Oh hey, it's February the 2nd, let's re-watch this for the umpteenth time. :D
A slow-burn, slice-of-life drama about the lasting effects of trauma and the agonisingly slow road to recovery. A delightful bit of introspective cinema that highlights friendship and platonic intimacy over the usual cliche'd romance as the ailment to all our problems. Causeway does the delightful thing of slowly opening these characters lives through passing dialogue and insightful conversation, highlighting what has lead these two characters to their respective places that aren't so different, even if the path to get there was wildly far apart. Great piece of contemporary drama with stellar performances from Lawrence and Henry, so much is conveyed with so little and really helps the delivery of this sensitive movie. Some will probably bemoan that "nothing happens" upon completion of this movie, but I'd argue that is the entire point; these characters are contemplating and stewing on what has lead them here and how to move on. It is a character first drama, and if you're not prepared to sit back and understand the nuances of these people, you'll probably have a bad time. For me, this was some stellar drama with a fresh angle highlighting friendship instead of romance as the crutch that can keep us going in the darkest times in life. It possibly lacks a layer of depth to make it truly great, but what there is here is very good stuff for the right audience. Really good stuff indeed.
--- Spoiler filled musings beyond this point that might be off-base ---
I'm still trying to fully place the metaphor of pools and large bodies of water throughout the movie. I assumed they were representive of the brain/mind; gunking up and filling with moss/trash/rubbish that life throws in that we must continually clear ourselves of to stay functional and clear. Only then, much like at the end of the movie when Lynsey dives into the public pool, are we able to dive in amongst everyone else and lead a stable life?
The truck is also symbolic of Lynsey I suppose, giving herself over to James to work on her while she's broken down. The parts to fix her might not be in the town she grew up in, but the people can find them from else where to get her back up and running? Maybe a stretch but I like it as an allegory.
I liked the constant reminder of "matching pairs", with Lynsey playing Memory a few times throughout. Lynsey and James obviously being the main matching pair, but also their parents, Lynsey and her brother being equally ruined by their upbringing, both of them having crutches to deal with everything etc. I'd be intrigued to see if there are any other dualities throughout the movie to pull out.
It's very obvious but I enjoyed how, while Afghanistan and the bombing were obviously the main catalyst for Lynsey's issues, it's heavily implied that the unstable, rocky upbringing probably had more of a hand in her instability than the IED. While it was probably the bomb that demolished the camels back (so to speak), the uneven foundation of her childhood clearly made it much harder for her to get back on equal footing with no support system in place. As someone with very "hands off" parents, this resonated with me more than I expected and made my stomach drop a few times during the scenes with her Mom.
Unlike other movies, I was also happy to see that the movie was critical of Lynsey and her coping mechanism for her trauma too. Many of these drama films only navigate the trauma from the perspective of the main character and never usually question if their actions are justified or correct. While running away is a very easy fix, staying and being compassionate is the harder, but ultimately righteous choice that will probably lead to sustained stability and growth. We assume Lynsey will run after she/her truck have been fixed, but she finally sees that she cannot keep running and must stay to fix the wounds that are there.
I look forward to reading all the Reddit analysis and essays that come from this movie that prove me wrong or highlight things that I missed :smile:
“I hate the way you talk to me, and the way you cut your hair.
I hate the way you drive my car,
I hate it when you stare.
I hate your big dumb combat boots, and the way you read my mind.
I hate you so much it makes me sick, it even makes my rhyme.
I hate the way you’re always right, I hate it when you lie,
I hate it when you make me laugh, even worse when you make me cry.
I hate it when you’re not around and the fact that you didn’t call
but mostly I hate the way I don’t hate you, not even close, not even a little bit, not even at all.“
That episode was LIT. Literally...
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"The more you know who you are, and what you want, the less you let things upset you."
Didn't really think about it until this re-watch... Dumbledore pretty much set Malfoy up to be Potter's enemy at the end by yanking the house cup away from Slytherin, no?
"Slytherin is in first place by a whole bunch, but here, let me give Gryffindor exactly enough points to bring them from last to first."
