4 posts shown.
goldenhound32 said:I felt the exact same way. Is this just some cheap attempt at prestige filmmaking by the director, or was she actually just bitter toward her sister because of how good she looked?
Personally, I didn't get the vibe that they hated each other. They had a sisterly bond—not necessarily a perfect one, mind you—but there was clearly a sense of caring there. You can see it in a few specific scenes.
Now, as for what the actual point of an ending like that is... I'm still not entirely sold. But I do find myself agreeing with one critic over on IMDb: the climax feels more like the film is assaulting the audience than anything else happening to the girl. Whether that was necessary or not is debatable, but it’s effective, and in its own twisted way, it ties the whole aesthetic together.
@David Walker4/">@
@David Walker4 - you hit the nail on the head regarding Anatomy of Hell. To put it politely, that film is essentially the director engaging in cinematic masturbation. 😁
While she managed to find that elusive sweet spot between raw eroticism and genuine emotion in All About My Sister, she completely overshot the mark with Anatomy of Hell.
I recently sat down and worked my way through a marathon of *romance*, *All About My Sister*, *Sex is Comedy*, and *Anatomy of Hell*. I watched them back-to-back, naturally—once you start diving into a specific director's body of work, there's no sense in stopping halfway through the collection.
On the whole, I found her talent as both a director and a screenwriter quite striking. To be clear, when I evaluate a film—not necessarily judging its technical "quality" per se, but rather its impact—my metric is simple: how much does it linger in my mind long after the credits roll? Does it haunt you?
Breillat pushes this very specific feminist agenda (or is it misandrist? I haven't quite decided yet 😁), but she manages to pull off something impressive: she crafts genuinely beautiful films without letting the political message suffocate the actual cinema. *All About My Sister* is a prime example of this balance.
I’m curious to hear what the rest of you think. Is she just peddling "Euro-trash"—you know, that cheap pornography masquerading as high art that some critics on IMDb 😁 love to complain about—or is she actually making legitimate, worthwhile cinema?
I am certainly not making the claim that these movies are objectively terrible; it is simply a matter of personal taste.
That specific brand of humor just doesn't resonate with me—honestly, it starts to feel incredibly repetitive after you've sat through the first couple of entries in a franchise.
Perhaps I would have viewed the Judd Apatow filmography through a much more critical lens had there not been such an absurd amount of unearned hype surrounding his entire body of work.
Is it just me, or is this whole Apatow clan slowly circling the drain? It feels like every new project they put out is just a diluted, less inspired version of what they used to do. It’s like watching a once-great steakhouse gradually transition into a mediocre chain restaurant—you remember when the quality was top-tier, but now it’s all just repetitive filler. Is anyone else noticing this decline, or am I just being overly cynical?
It’s been quite a descent, hasn't it? We went from the awkward, cringe-inducing energy of *40-Year-Old Virgin*, through that whole mess involving *Knocked Up*, then tumbled down into the absolute bottom of the barrel with those forgettable duds like *Superbad* and *Forgetting Sarah Marshall*. And now, we find ourselves staring at something nearly inconsequential like *Pineapple Express*. It's a slippery slope, really.
It’s the same tired cycle of amateur actors rotating through every single role like they’re stuck in some low-budget community theater loop. The plot? Utterly tedious. It drags on without any real momentum, and don't even get me started on the "inside jokes." If you aren't part of their tiny, insular circle, those forced little bits of humor land with all the impact of a wet paper towel. It's lazy, uninspired filmmaking.
The only thing I truly cannot wrap my head around is how these films consistently manage to snag such glowing reviews on IMDb. It’s baffling. And don't even get me started on why the critics insist on crowning them as some sort of "new wave" of American humor. It’s absolute nonsense.
It’s an absolute travesty. A complete and utter failure on every conceivable level. To witness such a catastrophic breakdown in performance is, frankly, exhausting. It’s much like watching a high-stakes game between the Dallas Cowboys where the defense simply forgets how to tackle—you sit there, staring at the screen in disbelief, wondering how professional athletes can be so fundamentally inept. One moment you have hope, and the next, you're left picking up the pieces of a shattered expectation. It is nothing short of a disgrace.
Ugh, *Pineapple Express* was such a massive letdown. It felt like someone tried to take that classic Cheech & Chong vibe and transplant it into California, but they stripped away all the actual humor and left us with nothing but a hollow imitation. It’s frustrating when a film tries to lean on a specific subculture or aesthetic but fails to deliver even a single decent joke. Just a total waste of time.