It's very well done, but I wish the story had more of an arc instead of just kinda... ending.
This was a lot more fun then I expected it to be.
This movie exceeded my expectations. The cast gave impressively honest and committed performances, and the direction was creative and interesting. The story and script are very simple, realistic, and relatable, but not completely predictable. There's some real emotion involved, too. And I also enjoyed the fun soundtrack. It is worth the watch (although I don't think I will ever rewatch). I recommend this film for fans of coming-of-age stories and/or basketball, and especially for young viewers of Asian descent. I will definitely keep an eye out for more from this director!
Watched again after a few years. Just upgraded his grade from 9 to 10!
Zero Fucks Given is like Malaysian Airlines Flight 370 because after it takes off, no one knows what happens to it.
Zero Fucks Given is the story of Cassandre, a flight attendant for a low cost airline, and her struggles to give a fuck.
The choice of fight attendant as the main character's job is brilliant, because Cassandre is in over her head, both literally and figuratively. Ironically, she's not going anywhere in her life, unless it's in a circle, like a an air crew member constantly returning back to her base. In fact, despite being in a plane on a one-way flight, she's still lost.
The film is very French in that what little story there is comes to us in bits and pieces, and even when the film ends we realize we don't have enough pieces to get the full picture, but that's OK.
That's OK, because the real film is Cassandre herself, and Adèle Exarchopoulos definitely has a lot of fucks to give because she turns in what is probably her best performance since she exploded onto the screen with Blue is the Warmest Color. Her capacity to conjure up a myriad of emotions in minutes, with only the slightest environmental cues, is nothing short of magical.
For example, in one scene she's talking on the phone to a telemarketer and we slowly witness her visage dissolve over the course of several minutes until her face collapses and tears roll down her face.
Ms Exarchopoulos carried the whole film, to be sure, but often we get the impression that there was nothing for her to carry, that the flight she was on ran out of fuel at more than once during our journey.
Still, no matter how much this movie tries to push you away, Adèle Exarchopoulos's magnetism pulls you back in. The movie may not move you, but Adèle Exarchopoulos will make sure you have some fucks to give.
this is actually a great movie in terms of critiquing the male gaze, rape culture and male entitlement. the message is stronger than the film itself but it still was an important subversion at a time when movies, many starring Alicia Silverstone herself, were full of fetishistic depictions of young women.
A sudden disappearance – of plausibility, of purpose – and a rush to fill it back in with whatever is at hand.
I wore out my VHS copy of this movie and lent out my DVD copy so many times, it’s amazing it found its way home. It is on my Favourite Movies of the 1990s list, my Movies Watched Multiple Times list and my Movies to Watch Again list. Now, it is one Netflix, where I just watched it for some uncountable time. This movie plays romance beautifully. It takes its time. Anthony Hopkins performance is stately and rich. I truly believe that this movie would have fallen short if it had not had Claire Forlani’s performance of vulnerability and soulful longing. And, then, there is a young Brad Pitt, a strikingly handsome, beautiful man. He was criticized for his wooden portrayal but they missed the point. His acting was on point as he moved seamlessly from an idealistic young man facing a new life that was full of possibilities, to the embodiment of a dangerous and isolated entity seeing life for the first time through its beautiful vulnerabilities. The supporting cast is excellent. The music is perfect. This film is always a straight up 10 out of 10, for me. [Drama, Fantasy, Romance]
The psycho-social horror of "Them" is wrenching, terrifying, and surreally real. It's like "Get Out" mixed with elements of "Beloved," "The Hills Have Eyes," "The Shining," "Carrie," and the opening scenes of HBO's "Watchmen." Despite the Jim Crow-era setting, we all know that the rabid hatred on display here remains part of American life (think of Ahmaud Arbery, Breonna Taylor, Tamir Rice, George Floyd, etc). The mythical backstory of twisted faith is … suggestive.
Warning: Potentially retraumatizing scenes of terrorism, murder, torture, beatings, sexual assault, blackface, microaggressions.
This movie stressed me the fuck out.
I haven't been so frustrated while watching a movie in ages...
Mike Flanagan is an incredibly talented horror director but this film, whilst competently made, is (whisper it) boring and familiar.
