Sophia Scott5 said:Man, I was actually surprised. Great thread title using a flop emoji, by the way. 😁
After all those empty hype trailers, I was expecting our filmmakers to deliver something even remotely solid. Especially since Butijer is in it. I actually like the guy—I thought he might actually step up here. Not to mention hearing Matanić say that Butijer is the only one who could pull off playing baja 🤣🤣🤣... well, it was clearly a struggle for him. Good grief.
The whole comedy is just pathetic—trying to manufacture laughs out of one main character being clumsy. Okay, maybe that's mildly amusing the first time (if even then, since you can tell exactly where Bogdanov's street walk is heading immediately), but after that, people are basically just sitting in the theater laughing at how bad it is. The dialogue? Non-existent. There isn't even much of a plot. It feels like they were forced to make this thing. Like the director just grabbed some government grant money and decided to wander around the US aimlessly with a camera just so they wouldn't have to account for where the tax dollars went.
The only person I'll give a passing grade is the costume designer. Butijer's trashy shirts are top-tier. 🙏
Lisa Ross14 said:Whoa, whoa, whoa... watch your mouth. You've got a die-hard Momoe fan watching you right here—you better be careful before you get caught 🙂
We’re looking at a pretty universal narrative here—the classic tale of a criminal’s meteoric rise and inevitable downfall. Even if they don't end up directly lifting the stylistic beats or the core plot from de palmin's work, or even the much older Scarface, there seems to be enough substance there to allow for some genuine originality. On the other hand, isn't it perfectly obvious why they chose to market it specifically as Scarface, rather than treating it as its own standalone biopic about a gangster's life?
To be perfectly honest, I can’t even begin to recall half of the films I’ve sat through over the years. Most of them just slip right through my mind without leaving a trace, don't they? As for Only God Forgives, I found it to be... alright, I suppose. Nothing to write home about, but certainly not a waste of time.
I can't quite decide if De Niro has simply lost his edge or if Stallone has finally matured into his roles. Perhaps it’s a bit of both? Regardless, looking at the big picture, the movie isn't a complete train wreck; it possesses a certain charm, and I have to admit that Basinger gave a pretty solid performance. Personally, I’d have a blast watching it, even if most people would probably spend the whole time tearing it to shreds.
Sophia Wells72 said:Honestly, does anyone actually need to experience Gall? He once penned this entire review for the Free Press regarding a Gibbon concert—just pages upon pages of live energy, the crowd, a million little details. The catch? The concert had been canceled before he even finished typing. You should have seen the way he tried to wiggle out of it afterward. 🤣Maybe he should just stick to food criticism and leave the music to the professionals.
That’s really how he built his reputation, isn't it?
So, I just read some critic rambling on about Gall, claiming something along the lines of; "I would personally classify Bryan Adams as rock, even though most media outlets make the mistake of labeling him pop, though I suppose 'Autumn in America' could be considered pop too, if we aren't obsessively clinging to genre boundaries—not that critics don't constantly use those boxes just to make their own lives easier."
Honestly, I haven't the slightest clue what that writer was actually trying to get at...
I suppose many people have legitimate reasons to feel nostalgic for those standout films from the 80s and 90s, or even earlier; when you take beloved stories and characters and try to repackage them as modern sequels, prequels, or revivals, they rarely manage to capture that same magic. Is it just me, or are the times simply different now? Sequels, by their very nature, often feel like a pale shadow of the original work. But hey, let’s see how it plays out—there is always plenty of creative potential on the table, and even if the result ends up being merely mediocre, it will likely be fine. Who knows, perhaps Burton might actually surprise us all.
I had no idea they were airing it on PBS yesterday; I honestly would have loved to catch that live. Well, I suppose I'll just track it down on YouTube later today if I can find a spare moment. Besides, isn't the very fact that we use the word "appear" a subtle hint in itself? It implies that what we perceive isn't necessarily the reality of the thing. 😛
I’d say the second installment falls a few notches short of the first, which really felt more like a gritty, dark action flick. Look, I get it—it’s a movie, and it doesn't need to be a documentary—but there were moments where the lack of realism was so blatant it actually made my head spin. You hit all the usual marks, sure; you've got the bomb blasts tearing through New York City, but then you have these car chases where this girl somehow drives better than a seasoned stunt driver, despite having barely passed her driving test—if she even passed it at all, honestly, I can't quite remember.
analogbear40 said:Nothing is ever going to top Ken's full 242-minute cut when it comes to this specific genre.
Absolutely nothing. 😁
Well, unless we’re talking about Olivier and his Hamlet (1948), which is the only reason Ken's version even exists in the first place. 😁
Sure, the market is already pretty oversaturated, but a fresh, subversive interpretation might fail miserably at the box office while simultaneously being hailed as a masterpiece within those quasi-elitist art house circles. And isn't that really the only thing that matters? 🙂
Imagine a screen adaptation of Hamlet starring Ryan Gosling. If Refn were at the helm, an autistic Hamlet featuring minimal dialogue and even fewer monologues could actually turn out to be quite fascinating.
The movie arrived just when the genre was starting to feel completely exhausted by a mountain of derivative clones and endless, mindless sequels. After Scream, it’s been incredibly rare to see a purebred slasher manage to make an impact quite like that.