8 posts shown.
Honestly, I can't stand Murakami. I've read a few of his novels and they all feel exactly the same. What’s funny is that when I read his first book, I actually liked it, but by the second one, I was bored, and by the third, I was completely done with him.
Regarding this film, his fans will probably love it since it manages to capture all those pretentious elements from the book. That whole obsession with sex is just ridiculous. In those three novels, not a single woman ever turned down sex—in fact, most of the women in his books are usually the ones initiating it.
In my experience—and I think most people feel this way—your taste in movies shifts as you get older. When I was a kid, action flicks were everything. I lived for anything starring > and his crew. About a year ago, I tried revisiting some of his stuff, and honestly, even with the best intentions, I just couldn't finish them. Back in early puberty, I used to obsessively watch the TV schedule to make sure I didn't miss a historical epic, especially those classics from the Golden Age of >. I’d actually skip soccer with my friends just to catch one; they were better than video games to me back then. Unlike those old action movies, I can still sit through the epics today, but that intense fascination has definitely faded. Nowadays, the over-the-top romanticization in those films bugs me. > with > used to be in my top ten, now it's just an okay movie. I don't even dare tackle > or > anymore because they're just too long. Even newer ones like > or > aren't on my favorites list anymore, even though they used to be.
So, my answer to this question is 8. Drama. Specifically, the classic kind. Why drama? Simply because it's the freest genre; it relies the least on clichés. If you look closely, almost every other genre depends on them. Horror, Action, War, and increasingly, Thrillers. Don't get me wrong, I enjoy a good cliché every now and then—I love a good Western, and I even dig some Horror. The thing is, clichés can only work if the plot is actually entertaining, and the problem with most modern movies is that they just aren't fun. Another reason is that in dramas, the plot exists because of the characters, rather than the characters existing just to serve the plot. My philosophy is that movies should be made for the characters. As for historical or war dramas, I much prefer American productions these days. What bothers me about some other international films is how they tend to portray historical events and figures in such black-and-white terms—just good versus evil. Usually, you already know the context before the movie even starts.
Moonlight. I remember how critics were all over it that year, claiming it was going to be some instant cult classic, only for it to pretty much vanish from the conversation by the next year.
I didn't see any depression in this movie. Depression is an emotion, and this film is totally lacking in any kind of emotion whatsoever.
Samuel Scott54 said:Sorry, I guess the whole idea was just a riff on Psycho.
I'm not sure about the "copying" label. That feels a bit harsh for De Palma. To me, it felt more like an upgraded version of a Giallo.
Larry Walker24 said:especially with a flick like Dressed to Kill
To me, "Dressed to Kill" feels more like an Italian Giallo than something by Hitchcock.
I get the feeling Tyson’s rope business hit a rough patch, so now he’s trying to scrape together a few million with these circus acts. He played the fool way too much back in his younger days, and honestly, doing this stuff now doesn't do him any favors.
I’m right there with everyone else on this. It’s a fantastic movie. Honestly, the rating on IMDb is way too low when you compare it to other thrillers out there. Aside from the fact that it stays tense from start to finish, my favorite part was how much the characters' motivations shifted because of the money. At first, Hank is dead set against keeping it, while his brother is all for it. Then everything flips. Even Hank's wife starts off saying their finances are perfectly fine and they should just give it back, only to become the biggest advocate for keeping every cent. Definitely one of the better thrillers from the 90s.