The first half hour is just... meh. Super generic and honestly pretty boring. Things finally start picking up once he leaves, though! The whole movie really hinges on this relationship between two drunk characters—a father and son who are totally disconnected—which makes that opening stretch feel way too long and unnecessary.
If I were directing, I’d cap the intro at 15 minutes max, introduce the dad, and call it a day. Everything else is more or less fine.
It's actually kind of cool how they capture such a gloomy vibe even in an urban setting. Like, seeing jobs that shouldn't feel that stuffy—like those corporate meetings for copywriters in NYC—depicted that way... it's interesting.
I get the idea of showing the character through his family life, his private moments, and his job, but man, they still spent way too much time on it.
Overall, it’s not exactly a laugh-out-loud comedy, but it’s charming! It’s set in the modern day, and we see the main guy through the eyes of someone from the younger generation—you know, someone in their 30s, constantly working, maybe a bit self-destructive, and with a messy personal and family life.
Plus, there's this laid-back atmosphere starting with the scenes with his dad that's just really pleasant to watch, even if nothing groundbreaking or spectacular happens.
Today, the guys from Francuz JAK'S (Garage Rock) and Hold Station at KKC Pixel 😁
They're out on tour, and they'll be in New York City tomorrow. But honestly, I'm not sure where... they actually listed KKC Pixel as a stop in NYC, even though we all know damn well that's just a thing over in Koprevnika. 😬
I’ve gotta say, I really feel like American culture has just become way more explicit lately, even when it comes to scenes like these. I mean, sure, maybe the focus has shifted more toward streaming series than big movies now, but still...
Violence and sex in American movies really walk a fine line. It’s basically just entertainment designed to give certain audiences exactly what they’re looking for. Of course, it’s not always like that—sometimes there's a real reason for it, or it just fits the genre perfectly (like crimsonmoose3 was saying)
But hey, here’s a little food for thought. We have two different versions of Oldboy. The original and the American one.
In the original, all that violence—driven by pure revenge—really ties back to the culture it came from. There's this specific symbolism where everything boils down to pride and honor based on those Eastern traditions. Everything happening feels earned... you actually sympathize with the characters, the drama makes sense, and the logic of how things unfold holds up. Plus, there's this almost romanticized vibe to the whole thing (I mean, if you've seen it, we could talk about that for hours)...
But then you look at the American version... and none of that is there. It feels like a remake made just so the local audience wouldn't have to deal with subtitles. When you take the same themes and stories and drop them into a totally different culture, the logic just falls apart. So, besides the plot itself, even the violence feels empty. My impression? It's only impactful because the original was...
Alexander Grant31 said:I'm totally with those last two sentences...👍 FNC DIVERZANT unfortunately canceled, but honestly, it’s still gonna be awesome just like every other year. Heading out to the Midwest in the middle of summer to just chill and get away from everything? Sounds PERFECT.☕
Fingers crossed you don't get absolutely soaked by a massive downpour... 🙂
Honestly, the first thing that hits you after watching this is just how much you miss seeing Dave Grohl, except maybe in some old archival clips. I mean, when we all know he was right there for the band's biggest milestones, you really expect him to be a part of this story...
That said, it’s such a striking and genuinely cool movie. It dives into a side of Cobain that isn't talked about nearly enough, and as far as docs go, it works really well—especially the technical stuff. It's super dynamic, keeps you hooked, and those animations and transitions are just awesome.
I guess we’re in the same boat then. Though, honestly, I don't even have a daughter to influence my taste... I just catch the occasional European flick here and there. Plus, I’m usually just waiting on the heavy hitters, you know? Like a new Quentin Tarantino, Martin Scorsese, or maybe something from Jim Jarmusch...
Honestly, I couldn't care less about 80% of the new movies hitting theaters, even if they keep pumping them out... Not like anyone's forcing you to watch them, right? ☕
That’s a pretty bold claim! But honestly, is he actually better? Personally, I’d much rather listen to anything featuring Pađen.
I mean, Belan isn't bad by any means, they just aren't really my style.
So, I guess I should probably call those my main arguments for why Pađen is "better."
Fair enough, I didn't account for the musical approach, the themes, or the lyrical content—not to mention the technical complexity and how layered the songs actually are... but still, does any of that really prove who's superior?
That kind of debate is basically playground level, just sayin'... ☕
In that case, both of them get totally schooled by Rambo Amadeus. He can shred while simultaneously making fun of Belan, the devil, Miš, and the whole crew all at once, plus he's way more fun to watch...
Just a friendly heads-up so this thread (and the one about Goran Bare, though it applies to everyone) doesn't turn into a total troll-fest filled with insults and random off-topic nonsense. I've had to clear out a few things already, but if this keeps up, I'm going to have to start handing out bans...
Jurica Pađen has been this omnipresent, absolutely essential icon of American rock since the 80s. His impact on our music scene is just massive, honestly, just like those few other legends who truly changed everything.
Think about his journey—starting out with the Airport, then moving over to Azra, and eventually forming the Pađen band. He might not get shouted about as much as some other guys, but there was always something huge happening whenever he was involved.
Maybe he hasn't dropped any massive hits lately, but I would never, ever downplay how much he matters...
I heard through the grapevine that I lost it all And honestly? I had a blast People probably have names for folks like me But I doubt there's many left out there...
I grabbed the whole world and then let my soul slip away Maybe it’s just because I’m getting older... Seems like everyone I know Has chased the world only to lose their soul in the process...
Nathan Campbell4 said:Just watched it! I’m not exactly a huge fan, but honestly, it was pretty fun. Does anyone actually get that mid-credits scene, though? Like, I have zero clue who this Cletus guy is or what he's even rambling about. Maybe someone could point me toward the specific movies or comic books I should check out so I can look into it myself? thanks
Cletus Cassidy, Carnage. He's easily one of the heavy hitters in the Spider-Man universe... seriously intense.
Basically, he's this total psychopath in the asylum, and in the original story, he crosses paths with an offspring of Vena that latches onto a new host, kind of like how Vena bonded with Hardy.
And oh yeah—we finally found out Woody Harrelson is playing him! So cool...