One of the greatest closing scenes ever filmed.
No Netflix, no that was so not right!
Fuck this has made me angry all over again
I wish they included more technical explanation about the car with 3D visuals but I understand that it's for casual audience.
Great to take a trip into the past.. I'd forgotten how well they did in the one and only season in F1. Definitely worth watching.
8/10
Brawn - The Impossible Formula 1 Story is beautiful! A very well produced 2009 Drive to Survive full of heart and emotion! A must watch to anyone that likes F1 :heart:
What a sick and hilarious at the same time. Love their environmental crap cars...
This is where phobies storyline with her parents acc looks like it’s gonna be good, but I’m pretty sure her dads only in one episode and her mums only in a few more. So yk it feels like a missed opportunity. Also that guy saying Ross is a bad person needs to chill, she looked weird bald.
Thank you Hugh Laurie for speaking out the truth.
That moment when Joey figured out what's going on between Chandler and Monica was so hilarious.. I couldn't stop laughing :D
Really slow paced and probably a turn off for a lot of people, but I like it. The show is slowly building up that ominous tension.
This is a really thoughtful show. Sure it’s not fast paced with explosions but it’s character building…. It takes its time and begs the question…. What is underneath these characters? A great start….
Andrew Scott delivers a compelling portrayal of Tom Ripley, capturing his neurotic and disturbing essence with precision. While the series spans 8 hours, allowing for a deeper exploration of Patricia Highsmith's story, some pacing issues arise in later episodes. Nonetheless, the atmospheric black-and-white cinematography, slow pace, and dark humour contribute to its distinctiveness.
In contrast to the 1999 film, the series offers a richer portrayal of Tom's backstory as a New York grifter. Despite deviations in plot details, the core theme of Tom's envy of Dickie Greenleaf remains intact.
The decision to shoot in black and white adds to its film noir ambience, with Scott's performance reminiscent of Mads Mikkelsen's in "Hannibal." Despite its slow burn, the series effectively develops characters and maintains high production standards, making it a standout adaptation of Highsmith's work.
Excellent. I was afraid that the choice to be in black and white was pretentious nonsense, but it doesn't distract at all. Five minutes in and you forget it's in black and white. It also looks gorgeous and the way the black and white is graded may be the reason. I'm not sure it would look as good in color. The only negative thing that I could say about the show is that you can't watch it and do something else. There are long stretches without any dialogue and much of the movie is in Italian. I usually find it dstracting when English movies have the characters speak a language other than English. I would prefer that the imaginary people only pretend to speak a foreign language. In this case though, they use the foreign language to show Tom's character progression. His lack of ability to speak Italian at the beginning of the show and his fluency at the end tells you something about the character. This is just well done, and I hope that they adapt the next book Riply Underground.
Don Johnston: Well, the past is gone, I know that. The future isn't here yet, whatever it's going to be. So, all there is, is this. The present. That's it.
This one isn't for everyone? The pace was very deliberate and this is probably why it was not a box-office hit. You really need to pay attention to what is going on or you will feel very unsatisfied later on (not unlike "Lost in Translation"). While the supporting cast is ridiculous it is still Murray that shines the brightest in his subdued role.
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Talking about the role of cinema is such a monumental task that it's almost pointless—cinema means something different to everyone at different times and in different places. To me, one of the vital roles of cinema is to celebrate the mundane, the everyday, and to transform it into something vital. We want to see ourselves reflected on the screen; our better or worse selves, something to reject or something to aspire to. Paterson does this beautifully: it's an ode to the normal and the extraordinary that resides within it, to the idea that each of us should always strive to fulfil something greater and deeper.
Paterson is a former Marine who now drives a bus in the city of Paterson, New Jersey. His favourite poet is William Carlos Williams who was inspired by the streets Paterson drives every day and the falls he takes his lunch at. He is married to Laura and every evening he takes her dog Marvin for a walk and has a drink at his favourite bar. This is Paterson's life, such as it is, and we are witness to a week of it. Jim Jarmusch focuses on the minute details of Paterson's life: a conversation in a laundromat, the engine of a bus breaking down, the patter you have with a colleague in the minutes before you're due to officially start work. Throughout, Adam Driver imbues Paterson with a quiet warmth and complexity that finds its outlet in his own poetry; we see the events in Paterson's life reverberate in his writing and vice versa. It's a towering performance from Driver, delicate and restrained and always a marvel. The performances of those around him, particularly Golshifteh Farahani as Laura, complement him perfectly. The people he meets and the conversations he has feel very low-key and natural—we're never taken out of Paterson, or away from him. The film builds up to an event that changes things profoundly for him; something that seems so insignificant in the grand scheme of things but is a deeply personal loss. This is the closest thing the film has to a moment of great drama, and it's satisfying that it leads to what feels, genuinely, like a moment of personal growth. A little progress, something we all crave, and something that feels immensely relatable.
It helps that it's a very beautifully made film. Jarmusch and Frederick Elmes do a wonderful job of creating a sense of Paterson's regimented life and showing off his environment. The writing is excellent throughout, from the dialogue and the silences that fill the spaces in between to the poetry that springs from Paterson and those around him. I found the film to be a near-perfect thing—gentle, meandering, beautiful in a way that is both surprising and of great comfort.
I usually don't have any problems with the sports movie formula. Quite the contrary, it actually almost always provides a certain qualitative floor that guarantees I can enjoy the film. However, I really haven't seen a flick as formulaic as "Gran Turismo" in a long time. And even that wouldn't be the biggest problem if at least a few of the elements hit the spot. But nothing really convinced me here.
The script, which contains every cliché imaginable, is undoubtedly the film's weakest link. Whether it's the grumpy mentor, the one-dimensional rival, the unnecessary love interest, or the disapproving father, everything is totally predictable. The actors aren't even the problem, for the most part—except for Orlando Bloom, who really is abysmally bad here. Furthermore, you have to look for humor in "Gran Turismo" with a magnifying glass. The film takes itself far too seriously, while the characters are all uninteresting. And the whole "gamer" versus "real" driver nonsense seems completely out of date.
Only the racing sequences could have saved the film for me, but they also failed to click. Although they are nicely shot in places, they are also regularly intercut with some kind of effect. There is never any suspense, and for a film that advertises so aggressively that it is based on a "true story," the individual race situations seem incredibly contrived. Even in a boring Formula 1 season like this year, I've seen much more suspense than in this film. In the end, this movie is nothing more than a PlayStation and Nissan commercial. If you want to see some cool Le Mans action, watch "Ford v Ferrari" instead.
I've always loved Baumbach movie but this one was really good. Cast was perfect too
The most exciting stage of a (fictional) relationship for me personally is exactly the one encapsulated in this chapter of the trilogy. Forget the nerves and ingenuity of a new relationship, i want the angst and the high tension of a past love that didn't work out but is on the verge of a reunion. I'm obsessed with the way this pair of actors explores the different levels of chemistry, applied to each different stage of the chatacters' relationship - it's subtle, but you notice it just enough to make it feel whole and real but still more exciting and dramatic than real life, (which is what we always look for in movies, right?) without ever crossing the bridge to cringiness, which is always the big risk in romantic movies. The dialogues, as always, were an incredibly entertaining chess match to follow, but by far my favourite part is Céline's outburst of emotion in the car, just so so good. That ending has to be one of my favourite endings to a movie ever. I'm obsessed. First one was a solid 9, this one's a good 9,5. Let's see what the third instalment has got!
