Fuck. I was out for watching a “light hearted film” something to make me feel good.
Well that wasn’t it, but I’m glad I did anyway. Despite the shitshow of triggers toward the end and me feeling rather ... anything but good.
The “I have no family” - “You have me” about gave me the rest. Lighthearted film my ass.
It did do a marvellous job at punching me in the guts, and a marvellous job at leading me through it, too. :purple_heart:
“I thought I should be what I want to be, not what other people want me to be, that was just bullshit? You know, that conversation changed my life. Now I find out you can’t be who you are unless nobody around you disagrees with it”
Hats off.
Rather beautiful and strong portrayal of love and identity, and how parents fuck shit up for their kids.
Totally caught me off guard, so I can do little but marvel at its beauty and give it a full rating, my words have all but left me.
She’s being way too real, it almost makes me uncomfortably sad in between the laughs.
So many good lines.
Don’t feel bad for Doug, he’s terrible. Every time he tells a story, a child somewhere loses a balloon” :sob:
Such a bittersweet story. Dance around fate. Or maybe the dance and leap was always in accordance to fate, all along?
Bravest hand in history. Strange to see a story from a hand’s perspective, and then remember that when I was a child I sometimes saw my hands as something that was separate from the rest of my body, like different entities altogether.
Not the worst but also definitely not the best.
The child actors in the beginning were horrible.
This comes off strongly as either a very low-budget marvels film, or a covid production. There were barely any actors to begin with, let alone female actors who’d pass any Bechdel or other test. But that wasn’t what I expected this film to do.
The story was a little rushed. There was little depth to it, like no real consequences for the outside world - just a singular story about a singular fate (expanded into two, three people) Another thing that makes it feel like they just tried to pump out “another one for the franchise, let’s slap a pretty face on it and it’ll sell ok enough”. There were a lot of moments that weren’t thought through, or plain silly.
Like the fight down in the subway - not only would there have been CCTV, there were a lot of witnesses that could have told the FBI already then that it wasn’t just ONE “vampire”.
Another thing is how Morbius apparently was highly suspected by the FBI, but they hadn’t tapped his phone or tracked him in any other way? Unlikely.
And what the heck is the other FBI agent trying to do by shaking the litter box of the cat, calling “Kitty Kitty”? That’s the dumbest I’ve seen in a while. Yeah sure, that’s how you attract cats. “Look, fresh litter! come kitty kitty!”
As well as Martine randomly getting scratched by an otherwise extremely docile cat. That’s just convenient eye roll material.
All in all, with a lacklustre story, it could have gone straight to Netflix and not been shown on the cinema at all. Still, it wasn’t as terrible that I regretted seeing it. I was mildly entertained. Wished the bits of humour had been more on point. The Venom joke was ok, but otherwise, it just felt mostly tired. Pretty, but tired. I don’t think many people would have gone to see it, weren’t it for Jared starring in it.
I'm not entirely sure how to rate it. As a film, in its artfulness, it was nice, but that is visually speaking. I would give a shout out for people with similar issues as me, whatever those might be, but I don't do too well with films in which the main characters are utterly disbelieved and declared insane by their surroundings as it happens here rather soon.
And whatever universe she's living in, it is terrible. How can she only be surrounded by so many uncaring, heartless characters? The only good person was evidently her co-worker, everyone else was actually just really overwhelmed/scared/cold-hearted. Which hurt to see. And they are being so while being utterly passive. It's like they're villains toward the main character, but not written as villains. Which makes it harder to dislike them, or harder to argue why they are bad people. So even the viewer gets this sense of manipulation or that you're the one not right in the head, as the majority seems to have such clear and different views from you.
I realise my comment this time around lacks eloquence, but I hope it gets across what I meant to express.
A good movie about a topic that's been made movies off a lot lately, what with dysfunctional families/millenials, drugs and America, and all that. American Honey did it quite well, too.
The camera-work in the beginning almost nauseated me, but it was interesting camerawork nonetheless. I liked how the director used lights and colours in this. Very dramatic and neo-noiresque, I appreciated that.
