In the third installment, most of the plot runs parallel to what happened in the first movie—which, let’s be honest, feels like something they tacked on later since there isn't a single hint about this timeline shift in the original film. It just makes everything unnecessarily confusing regarding who is doing what and when; you can tell you got tripped up yourself if you didn't realize the timelines were being mashed together 😉
At the end of the day, the whole thing just dilutes the impact of the first movie. That film worked perfectly fine exactly as it was—I don't really need a full dossier on the backstory of every single gang member or cop to stay invested.
I’ve been working my way through this trilogy lately. Honestly? Just stick to the first one—especially if you haven't seen the remake yet.
The sequels just end up being a mess because they try to cram all these "crucial" backstory beats and side characters into the original timeline (since they take place before, during, and right after the first film). It creates this weird disconnect—you’re watching the same main characters, but how are you supposed to actually care about them when you already know exactly how their story ends? Plus, the casting was jarring; why use entirely different actors for younger versions of the leads when we're only talking about a few years apart? Then there's the constant, overbearing pre-dramatic score and that third installment dragging on forever with those multiple pathetic endings reminiscent of The Lord of the Rings.
The first movie stands alone as something sharp and impactful, whereas the other two just dilute everything. You're better off just watching the original.
The movie is fine—it's basically chamomile tea for your brain if you just want to zone out for a bit. But if you actually want something with some teeth, go read the comic instead.
If people are complaining about the prices, they clearly haven't attended any major events in other European Union countries—or any big US festival designed specifically to attract international tourists. $6.00It’s actually quite reasonable; it’s easily half of what you'd be paying for something similar abroad.
The decision to ban umbrellas is a perfectly logical move—because I, along with everyone else, have zero interest in staring at someone's umbrella (or a thousand of them) right in front of my face. You wear rain ponchos to festivals. That's just how it works.
Most of the other criticisms are valid, though.
A smart, agile organizer would have stocked up on poncho sales since the weather forecast was known at least a week in advance—plus, they should have handled the cleanup of strategic areas better by looking at how others failed (it was a mess). As for the whole drama surrounding whether or not to ask for receipts when refunding cards? That was a predictable headache the moment I read their initial plan. Still, using cards is definitely a massive step up from vouchers or that absolute disaster we dealt with last year.
All things considered, both in terms of logistics and the lineup, this was one of the best Coachella Valley Music and Arts Festivals yet. Compared to some of the old issues we used to deal with, things actually functioned pretty smoothly this year. 🙂
My biggest gripe remains the "mother hen" treatment given to local acts. A regional legend like The Rolling Stones and Rivers Cuomo were given slots more suited for demo-tape beginners. When it comes to American bands, they mostly invited young, unproven groups—there wasn't a single heavyweight name that’s actually relevant this year (like The Pixies, for example). Everyone on the main stage got stuck with those early 5 PM slots where you're basically performing to an empty field. And that includes Gattuso, a band with three albums under their belt and actual reputation.
As for the music, Tame Impala absolutely crushed it and fit the vibe of the Secret Tent perfectly. The Black Keys were okay. For a headliner, anyway.
Because they usually shut down the road near the festival—forcing everyone right at the entrance to veer off to the side—so this is basically the closest you can get without getting stuck in the chaos. Plus, you dodge the massive exit rush and save some $3.25 😉
George Ortiz10 said:Can anyone who’s been to the Coachella Valley Music and Arts Festival in previous years tell me how much walking we're actually looking at? I'm trying to figure out the distance from the main entrance to one of those theoretical non-staff parking lots that might actually have an open spot.
Since we’re talking about the beer... $6.00Look, I’m not about to pay for something just out of principle—it's a waste of money. But since I'll be stuck there all day anyway, I really ought to have a backup plan in place.
It’s about a 10 to 15-minute walk. Just park somewhere outside Central Park—maybe across from the LA Galaxy stadium over on Haberlov—or something along those lines.
So, what’s your actual backup plan here—running out to the car every five minutes just to check on the fridge you're keeping in the trunk? 🙂
I’ve already said this a dozen times regarding last year’s lineup, but here I am again—explaining why everyone was so pissed off. It was pretty obvious: the quality took a massive dive compared to previous years. And the absolute worst part? They took a smaller lineup and stretched it out over more days. Fewer stages, fewer headliners, fewer bands overall, yet somehow more days. Honestly, last year's entire roster could have easily fit into a single day. As for those tax and permit issues, that was the least of anyone's concerns—though you'd think a festival with this much experience wouldn't be caught so off guard that they couldn't fix the issue on day one like other major US festivals do. But there's no point beating a dead horse; it looks like they actually put some effort into the programming this year, and apparently, people weren't just complaining for the sake of it...
Even though the organizers have a pretty thin skin when it comes to any kind of criticism, they clearly decided to actually do something about the bad vibes from the last few years—especially after last year's mess. You have to hand it to them, though; this year’s lineup is a solid A+.
It’s about time this thread got some life breathed back into it—PBS is starting his marathon today. They’re running them Mondays at 8 PM and reruns on Tuesdays at 4 PM. So far, they've got Princess Mononoke, Howl's Moving Castle, and Kiki's Delivery Service on the schedule. Hopefully, they don't stop there and keep the other titles coming.