Bit of a dick move.
The friend zone has been taken to a whole new mechanical level.
i think of it like this: if youre going to eat a sandwich, you would just enjoy it more if you knew no one had fucked it.
Random person: "Do you always get teary eyed on Snapes death scene ?"
Me: "Always..."
The only film in the series where Voldemort does not appear in some form.
What a terrific cast, makes me miss Heath Ledger every time I see it.
Even my 6-year-old son watches it in complete silence.. There are no words to describe it.
[8.8/10] There’s a funny thing about these updated, transmogrified Shakespeare adaptations like 10 Things I Hate About You. If you didn’t know better, you could call the plots convoluted. There is a complicated web of relationships and deceptions, to the point that you practically need a diagram to explain it properly.
In short, Michael helps his friend Cameron woo Bianca by convincing Joey to pay Patrick to date Kat, because Bianca, per her father Mr. Stratford, cannot date until Kat does. With me? Well then, it turns out that Kat dated Joey, and after Bianca picks Cameron over Joey, Joey picks Bianca’s friend Chastity, while Michael pursues Kat’s friend Mandella, as Kat and Patrick’s tempestuous relationship takes root.
It’s a little dizzying, and yet the complex string of friends and enemies and relationships that tow the line between put-ons and genuine affection track nigh-perfectly into the high school setting. Despite the dense qualities of that big ball of string’s worth of plot threads, the complicated social structures and intersecting circles of high school make for the perfect way to realizes The Bard’s comedies in the modern day.
But 10 things is more than just a transmogrified version of The Taming of the Shrew. It also a charming tale that captures the heart and hazards of adolescence at the same time it exaggerates them for comic effect. What’s most impressive about the film is how it has its cake and eats it too on that front. There are goofy beats and subplots that only happen in teen movies, like unexpected party scenes and famous bands showing up to play contemporary (hopefully) chart-topping hits for the soundtrack.
But amid that broader material, there is a real examination of what it is to play up or down to expectation, a theme present in the work that inspired 10 Things, but which is given new life in the guise of the teenagers who are at that point in the fraught process of growing up where they’re deciding who and what they want to be, in love and in life. The gross wager that turns into real love is a hoary trope (see also: fellow 1990s borrower She’s All That) but by rooting the romance at the core of the film in two people who embrace a thorny image and find the hidden depths behind the prickers in one another, the film does justice to its source material and resonates with a target audience trying to figure out which parts of who they are malleable, which parts are non-negotiable, and which parts are fit to be broadcast to the rest of the world (or at least, the relevant social circles)>
It is also just damn charming. The film is full of quotable lines and crackerjack exchanges between characters. The cutting aside is wielded well and often, and side characters like teachers (including the great Allison Janney) and parents (Larry Miller, who nails both comedy and emotion as Mr. Stratford) provide a backdrop of colorful characters for the main story to flourish in. The writing stands out in 10 Things not just for the amusing lines which liven some otherwise familiar teen material, but for the way it allows the film to, in true Shakespeare form, shift tones into more serious material when it needs to.
The same goes for the characters. Kat shoots off the best zingers in the movie, and with her rebellious attitude and literary bent, it would be easy to turn her into a one-dimensional avatar rather than a character. Instead, the film roots her perspective and demeanor in an experience with Joey that gives form to her concerns of Bianca following in her footsteps, and gives just enough context to her mom leaving to make the crisis of conscience and turning point understandable.
By the same token, Bianca could easily be a generic popular girl, and in fairness, at certain points of the film, she is. But she too has a simple but meaningful arc of playing to expectations only to realize that she doesn’t necessarily like what that gets her, and it allows the two sisters to grow in their understanding of one another in strong scenes that deepen their relationship.
The objects of their affection receive a bit of shading as well. The reveal that Patrick, who puts on a gruff exterior and bears the reputation derived from many humorous urban legends about him, is not as wild as he seems is, perhaps, a predictable one. But he gains strength from the way that he and Kat see bits of themselves in one another, Cameron is a bit flatter, learning a trite if endearingly-put lesson about not accepting the notion that he doesn’t deserve what he wants, but there’s enough there to give ballast to the enjoyable-if-disposable teen romp elements.