I also enjoyed the different angles and takes. I had not expected the main focus and main character to shift – a pleasant surprise.
A lot of tragedy packed into one film, and many moments I was moved to tears.
So sad how hard it seems for people to just love another (and stop capslocking about important issues).
When we realise how all things have causes and effects and everything influences each other, it gets tougher to assign blame too.
But holy damn was I bothered by how they ruled a homicide by accident as "second degree murder" and "lifelong prison". What the actual fuck, that justice system is seriously fucked. Also wondering what it would have been ruled if he'd been a white guy. Yikes.
“The world is full of lonely people afraid to make the first move.”
“The mystery of life isn’t a problem to solve, but a reality to experience. A process that cannot be understood by stopping it. We must move with the flow of the process. We must join it. We must flow with it.”
Beautiful work of art and poetry. It truly is a ghost story, with incredibly artful and aesthetic still shots especially in the first 2/3 of the movie. Each and every one was a piece of art. Thoroughly enjoyable.
We really hadn’t expected for it to hit so hard toward the end though. Sad and nihilistic was fine. Somehow they topped that.
Watching their quiet love unfold made me so anxious. This is where true tragedy happens. Not sure my heart can take this.
I watched this and the "remake" back to back, seeing how people complained about how the "remake" wasn't anything like the original (true) and how it was so awful in comparison (... I'll get to that).
All right.
First off, the composition and directing is incredible. Such neo noir vibes right from the start.
The musical score is crazy and loud. People must have complained in the theatres about three volume though. It’s so much louder than the spoken lines. This creates quite some dissonance, which I am sure is just about intended. And it seems typical Goblin.
The colours are impeccable though. That whole scene of the first deaths ... lovely. As it cuts to a blind man devoid of colours both inside and out - fantastic.
Yet already at this point I don’t see how people can actually compare the two, as they pretty much are two entirely different films. It's only that they took a general idea, and some names, and imho made a modern masterwork out of ... well, this.
The one thing I find comparable at this point, while the styles of directing are so different a comparison doesn’t seem fair, the acting is definitely better in the remake.
Yes, women screaming senselessly into the camera used to be a thing. Yes, "overacting" used to be a thing. But most of the characters in this seem like puppets rather than actual people, and that's a choice, not just "how the style is", as there's films of the same era, same genre, where it's done oh so much better.
A few points made along the way: spoilers here
- The original Blanc talks way too much and has way less charisma.
- The number of men is already disturbing and seems only be serving to distract from a plot (wait... there is one? ... Okay, sure there is one. But then cut to the new Suspiria, and there's a whole layer of plots. Come on, now.)
- I enjoy classical ballet far less than modern dance. And we get like, what, one or two scenes of them actually dancing in this one? DANCE is no part of the plot at all, while in New-Suspiria it DRIVES the plot.
- I do not appreciate how weak Susie is depicted versus that strong willed person she is from the start on the remake. Her first moments on the dance floor are basically “oh no I’m woozy I don’t think I can do this simple step” versus “I can dance this thing you’ve trained for for months and I will show you how good I am, rawr!”
- Depicting or alluding to the seemingly senseless abuse of both animals and the physically impaired is pretty bad taste.
While I can appreciate the film’s cinematography and have some minor understanding of typical horror genre shooting of the day, when it comes to the story and characters... excuse me, but no. They’re weak at best. None of the characters have any sort of strength of character, nor any personality worth speaking of, hence the happenings have no to little effect on the viewer as it’s impossible to relate to them. Other than an obvious perversity to enjoying lightly dressed female screaming in horror and flailing about helplessly, there’s little to no enjoyment to be won from this.
I can see how the original set in its own time frame could be a great? good? movie, but it wouldn’t do in our times whatsoever and as such, the “remake” has done an amazing job of retelling a similar story in a different context and make it both believable and gripping in a modern age (despite still being set in the 70s)
This one had me sit there with a raised eyebrow for the better half of the film and hope for a quick ending, while the new version had me pretty much glued the entire way.
