Posts by David Jackson2

wanderingbison9 said:Everything's laid out right here:

Thanks! Matasovic really knows his stuff—top-tier expert. I have zero doubts this was handled the right way.
I'm actually pretty stoked to see the movie.

mistyotter35 said:Well, at an AMC Theatres.

Is it only playing in theaters? I don't live in the States—and honestly, I doubt they'll even bring the distribution here—but man, I’d love it if there was some kind of option to just stream it online.

Where can I actually watch this? I seriously need to track it down. Also, how on earth did they manage to reconstruct the language like that?

Justin Richardson7 said:I don't know if everyone caught this yet, but THAT right there is the massive flaw in this movie. It doesn't even know what it wants. Does it want to flee the rock and head into the white void, or does it want to figure out how to live on that rock in some sort of Paradise ruled by an American queen?

Personally, I think the whole point is that the parents want to leave, but they just can't—they're essentially stuck fighting themselves. That's why they're still where they are. And honestly? Not knowing what you want is fine; plenty of people spend their entire lives that way. There isn't some neat cinematic resolution for them, though maybe there is one for Julia.
The kid heads out toward the open water at the end, assuming you can even make sense of that closing bit—which, if you ask me, is one of the weaker ways to wrap things up.

Look, I have no idea how we ended up comparing this to Wild Strawberry. I’m not trying to defend the film's brilliance here—I don't actually think it's *that* good. But for me, it's a decent little slice-of-life piece that touches on some heavier themes. For an American indie flick—it's solid (and let's be real, the bar is pretty low).

It actually feels like a lot of us who watched this projected way more meaning onto it than the director intended, judging by her interviews.

amberfox7 said:If a man had framed a young actress like that, he’d be behind bars by now. There's zero finesse or subtlety here—it honestly feels like they're filming some softcore porn. The director just forces her sexy figure into the shot for basically the whole movie without any actual style or feeling... Creepy.

I agree—this whole thing is just exhausting and totally unnecessary. I actually thought the movie would wrap up with her finally putting some clothes on. It would have served as a bit of symbolism, wouldn't it?

Jack Cook7 said:Sure, you could eat it. But honestly? It's the kind of thing you just... don't. You know it's out there, lurking, so you just give it a wide berth. You really don't need that kind of drama in your life.

The Murina is pretty timid—it’ll spend most of its time hiding in rocky crevices—but don't let that fool you, because it is incredibly dangerous. It won't hesitate to strike or bite, even if it costs the little guy its own life. And those things have teeth everywhere—in their mouths, even in their jaws—plus that nasty venomous slime.😬

Honestly, these kinds of reactions just drive home exactly what the author was trying to say—both women are basically reduced to their looks and how much they can attract attention (which explains why Julia is constantly in a bikini, and why her mom’s chest keeps popping up for absolutely no reason). That scene where the mother and daughter are eating sea urchins with Javier in that cove is pretty significant. It’s this fleeting summer idyll full of potential (for a naive girl who spends her days staring at wealthy tourists on yachts) and missed opportunities (for a mother who clearly has zero desire to actually take charge of her own life). For Javier, that coastline is just like his mother used to be—nothing more than a beautiful memory and a summer fling. And those two? They’re stuck in this cycle, surviving inside her like a certain Marilyn.

As for the father, he’s clearly dealing with some serious complexes regarding his own (lack of) success in life, thinking he can outsmart Javier and those other "rich idiots" by spinning fairy tales about building a resort on an island that doesn't even have basic infrastructure. To me, he feels less like a classic patriarchal guy and more like a typical guy from the coast who thinks he's the smartest person in the room and views foreigners as nothing more than walking ATMs. He’s sexist, but not in the usual way. He brags about Julia’s diving skills, but heaven forbid she actually goes to Harvard. Why would she ever end up being more successful than him?
Julia figured her parents out a long time ago—she actually tells them both during the movie (telling her mom her peak was being Miss Island, and telling her dad he's just an opportunist selling off land where people actually died). So, it’s honestly kind of weird how naively she looks at Javier, or even at that yacht full of young tourists she obviously envies. It makes you wonder how much her isolation on the island makes her vulnerable to being totally fascinated by everything foreign in today's world. Does she even have a cell phone or a TV? That part felt a little forced and hard to swallow in the film.

Personally, I found this to be an interesting slice of life. The movie isn't revolutionary, but it’s solid. I have a friend who grew up on an island like this, and after watching this, she told me it triggered her because the film felt too close to reality. Only instead of hearing You have broad shoulders, she probably would have heard Take off that dress, you tramp. I'm glad this movie didn't go down that path; the message gets across much more subtly.

I honestly thought this movie was great. It’s such a breath of fresh air compared to the usual stuff coming out of American studios lately.
Look, I wasn't feeling everything about it—especially when it comes to the directing—but that really doesn't matter much when the overall vibe is this positive.

The contrast they built between the tourists and the locals was brilliant—you know, that whole dynamic where they try to hustle the outsider—and then that scene showing the chaos with the firefighters... that hit home. I don't think the father was overplayed, though he might have been a little one-dimensional at times. But honestly? Maybe the most fascinating character was Julia's mother; there is just so much to read between the lines with her.

Fleetwood Mac - Tusk

Wild Nothing - only Heather

Henry Mitchell29 said:Yeah, I get it. Honestly, I’m right there with you—I don't really listen to her anymore either.

Same here. I've always found her a bit off-putting, and my friends know I'm pretty much bjorkofobican.
That said, I genuinely respect her as an artist—probably more than some musicians I actually play on repeat—so there's still some love there, 😁 even if she isn't my vibe. Plus, she’s got some killer tracks (Army of Me, Hyperballad, Pagan Poetry...).

NP Suede - Trash

Taylor Swift - Ten

The Sleeping Giant, Frozen Pines

Florence + The Machine - The Last Man on Earth 😍

Alice Boman - Where to put The Pain

Tree - Blackest Eyes

Look, I’ve got a pretty massive tolerance for absolute garbage, and honestly, I love the Uncharted games, but this? This was just bad.
Marky Mark is a complete miss as Sully, and Holland plays this overly wholesome "good boy" version of Spider-Man—it’s basically just the same character he plays in every single movie. As for the female lead, Braddock... she just has zero charisma.

The action sequences were decent enough since they ripped them straight from the game, but even then, they went way overboard with some stuff that was just laughably unrealistic.

I guess I’m just a little bummed that not every character ended up being a POC—including Eric—because then, you know, everyone would actually be happy and satisfied.

Massive Attack - Unfinished Sympathy

Alice in Chains - Nutshell