They’re honestly wonderful—I’ve been hooked ever since I first heard Champagne. They’re constantly playing in my headphones; there's just something so unique about that island charm from Maui.
My absolute favorites have to be Mild sort and Supra Cosmos Diacritica.
The movie is alright—nothing groundbreaking compared to other family addiction dramas out there. Timothée Chalamet was great, though I felt Steve Carell overplayed his scenes a bit too much. I’ve always loved how Timothée Chalamet can make crying look so real, just totally raw and messy 😁
For me, the most heartbreaking part was when Maura Tierney starts driving away with the kid and his girlfriend; for some reason, that hit home perfectly, even without a huge blowout happening. You could just see the desperation on her face—she was trying with everything she had to fix things and set them straight, even if she didn't quite know how. It felt like she was fighting to save her son, her husband, and her marriage all at once before finally just giving up. Part of me wishes we saw a big confrontation, but honestly, I’m glad the film avoided getting too sappy.
Yeah, it's actually a pretty solid concept—Cedergren really nailed that role, and honestly, the voice acting is spot on, especially the female lead. Totally convincing 🙏
That subplot involving him feels a bit thin to me, but overall, it’s exactly the kind of movie you can recommend to anyone since it leans so heavily into suspense and raw emotion.
The women in this film are just brilliant—every single performance was top-tier!
I really loved how natural everything felt; there’s this raw authenticity in how the characters act throughout most of the movie... honestly, I felt like I was right there in that cramped little house with them. It feels like such a quirky family, but you can really feel that deep sense of connection and how much they rely on each other.
a quick spoiler alert
Toward the end, I started feeling a bit uneasy because it felt like the steady, patient pacing from earlier was slipping away. It starts being way too "on the nose" and explicit—almost like it’s trying to pivot into a Hollywood thriller vibe. Except for the police scene, we have that moment where the mom neglects her kid, which feels unnecessary since the movie had already done such a beautiful job showing us that subtly through her actions. Why do we need such a basic, obvious scene now? 🙄
There was so much hype surrounding this—I was honestly expecting something totally brutal and out there, mostly because my metalhead friend wouldn't stop raving about how it was already destined to be a cult classic. 🤣 (Guys, it just doesn't work like that.)
The reality is that it isn't quite a trashy flick, a creepy horror, a fun revenge story, or an LSD trip—it's trying to be a little bit of everything at once... kind of like those last two Refn movies, where they just throw everything into the mix and then try to polish the edges until they shine. But hey, whatever—at least the fonts were meticulously designed. 😁
Best part? Definitely Jeremiah with his song and monologue. I actually watched that scene twice because the vibe was just incredible—total 80s psychedelic cult energy. It’s exactly how it should be. Plus, those Crimson vibes right at the start 🥳
I don't think it's all just irony—the way he doesn't mock his priest and actually takes his struggle seriously is key. But I also don't see him as some wannabe preacher or a "provocateur" trying to shock people by turning his priest into an eco-terrorist overnight. I actually viewed Toller through the lens of Schrader's older characters—you know, those tortured souls facing an identity crisis who feel useless, so they start "baptizing lambs" and making things up, basically becoming defenders for someone else's radical beliefs. It’s a brilliant premise, but by the end, even Schrader seemed to be spinning his wheels, which left me feeling a bit lost.
The movie really reminded me of my favorite author, Flannery O'Connor. She was a hardcore Catholic, sure, but also totally out of her mind 😁, and her work is always so ambiguous. From my non-religious perspective, the endings of her novels and short stories can feel like a complete subversion of the idea that Christian salvation is this lofty, beautiful, blessed thing. With her, everything sits right on the edge between irony and a radical understanding of Christian doctrine that goes way beyond "small-town tradition." John Huston captured her tone perfectly in his adaptation of her novel Wise Blood, and McDonagh makes a direct nod to her in Three Billboards Outside Ebbing, Missouri.
The whole New York City portion was a total disaster—I honestly thought I was going to sink straight into my seat from the sheer cringe... But the uptown section, you know, from the encounter with the dad onwards, is actually pretty decent. I was hoping for more of a road trip vibe, but Buric is such a raw, magnetic presence; he really gives the movie this gritty, authentic edge. Even with some occasional overacting and those soapy, melodramatic dialogues, the director managed to hit home with certain life situations. You see characters that feel incredibly real—we all know people who deal with messy breakups, those fatal "Danish" crushes, or those random nights where you end up drinking with the last people on earth you’d expect to grab a beer with.
I actually loved the bicycle scenes—there's just something so charming about seeing a grown man struggle to ride a bike for the first time. 👍
Overall, it's a fun watch, though yeah, there's definitely some cringe moments. 'I just hook up, drink, and get high' 🙄
hollowowl15 said:I felt the same way! Honestly, you could almost view it as a giant tourism ad for Mexico—it’s got Frida Kahlo, Halloween vibes, even the Grim Reaper... they even end up at a Cenotaph for a bit. It's full of those cool cultural touches. For me, though, Inside Out is still my number one when it comes to Pixar. Personally, I still think Inside Out takes the top spot for Pixar movies.
I definitely teared up—it was just such a beautiful, heartwarming experience—but once the dust settled, I couldn't shake the feeling that it leans a little too hard into that cozy, sentimental "fireside" vibe. So, yeah, I'm still putting Inside Out first.😁
I remember being at some freshman orientation back at UT Austin maybe 6 or 7 years ago—I think it was when they screened that movie about the Taxi driver in the lecture hall. That was actually my first time hearing about The Room, and honestly, we had absolutely no clue what on earth was happening on screen or why—I ended up just giving up after half an hour 🙂
I was just a middle schooler back in the mid-2000s—do you think I should mention how everyone used to scrawl Linkin Park lyrics all over their lockers? 😁
And being one of four siblings, man... it just hits me right in the feels.
I’ve never been huge on her acting style—it always feels a bit over-the-top to me, like she’s leaning way too hard into specific techniques without actually making the character feel real.
She’s honestly such a lovely, charming person though, so I don't mind seeing her pop up in a movie now and then. I actually really loved her voice work in BoJack Horseman—that specific accent of hers was just perfect. Especially how she says her own name 😍
Anyway, I'm a big fan of MD, and I've always had a soft spot for Jackson's King Kong. 🙂
Whenever I see a thread pop up about a movie that's already twenty years old, I just think—aha, someone's probably pushing for a remake 😁
I watched it a long time watching, and I actually loved it. There's just something about those gritty American suburbs—plus, the social issues they tackle? They’re still just as relevant today, if anything.