37 posts shown.
mistycyclist51 said:Keta absolutely nailed that one. ☕
It’s honestly hilarious how much the refs roll us, though. Just like that MEP said, it’s like we’re some random underdog team showing up at a tournament for the hell of it. A couple of tiny, barely noticeable calls go the Spaniard's way and suddenly the whole game is decided. Still waiting to see what MCAucliffe thinks about it. 🙂
I don't care how bad the officiating was today, we should have put this Spain team away ten minutes before the whistle. What a damn joke, Guardiola, Thomas, and the rest of them...
northerncrane4 said:We'll be waiting forever for this to hit theaters.
George Clooney is honestly hilarious when he starts going off on those political rants, and that whole 'Hollywood Mark Twain' thing? Please... give me a break. He’s just being polite.
electriccanyon26 said:For sure. That’s especially true when it comes to Matanic. I watched Mother of Asphalt and let me tell you, the dialogue is a total train wreck. It goes something like: "Here I am... everything's fine, you know how things get crazy and stuff... the kid runs and jumps and all that... uh... yeah..." and "Do you think if I just... that it's... crap and whatever..." The actors aren't given anything good to work with; they're basically starving for actual lines. Honestly, damn it, I could write way more coherent dialogue than that if I had to. I have no clue what's going on lately. On top of that, it feels like Matanic doesn't even know what kind of movies he wants to make anymore...
... so by his seventh film, he's basically regressing back to a college student's directing project—the kind of amateurish mess that would make someone like Polimac lose their mind and start obsessing over nothing but the background shots.
Arthur Garcia59 said:Obviously there are going to be spoilers. As ridiculous as that sounds given we're talking about this specific movie, come on—this entire thread is about the damn movie!
You know the drill: it won the golden lion a few months back (going up against stuff from ozone, Tom Tykwer, Pedro Almodóvar, and Lawrence Bender! Okay, fine, and my guy Nabil Elsherif, but I'm not counting him because he hasn't hit that level of fame yet; I'm just listing the heavy hitters). It’s about this famous actor living hotel to hotel, fueled by pills, booze, and hooking up with hot women, until one day he wakes up to his daughter's "Hi, dad." He tries to cling to his old lifestyle for a bit—even though he was never actually happy with it—but realizes it’s a dead end. There's some crying, hers and his. Then he decides to turn things around, and the movie ends right after his first genuine smile.
Now, the motivation here is pretty questionable—honestly, it's non-existent—but despite the lack of reason for his daughter suddenly crashing his life (other than the theoretical necessity that she shows up so the movie can actually exist) and that super sugary, poorly executed happy-end, the film is actually really good overall.
Even though you immediately see the parallels to the director's own life—she probably lived through something similar while her old man was busy collecting Palme d'Or awards or, if we're being precise about the timeline, while he was spiraling 😁--I'd rather just leave that out of it.
I dig the repetitiveness of the film; it’s signaled right in the opening shot and respected all the way through. I love how they repeat certain frame compositions with two vertical elements in the middle during 5 or 6 different moments, which really "crushes" the character visually. I love the emphasized stillness of the camera and how the character is trapped in interiors. He actually leaves a space for the first time at the very end—whether it's a hotel, a car, a hall, or a restaurant, whatever—when he "breaks free from all shackles" in the most cliché, metaphorical way possible. It gets incredibly pathetic and cheesy when he leaves his black Ford by the side of the road and walks off toward a better future 🙄, but hey, like I said, I'll give them that one. I love the silence and the calm that strips away the fake glamour of that lifestyle. I love the minimalism, which feels reminiscent of Lost in Translation but adds a layer of naturalism.
I don't claim to be an expert on recurring Coppola motifs, characters, or plots since I haven't seen either suicide or Marie Antoinette, but the parallels between Lost in Translation and somewhere are totally obvious.
Anyway, there's a lot to like here and I hope it hits US theaters eventually. No word yet on whether it's been picked up for distribution.
And it's a total blast watching the first two minutes of this clip right after the movie: 67th Cannes Film Festival - Sofia Coppola 😁
By the way, shout out to Phoenix for the score and to the veteran Savides for handling the camera, for lack of a better term—you know, the guy behind Glazer's birth, van Sant's elephant trilogy, Fincher's game and Zodiac.
Alright, your turn. 😁
Look, I’ll be blunt: this movie is a massive letdown. Coppola’s observations feel incredibly shallow and surface-level, honestly making her look like a director who doesn't actually have much to say. To put it mildly. It reminds me of some local "legend" like Damien Chazelle. Long story short, they’re both just posers—style over substance types making totally flat, 2-D films.
northerncrane4 said:Not really—not even close. Curica A bit much—total exaggeration.