When it comes to horror films around this era that I actually enjoyed, let's talk Phenomena. At least we have strong willed and smart characters, not annoying dimwits, in this one.
And the bad rep of witchcraft in this one to boot!
I think I need to watch the old Wicker Man to cure me of this disaster :joy:
So thanks for enlightening me of the "original Suspiria", but no thanks. There's way better classic films out there than this one.
So many known faces in this. Good faces, even.
Steam Punk, set in the future where the ancients, aka we, destroyed the earth? What is not to like? If this is going to be a bad movie, at least it will be a REALLY GOOD bad movie.
But I mean, come on. The whole history is amazing. Food that hasn't gone off in a thousand years (yuck), the minions as things in a museum...
But I guess that's all from the books, and I only love it because I can't compare with the original. :grimacing: Good for me.
So after watching it all, I still don't hate it. In fact, rather the opposite. What do you want from an action movie other than this? I love the characters, even though 2 hours doesn't give them enough development, but how'd you do that in an action movie? And it has so much action. Beautiful worlds... a believable world-view... beautiful scenes... I don't see the hate.
He gets the girl AND the ship in the end, and she gets... the guy, and revenge? I also want to go where the wind takes "us", see the world. And someone to say "I'll go/come with you".
A lovely, poetic film. About the fragility of art, and love.
"It's okay. They're just words" That made me almost sadder than what happened in the first place.
I did really like the scene with the Japanese poet, in some way, although I don't like when Paterson is being untruthful or hides away.
"Poetry in translation is like taking a shower with [a] raincoat."
Beautiful.
A true masterwork of emotions. I went into this knowing very little about it, and it struck me about as hard as I suspected it could.
What I didn’t know was how many themes there were that have always resonated with me. Their love was an obvious one. Cliffs, and the tale of Orpheus were less obvious, and thus striking from a blind angle. As was Sophie’s story. I could hardly look... until we were told to look. A very subtle mechanic, telling us to properly look, but it worked.
What can I say. There were so many moments. The camera, catching absolutely beautiful frames. As a photographer, I wanted to freeze the film so many times, take shots, but being in a theatre I couldn’t, and instead froze them in my mind as much as I could. Her gazing back from behind the shawl, at the beach. Her, regarding her as she wakes in the morning. The wilting flowers.
As a side note, the moment the women started singing, I was startled. I had not noticed any score before this moment so I suspected it must be voices, but it was so otherworldly at first I did not recognise them as such. Goosebumps.
Thank you for making this film.
Although I hurt, now, noticeably. Thank you.
Loved the way the scenes were set with colours and atmosphere, as well as there were a few Poe-motives snuck into it here and there.
And what a fun fellow Poe was! Enjoyed every minute of his and Landon’s exchanges.
I liked how the mystery keeps deepening, how you start suspecting about everyone until you get set on a path, question everything and in the end still get a completely new story.
I did suspect that everything was connected, would just have been too many loose threads in a good story, but it wasn’t obvious for me how until the end. I did also suspect that maybe the main character we are being introduced to and put ourself into his shoes might not be as innocent and maybe have something to do with it, but the plot quickly distracted me from that thought.
Enjoyed this greatly
I love me a film noir flick. This was perfect. The music, the setting, the story… a typical detective flick, except with a twist. Or a tick, rather. Edward Norton shines again. Does his talent know no bound?
Well the first 15 minutes are entirely pointless other than to show us humanity is despicable.
Sending out people to suicide is one thing, making bets and being happy over them dying is another.
Gets better after that, but I’m getting annoyed at little things. Like why do we see the only woman in the camp doing the dishes? Unnecessary.
Other than that, pretty enjoyable humour. Like the cavalry coming riding when Harley had it all under control. Her training acrobatics paid off. Could totally see her having fun, just killing people to the soundtrack in her head.
Not sure why I enjoyed that little moment where Bloodsport crashes against the wall and his helmet broke.
