This movie is pure idiocy. It’s not just mindless; it’s a transparent, desperate attempt at being "art." But it fails miserably—not a single scene comes close to anything Lincoln has ever produced, and Hardy is completely overacting.
The whole thing is incoherent, poorly structured, and just plain boring. There were so many themes to explore, yet he chose to obsess over sickness and filth? Fine, if you must, but doing it this shallowly is just pathetic. This is bottom-of-the-barrel cinema. 1/10.
How does a movie turn out this bad? It's hideous. Exactly what I feared before I even sat down to watch it.
The movie is solid. It captures that perfect 80s vibe with a killer soundtrack, and seeing Jon Voight and Eric Roberts together is great, even if the overacting is a bit cliché. The atmosphere is spot on and the cinematography is high quality; some scenes are genuinely impressive.
Sure, there are plenty of logical gaps, but that’s not what ruins this for me. The ending is spectacularly cheesy, yet somehow works. All in all, I'd recommend it—it's a really strong 80s flick.
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He wasn't trying to bring them back to the train; he was out to kill them. He makes that clear during their conversation at the start when he talks about trying to escape before someone else kills them. They have a personal vendetta. When they escaped, he basically said something along the lines of, "I hope nobody finds them before we do." He came there for blood.
In reality, wouldn't it have been smarter to just follow the train and wait for them to crash? Then he could pick off whoever survived. Instead, he threw himself into a life-threatening situation for no reason. If they actually manage to stop the train, then he's the one left in the crosshairs.
I watched this movie ages ago, back in the early 2000s when I was just a kid. If I recall correctly, some brothers stumble upon a stash of cash and everything goes south when they start fighting over how to split it. They all want the whole damn thing for themselves. It had such a great atmosphere and left a lasting impression on me, even though I've only seen it once.
It definitely captures that Fargo vibe with the snow and the locations; it's a solid film.
I have never once sat through a single minute of Eurovision in my entire life. Can you actually believe that? Honestly, the only way I’ve ever seen it is through news clips and random highlights on TV.
I have no idea what the point of this thread is or why everyone is making such a massive deal out of this movie, but I can tell you one thing for sure: I won't be watching.
All you need is a job that keeps you glued to a computer screen for hours on end. There are always those dead zones where nothing much is happening, so you just sit there waiting. You can easily knock out ten posts if the discussions are actually worth reading—though that takes a lot of mental energy—but if you're just sharing songs or movies on lighter topics, cranking out content is effortless.
It’s a decent enough movie, but honestly? Claiming it beats >, >, >, or > feels borderline sacrilegious. Just kidding—unless someone actually thinks so, then fine. For me, it’s just okay. The brothers usually hit the mark, though > was a total snooze fest for me; it had a few bright spots, but I’m never sitting through it again. > is cool, but does it really reach true >? Not quite.
I can't get behind the stance taken by frozengull94 just because a certain film happens to be trending. I’m not saying, for instance, that Shawshank Redemption is the greatest ever—it isn't in my book—but it works because it hits a nerve with a massive audience. Today's youth watch it and immediately feel that connection. Some films are technical masterpieces but fail to connect with anyone outside a tiny niche. At our core, humans are genetically similar, and therefore emotionally similar too. Sure, there are variations, but the foundation is identical, which is why we gravitate toward the same things. When we see a baby, almost everyone finds it beautiful; the emotional response is universal. It's the same with mainstream cinema. If someone claims babies aren't "in style" anymore and expects you to feel disgust when you see one, they're delusional. You can't override basic human biology.
When it comes to fashion, it's a different story. You don't want to look like an idiot walking down a street in New York, so emotion and genetics don't matter there; you just follow the herd to fit in. You might publicly claim to like a specific movie or song just to blend in, but that isn't why a film or song becomes a phenomenon. It isn't about trends.
I didn't say it was universally fake, but it certainly feels that way to me because there's zero connection. It’s just my subjective take. When you see titles like Meetings at the Edge of the World, Into the Abyss, or Grizzly Man, I get this sense of pure pretentiousness. There's no real depth, no epiphany, nothing—just a generic documentary. Where does it actually work? Only when it functions as an entertaining remake. Honestly, Lieutenant is decent enough enough.
fadedmason7 said:Exactly. If Werner Herzog isn't authentic, then who is?
I don't know. Maybe you people have some deep connection to his work, but I just don't.
To me, it all feels fake—just completely hollow. Sure, he can be "authentic," but it’s always like Grizzly Man or Into the Abyss; superficial, pathetic, and totally pointless in my eyes.
He has a few decent movies, but nothing special.
It's all a matter of taste, obviously. Connections...
Honestly, he’s just a pretentious bore. It all feels incredibly fake to me. His documentaries aren't even that good; they don't offer anything deep, spiritual, or meditative.
He has a couple of decent films, but nothing special.
Everything about him feels performative and superficial—especially documentaries like Grizzly Man and Into the Abyss. As for those other movies? I don't even want to waste my breath commenting on them.
For me, Shaun of the Dead remains the absolute best. It’s just a great film. The others are solid enough, and even Baby Driver—which isn't part of that trilogy—is excellent, but Shaun still holds the top spot in my book.
feralpilot0 said:Volaric is so gloomy and perpetually frowning that half the time I thought I was watching some heavy-duty drama. Even the girl he supposedly loves can't manage a single smile.