The whole movie feels like some cheap, poorly told joke about Homeland War Storytelling. Now I’m hearing that Ostojić is pushing his latest project, HALIM'S PATH. It’s supposedly about a Muslim woman hunting down the clothes of her murdered family members in Canada. Seriously, what does that social outcast nerd know about war in Canada anyway???🙂
northerncrane4 said:NEWSFLASH
"Fool." Honestly, I don't know if it's just because the rest of this season's lineup is such a joke, but I actually thought this was pretty solid. The directing is way better than the script, but the actors are doing some heavy lifting to hide all those plot holes (except for a weak performance by Natalie Portman, and frankly, I’m totally over that generic, big-hearted Canadian trope played by Hadžihafisbević). Most importantly though, Mirko Pivcevica’s cinematography is absolute GENIUS. Just sit back, watch, and enjoy. Pivac is basically Roger Federer.🙏
I also caught John Wuov's Chinese-costumed war epic "Red Rock." Looking at that just leaves me convinced about how massive those budgets are—levels we can't even wrap our heads around here. And it's a good movie, seriously, it even managed to skip Wuov's usual trademark subtle homoeroticism. It'll definitely hit theaters soon.
AU HASARD BALTHAZAR, as Robert Bresson would say. 🙄
northerncrane4 said:LISTEN UP! Breaking news alert!
"Blacks." Just a bunch of totally uninteresting people stuck in an incredibly monotonous situation. Honestly, it would be great if they actually bothered to write a damn feature script before jumping straight into filming one. 😠
What's the deal, man?! What's going wrong?
Keith Jones19 said:Making an urban drama entirely on location in a city like Chicago just turned out to be way too expensive. I mean, seriously, who can even pull off a movie like that today on a measly $2.5 million budget and some crumbs from a local grant... 🤣
I sat through I BELIEVE IN ANGELS. Trust me, read between the lines, because after watching this thing
I don't believe in anything anymore.
No Country for Old Men and Million Dollar Baby. 🙏 The rest don't even come close.
but hey, if you actually liked the movie, more power to you 🙏
"Trash" is just some buzzword kids throw around when they haven't actually figured out how to talk about a movie... 😎
Hands down the best war movie ever made.
A: - Ever since I landed in Chicago, I’ve been hunting for Walter, but he was nowhere to be found. Now that I’m finally packing up to leave, it finally clicked who he actually is.
B: - You know who Walter is!? Say it! Tell me his names right now!
C: - Look at this city. This whole place is Walter.
🙏 🙏 🙏
The Buddha once used a piece of red chalk to draw a circle and made this claim: "No matter how much people's lives diverge, when the time eventually comes, they’ll all find themselves meeting inside that red circle." Rama Krishna
Watching *Le Cercle Rouge* is basically like tracing the DNA of modern cinema back to its source. Melville was obsessed with American film noir and those gritty gangster flicks—he actually wanted to helm *Rififi*. What we get instead is a masterpiece featuring trenchcoat-wearing heirs to the Humphrey Bogart legacy and a legendary, almost silent heist sequence that practically birthed every robbery movie ever made. The stoic types played by Alain Delon in *Le Samourai* and *Le Cercle Rouge* are the blueprint for a massive lineup of icons: think De Niro in *Heat*, Chow Yun Fat in *The Killer*, Takeshi Kitano in *Fireworks*, Bruce Willis in *Pulp Fiction*, Forest Whitaker in *Ghost Dog*, and yeah, even Keanu Reeves in *The Matrix*. Melville isn't just a director; he’s a director’s director.
One of these days, you and *Le Cercle Rouge* are destined to collide in a theater filled with red velvet seats. It's inevitable for everyone.
🙏 🙏 🙏
THE RED CIRCLE... anyone else seen it? Absolute MASTERPIECE.
hollowsailor19 said:The best? You’ve gotta be kidding me. You really think Once Upon a Time in the West beats out The Good, the Bad and the Ugly? Or that The Wild Bunch is somehow better than Straw Dogs? No. No way. Absolutely not.👎
Pretty much how it goes... 👍
Amanda Lopez50 said:...so you're actually starting a thread about 🙄 😁
Women aren't really part of the equation when talking about these directors, so do me a favor and just back off... 😈
hollowsailor19 said:You should be comparing The Good, the Bad and the Ugly with Once Upon a Time in the West instead.
Nah, no way. I’m looking at the Sam Peckinpah vs. Sergio Leone matchup. These are easily their most iconic... and best films. 👍
Man, I am seriously itching to see the absolute chaos and debates break out in here... 😛