And rats are cool and powerful in numbers and all, but why would people just instantly die as soon as they have a few rats walk over them. Like they don’t seem to be biting or anything, simply running. But ok. The way the squad dealt with the mf kaiju was pretty neat. Everyone had a role to play. Except the weasel and peacemaker. They were both useless.
Great film, in cinematography and storytelling, but I struggled with how much of an idiot they portrayed Gawain to be for most of the film.
Of course we wouldn’t have any story if he had listened closely to what the green knight had said and not taken the entire head off, subsequently pushing himself into the deepest pits of despair, believing his life would be forfeit if he went in the journey… but that also made the story.
What a weak character he starts out as. Silent even when the woman who loves him asks a crucial question. And too trusting of strangers in the wood… not even taking his sword when he runs. That was entirely too silly. Not at all convinced his journey makes him any stronger or better. Sure, he does find some courage in the end of the film, but not after having been a coward all his life.
Although a cool cinematographic trick, panning the camera around and showing his bones in the future, I’m so far confused as to what purpose it served. It seems a little useless. A moment of confusion and “oh is that it”, but then it’s taken back?
I liked the “are you real or are you a spirit?” - “what is the difference? I just need my head.”
As it becomes striking that he is on a mystical journey and this is not a common story at all, it was increasingly well received. The fox in his colours, the beautiful books, impossibly deep springs … I am not familiar with the original tale but I was suspecting him to have been the green knight and it being a circular story. At the very least for him to having freed the old and becoming the new. But it seemed like his mother had called the knight to begin with, so many questions arising as watching.
Be wary of promises where you exchange gifts. She might give him a child. I really wanted him to interact with the blind lady on his own. I wonder what she was all about. Was she symbolic him? Blind and mute?
Absolutely adored that the lady in the castle in effect made a photograph of him. That was terrific.
“Red is the colour of lust, but green is what lust leaves behind after, in the heart. In the womb”
Love how both Gawain and his fox were in a trap by the two in the castle.
A wonderful mystical journey and stunning images. Worth the watch.
What a life… what a woman.
So happy she managed to put it into art. As we are all… alone and afraid.
Thought I’d give a film a try, sat there in anticipation, when I reached “wanna help me gut it?” I kind of lost it, paused to let myself catch some breath, get more snacks, and settle for the evening. Wonderful.
Then that scene at the hut, where he’s talking about being made things and playing with himself I golden.
And the crispiest flakes, oh my gods. And probably one of the best car chase scenes I’ve ever seen. Great film.
(But am I alone with this phenomenon of whenever I see Sam Neil&”jungle”, I expect the hoot of a bronto? Good old times. whistles intro)
Omg when she swallowed… I was like what kind of Disney/Pixar movie is this :sweat_smile::sweat_smile::sweat_smile:
So badass. When Elsa heard herself from the first movie sing and is like “bah follies of the youth”
This is quite dark and serious. Love that.rising from the floor when it’s not you I’m rising for … that hit.
And “I’m here, what do you need” is the best thing I’ve heard in a Disney movie in a while.
Oh I might have found the weirdest film currently on HBO.
I both love and hate it already.
This could be a masterpiece. It’s just frustrating to watch.
There are no special people. Only people.
And I guess sometimes they steal faces and sometimes they don’t exist. Because they’re not in the system.
The four apocalyptic riders was kind of in your nose, but the way they presented themselves, or how the first 45 minutes were acted out, wasn’t.
Kept us thinking and on our toes for a long time.
It’s done very realistically. No matter which side you’re on. Are they just delusional or is it real? In a situation like that, of course you wouldn’t just straight out believe some apocalypse is happening. It stands more to reason there’s some mass delusion. But is it? Eric having a concussion and seeing things was neat. Keeps you guessing as well.
And then it’s like… how would their sacrifice change anything? If it was meant to happen or already has happened, how would their sacrifice stop the “apocalypse”? At least with logical non-supernatural thinking it makes little sense. But with the supernatural one… yeah, ok.
Wow, he’s saying some real shit. Glad I’m not watching live; I had several moments I needed to pause and rewind to hear that again. Pretty genius. Sad and dark, but genius.