All those business meetings where the tension is thick enough to cut with a knife—what was even the point? And Alma Prica just sits there looking like she’s stuck in some Halim's mess, staring at her son with this judgmental look and rolling her eyes while he just swaps one frozen expression for another. Jesus, why is everyone so depressed?. 🙂
Aside from the stiffness you'd find in some upscale cafe in Malibu, the rest is alright.
I haven't seen the movie, but knowing American cinema, when happiness is this limited, the whole thing just drags you down. Both the actors and the audience end up depressed. Personally, I feel depressed every time I watch an American film.
The theme might be a cliché, but it hits a raw nerve. It reflects exactly where we are right now—everyone is constantly grinding, wasting energy and losing their minds over things that don't even matter. We all act like we have forever, ignoring the fact that none of us knows when our clock is actually going to run out. It’s that old, tired saying about not knowing what you have until it’s gone, but it’s true. We trivialize everything while we have it, thinking we understand its value, only to realize too late how much we messed up. Look at the current state of things; it shows just how much of a privilege it is to grab coffee with friends, maintain social ties, or even just share a movie experience with a room full of strangers. Those small moments are what actually make life worth living.
As for the movie itself, it works because it's about an ordinary guy—someone anyone could be. That’s the beauty of it. I don't find Akira Kurosawa boring, and honestly, this film feels even better on a second viewing, perhaps because I'm watching it through a different lens now. That scene with the swing? One of the best sequences in cinematic history. Truly masterfully done.
A film by the master Akira Kurosawa can never disappoint. That opening scene is honestly hilarious because it hits way too close to home regarding the reality we deal with here in America. There are these brilliant moments highlighting the sheer futility of the work performed by entire bureaucracies and endless red tape. It’s beautiful in its own way—like when he can't even quit because his boss is out for a few days and there’s nobody available to stamp the paperwork. When he reflects with such heavy nostalgia, wondering what he actually accomplished in that office over thirty years, it really drives home the emptiness of a life wasted on bureaucratic paperwork.
The movie is essentially a beautiful ode to life itself. It presents the story of a man who spent thirty years living in the shadows, barely having lived at all—as the narrator points out. He wants to finally live, to indulge in whims he never allowed himself, only to slowly realize that chasing impulses isn't the point of existence either; carousing with women doesn't fulfill you. He learns that true living comes from giving back and positively impacting others. That’s beautiful. The scene on the park swing while he sings is deeply melancholic, incredibly sad, and just stunning.
I do have a few gripes with the film. For one, the relationship with his son feels unresolved. The argument the son starts when the father tries to open up shouldn't be enough to shut down any further attempts at communication. Then there's the young colleague he starts a relationship with—it feels more like a father-daughter dynamic—but once he opens up, she just vanishes from the film. It felt a bit rushed and poorly handled.
I love how he weaves the funeral together with the past and present through the stories people tell about him, and how he gave everything in those final months to build that park. I'm not a technical critic, but the execution is masterful. That shot on the swings paired with the snow is one of the most striking cinematic images ever, especially with that gorgeous soundtrack.
Despite those flaws, this is a masterpiece. It’s exactly what I love: a melancholic, somber film that celebrates life. It isn't depressing; it’s inspiring.
Good grief, the director spends six months in isolation and suddenly he’s indispensable? Now Hilary Swank needs rehab, a month of charity work, and everyone else is just an afterthought.
Hannah Hayes said:The movie's been killing it on Video on demand
🤣
Everyone is stuck inside their houses, so of course it's doing well. Nothing else is coming out, and nothing good will be anytime soon.
If this data convinces them to keep making this garbage, they'll go bankrupt fast. They're already losing billions because of the pandemic; what they make back on Video on Demand won't matter if they keep churning out these terrible movies. They don't stand a chance.
Honestly, DC needs to find a massive hit or some actually competent directing and writing teams immediately. What they've been doing for years is, to put it mildly, tragic.
His whole body of work follows this same pattern. I actually expected him to show some backbone—maybe suggest we protect our youth by making sacrifices elsewhere to save the system—but no. This is just pure horror. He’s basically suggesting we sacrifice the elderly.
A total tragedy.
Of course he's lying. Sweden treats the elderly and anyone else who needs care; they just haven't implemented quarantines yet. That's not even the point. He's implying that Sweden follows his specific ideology, which is a lie. In Sweden, everyone gets hospital care regardless of their age.
I am absolutely appalled by this user's behavior and their posts calling for age-based discrimination and denying people medical care based on how old they are.
They’re basically advocating for the unchecked spread of the virus, claiming we need to "save the healthcare system" by just leaving sick elderly people at home while prioritizing the young. Is that even remotely moral?
Even if you argue it prevents systemic collapse, advocating for such blatant ageism is deeply disturbing. Denying essential treatment based on age should be a punishable offense. I’m asking the moderators to review this post and everything else related to COVID-19 topics.
Given the toxic rhetoric being aimed at the older members of this community, I’m calling on the moderators and admins to wipe these posts clean and issue the strictest possible sanctions. This kind of behavior is illegal. Discrimination isn't allowed here, and what is being promoted is a complete failure of humanity. Please, clear out this filth. We should be honoring our grandparents, fathers, and mothers, not targeting them. This is a disaster.