew by for me. Sure, the soundtrack sucked me in a bit, but I still found it interesting because I viewed it through the lens of her coming of age. At the start, Star decides she's done worrying about kids—she can't handle the responsibility because, frankly, she's still a kid herself. So, for a change, someone else takes care of her—her boss. Then she falls in love and tries to break out of that passive state, which leads to disappointment, so she ultimately decides to stay in that community because, at that moment, she just can't handle freedom. Because of that, I didn't really care much about the other characters or how they were written. 😁
Honestly, I’m just not feeling any chemistry there. She’s definitely more interesting—if anything, I would’ve rather spent more time watching the boss instead. They both play their roles almost too perfectly, like something out of a fairy tale. You’ve got the lead character feeding and rescuing animals everywhere she goes—it’s a miracle she didn't go out of her way to liberate those cows, too—while the boss is portrayed as this pure corporate predator. And I really don't get why people are mourning, saying things like, "Oh, poor America, what have we become?" because of this brainless group. If you actually compare them to today's socially conscious, politically active youth, both groups come across as equally powerless.
They could’ve easily cut out a huge chunk of this movie—honestly, they wouldn't have lost a thing by ditching all those rituals, the chicken stuff, and whatever else. Less is definitely more here.
The only thing I was actually waiting for was an explanation as to why the demon is targeting this little girl specifically. But no—it just claims evil is arbitrary, while she’s "good" because of her father's sins. It’s just completely pointless. Out of this year's American horror releases, I much preferred the one set on the train.
briskhound2 said:Pasmater, when Bay hits the mark, he really nails it. This one's solid—honestly, I think it actually beats Black Hawk Down for me. The pacing, the action, the way he captures that pure sense of chaos... it all works. Even if the camera wanders off a bit here and there—you know how it is—the vibe stays mostly grounded and easy to follow. It doesn't go out of its way to point fingers at who did what, which gives the whole thing a bit of an Alamo or Heat feel...
Doesn't matter—everyone knows it was Hillary, hence Killary. ☕
13 Hours: The Siege of Benghazi is actually pretty solid. I mean, look at Michael Bay—he just does whatever he wants.
If there had been a little less talking in the movie, it might have even been better. It’s easier to follow than Black Hawk Down, but honestly, I still think the latter is the superior film.
Since I've been called out maybe three or seven dozen times now for being a shallow person who just lives for Michael Bay's kitschy style—hey, since we're all buddies here—I figured I'd do the guy a little plug... you know, be a pal. Anyway, he’s got a new flick. I honestly had no clue he was even directing anything because I just assumed he was busy filming some Transit nonsense or counting cash at a mansion somewhere in Hollywood, but apparently, I was wrong. This time it's not some Transit garbage; it's an actual story about a group of US Army Special Forces trying to pull an American ambassador out of besieged Libya, giving them—as the title suggests—13 Hours to get it done. The movie definitely has the scent and flavor of Bay's previous stuff (the visuals, the camera work—look, if you love it, you love it, and if you don't, just don't watch it...) but it looks like he actually managed to make something gripping, watchable, and tense this time around. Not exactly a shocker, really, because when he steps away from that Transit crap, he can actually whip up a fun movie (like Pain & Gain). Early reactions are more than positive (surprise, surprise) and people are already comparing it to Black Hawk Down—not as a dig, but as praise for having a solid story. Whether it holds up or not, we'll see... The main roles are filled by a solid supporting cast, nothing too mainstream, but we've got James Badge Dale and Toby Stephens.
Comparing it to BHD is definitely a compliment 👍
When is this hitting the torrents? Though, honestly, it might actually be worth seeing in a theater. 🙂
I'm all for it. Let's stop being so obsessed with sanitizing everything on TV.
I should also mention—I’ve been following the discussions over on the Knight forums, and honestly? Those threads included clips from the show that were way more entertaining and actually informative than the series itself.👍
So, I finally sat through this cinematic disaster. It’s been about a year since I first saw it. If I remember correctly, the quality just tanked every time they decided to "multiply" Hector. At least, that's how it felt to me. Back then, I thought it was just silly—I found myself chuckling here and there—but looking back, it honestly feels like some group of people just banded together to churn out low-budget sci-fi trash. 😕
Sherlock Holmes—I hate to admit it—but even Guy Ritchie isn't what he used to be. Every single time I head to the theater thinking I'm in for something great, it’s the same old story. The cast is solid, you get the occasional sharp line here and there, but overall 🤷