I haven't actually sat down with the original William Lustig version, but I did catch his Maniac Cop and I was a huge fan. It’s definitely Trashy—pure exploitation—but man, it’s atmospheric, creepy, and visually striking. You can tell Lustig grew up on those cult grindhouse flicks; he basically built his career on that aesthetic, starting out directing adult films back in the seventies. These days, he runs Blue Underground, which is an incredible label dedicated to restoring and reissuing cult classics like spaghetti westerns and giallo.
The remake leans hard into that retro vibe—even the score feels like a nod to Carpenter's soundtracks—yet it still manages to feel quite modern. The script came from Alexandre Aja and Grégory Levasseur, the duo behind High Tension, and it was directed by Franck Khalfoun, who actually has a role in this one before moving on to direct things like Wrong Turn AT Tahoe. Basically, you've got a powerhouse crew here specializing in top-tier modern exploitation (with Lustig stepping in as producer this time around).
The whole hook of this remake is that it's shot entirely from the killer's POV. Now, Killer's POV is a classic trope, sure, but here the entire movie is filtered through the killer's eyes—we only ever see Wood in mirrors or during his dreams and hallucinations. That constant POV, paired with a visual style heavily influenced by the giallo genre (much like Lustig's own work), makes the whole experience feel genuinely unsettling and almost nauseating. It’s honestly one of the more interesting horror films I've seen lately. I’d recommend it, provided you have a strong stomach.
Nancy Williams58 said:I don't think you can even put this next to The Godfather, even if they both deal with the whole mafia/gangster thing. The entire vibe of Once Upon a Time in America is way more emotional, almost sentimental, and it constantly touches on this idea of those "better, old-school days." That first part—the childhood stuff—is probably some of the most unique filmmaking anyone will ever see on a screen.
And man, nobody talks about the soundtrack, which in my opinion, actually beats the movie itself. I still blast the whole thing on my player all the time... Maestro Morricone absolutely crushed it with those tracks for this film.
It’s actually that hyper-sentimental tone, clashing with the fact that every single protagonist is just a filthy, corrupt scumbag—rapists, thieves, killers, and two-faced traitors—that leaves me feeling pretty conflicted about this one. The movie demands that you empathize with the lead, but he isn't exactly the kind of guy who earns my sympathy, is he?
I'll admit I haven't seen it in ages, so maybe my perspective would shift if I sat down for a rewatch, but for now? Despite being a beautiful piece of cinema, it just leaves a bitter taste in my mouth.
This guy from all or nothing is pretty worked up and honestly kind of a jerk. As long as they're over at all or nothing "unbothered by Bruce Springsteen" 😁
Kyle Morris7 said:Look, you guys have thin skin—and clearly, you aren't reading very closely either. Try paying more attention next time. I stated that Thompson is the most popular, and for the others, I just mentioned they were worth noting; I didn't make any claims about their level of fame. Nor did I suggest anyone was "better" than anyone else, because that would be idiotic. There is no such thing as "better" or "worse"—those terms only apply to things you can actually measure precisely. How are we supposed to measure who's better, or what constitutes "trash" in music? Who gets to decide the quality of one rocker over another? It’s subjective, isn't it?
Maybe you're actually the one who needs to reread your own words. You called Pips and Far Coast "completely marginal," which tells me you view them as unpopular and irrelevant. Yet, as everyone else in these threads pointed out, those two bands were massive. Far Coast was easily the biggest band from the West Coast back in the 90s, while Pips packed Madison Square Garden and picked up a Grammy for album of the year. Even twenty years into their career, they still sell out venues like the Factory—which, let's be honest, is a pretty solid achievement in the US, and they could easily snag another Grammy this year if they wanted. Then you go and bring up other bands that are genuinely insignificant compared to them. So, nobody is arguing about who is "better"—we're all just talking about popularity.
PS: From what I've gathered, the show only covered the 90s, which explains why there's nothing from the 2000s.
Kyle Morris7 said:frozenraven39 and velvetfox452, the whole point of this series is about "rock," not proving who’s "better"—since that's impossible anyway. But you can definitely prove who's more popular; just look at the CD sales and concert attendance numbers. As for Bono, I don't know if he's always been like that—I haven't followed him closely enough to care—but if it really is that bad, wouldn't it be better if someone else from the band had appeared on the show instead? He just makes himself look like a fool, honestly. Like some kind of pathetic figure. He should probably just find a new singer. Great songwriter, though; absolute disaster of a vocalist.
Honestly, Kyle Morris7, you're basically arguing against yourself here. It might look like I have a grudge against Starship (or you), which is why I keep bringing them up, but why don't you just pull up the actual data? I'm too lazy to do the math myself—show me their concert attendance and CD sales, and then let's compare that to a "marginal" group like the Far Coast.
Of course, I'm not claiming that sales stats are the only way to measure musical value—if they were, bands like Poison or Limp Bizbit would be considered far more important than The Stooges or The Velvet Underground.
And the reason Thompson isn't on a show about rock is because pop schlock isn't rock. Sure, he uses guitars and drums, but his place is alongside Huljić, Schwarzenegger, and Mat Bulić. Same goes for Ozzy Osbourne—that's what velvetfox452 was trying to get at.