The cutest ghost in the history of ghosts in movies. Not even Caspar was this cute.
Not the kind of comedy show you watch when you want to die laughing.
…
His level of self irony is something else. Packing trauma into a format that fits onto a stage, and telling it over and over. Respect.
A realistic portrait of a family. They do tend to drive each other nuts, don't they?
What I liked is how certain small details didn't make much sense in the moment, but then later had much more meaning.
For example the entire episode with the "faceless woman", and how the mom just started laughing a bit too hysterically. When we hear his story, or confession later, it would make sense that his wife would react to dreams of faceless women. She was just a faceless woman to her. There were other things, too... like ash. Ash was a topic.
Weird little film, weird family, glad I'm not part of this one, but not sure mine is that much healthier.
A bit too obvious, including the few jump scares it had. Not scary at all. Annoying plot and characters. Figured out how to escape it way before the character did, and more effectively so.
What I found annoying was how bad Rose was at articulating herself and explaining the situation. Of course it’s a plot thing that people aren’t supposed to believe her, but then don’t make her a character that is supposed to be smart and articulate, make her a character that is believable as being somewhat dense. Not a therapist. Especially not a therapist, since she’d have known exactly what to say and not to say to not sound crazy. You don’t start with “I know this sounds crazy”.
And Trevor turned into such a red flag. The first scene he was so supportive, but then Rose goes through trauma and he almost immediately pulls away and removes himself as support system.
A lot in the movie was so unnecessary. Like, In the prison, when Joel says he’s not going to leave was unnecessary. It’ll increase trust if he does plus she could just tell him afterwards anyway.
Her keeping running or using weapons against a thing that has no body was annoying. Just stop running? What’s it gonna do if you just don’t run? It can’t kill its own host. It needs someone to spread so… yeah the cop out way to get rid of it is isolating yourself and just starve it out. Think of it as a parasite. Apparently it needs a new host every week or so.
A more effective way would be to isolate yourself somewhere and either do the heroic version where you k:asterisk_symbol::asterisk_symbol: yourself without anyone witnessing it, or you kill somebody without anyone witnessing it, and it can’t hop into someone else.
So Rose can’t kill anyone (also here the guy at the prison was misleading. He said that the only way to escape it is to kill someone while someone else is watching, but that will just pass it on), fine. Apparently she won’t consider the heroic option either. Ok isolation it is.
Now, had the film stopped after she’d set the house on fire, we would have a nice little message: face your trauma and you can overcome anything.
That doesn’t happen. Being a horror movie and all, I called it, especially Joel coming to “the rescue” and fucking everything up was an obvious plot, but still, ugh.
Speaking of the end though - maybe Joel managed to think further or realise this; but if he just were right stay with her as she dies, the chain would break. The film ends before we see what he does. We expect him to run, as he lacks that one piece of information/confirmation with the “killing someone”… but he could have figured all this out by himself.
My last words for this…
We all knew the cat was going to die, it was too focused on, but … what happened with the train?
That’s the question that remains unanswered.
For someone who did not grow up in an Elvis-family and only ever knew the major facts around him, yet no details, this experiences as an enjoyable theatrical experience.
I loved the angle of recounting it from the “bad guy’s” perspective, and the theatrical performance of him, he’s really reminded me of the Penguin from Batman rather an actual real life character – which works so well with how this story is feeding off of little Elvis’ comic book fantasies and riding on the “Elvis trapped in a web/cage” storyline.
The entire cinematography is bombastic and sensational – another thing that fits with the story they’re telling, but does give very little pause to the viewers.
I enjoyed Butler’s performance as Elvis. The way the film is centred around him but never really gives insight into him, like the elusive and untouchable rock star worked for me. We only really experience him through the eyes of others. He himself has very little of a voice unless he is on stage.
That said, it was enjoyable and I appreciate them “bringing Elvis back”, but it does have little rewatch value. Once you’ve seen it, you’ve seen it. I’m not hungering for more, I’m probably over satiated.