Even Mr. Stratford, who is arguably the most outsized major character in the film, gets a bit of shading. While he spits out awkward-sounding nineties slang and is comically overprotective and paranoid of his daughters getting pregnant, the film balances that with a subtext to his insecurities about Kat leaving for Sarah Lawrence. There is a Daria-like quality to the film’s ability to poke fun at the parent-child relationship, but also find the sweetness and sincerity in it.
That’s what makes 10 Things more than the sum of its byzantine bets and love triangles. Some twists are convenient, some gestures a little too big to work anywhere but on the silver screen, and some bits of forgiveness come a little too easy. Still, the film keeps its plot, humor, and drama working in sync, where one scene can make you chuckle, the next will let you get to know a character a little better, and the one after will tug at your heartstrings, just a little bit.
The oh-so-nineties soundtrack immediately places in the film at a specific moment in time, but it speaks to the relatable qualities of that quest to figure out both who you are, and who’ll accept you for who you are, that feel like life and death for all seventeen-year-olds. 10 Things is a touchstone for those who grew up with it, both for the quips and clever asides that let the film crackle, and for the notion of young men and women, cutting through pretension and presentation, and finding something true beneath it, in themselves and in the people they love.
Saw Molly’s Game today and I thoroughly enjoyed it. Great dialogue and wonderfully acted. This is Aaron Sorkins directorial debut, and while it was perfect from that aspect it is a great first outing. The movie is long but it’s well paced so it doesn’t feel like it drags, it feels like it needed those 140 minutes to tell the entire story. The scene between Chastain and Costner at the end is definitely one of the best I’ve seen in 2017. I give it this movie 4 out of 5. Go see it if you have a chance.
Magnolia was absolutely perfect. The sheer scope and ambition alone is amazing, but the fact that it all comes together, that PTA managed to pull it all off, is incredible. This huge mosaic of intertwined stories, of individually fantastic performances and moments that weave together to create this audacious tapestry of a movie. The flawless opening sets the stage and introduces the many seemingly disparate characters, all played by an unparalleled ensemble cast, but as the movie gets underway, connections and similarities emerge as the storylines begin to entangle. Listing all the things that make the film the masterpiece that it is would just mean listing everything that makes a movie. Magnolia is beautiful, it's perfect, it's the second best movie I've ever seen and I love everything about it.
8.8/10. An incredible, life-affirming movie that has enough of a dark heart to earn the amazingly heart-warming sequence at the film's climax. Some of the angel stuff gets a little silly at points, but it's still just a stellar look at the advantages and pitfalls of the road not traveled, what doing and being good takes from you, and the invisible but strong connections within a community that form when a noble man takes the world on his shoulders when he has to. Stewart gives the performance of a lifetime, selling the nobility but vulnerability of George Bailey with perfection, the highs and lows and joys and anger and despondency and glee of the character with unparalleled commitment, charm, and pathos. This one's a classic for a reason.
They'll just build a new one... and make the White Walkers pay for it.
IF YOU THROW ANOTHER MOON AT ME I’M GONNA LOSE IT
Oh hi trakt
Not only is Endgame the most ambitious movie Marvel has made, but it also is the grandest. Even more so than Infinity War. No other movie can utilise the emotional ties that have been embedded within our hearts over the build of 11 years. And boy does it use them well. Stringing together scene after scene of nothing but impactful tension in the third act. But this doesn't leave the other two boring or bland. It allows these parts to build off of the aftermath of Infinity War. Never once was I bored, or felt like I was sitting there for three hours. For the action is no letdown, lovely dynamics are interwoven for a fantastic spectacle.
I don't want to say much, but it is hands down the best Marvel can offer. It is not Infinity War, Part II. It's something much better, the true culmination of everything and I do mean everything. The fan service here is through the roof and done so damn creatively. Not one thing feels hammered into the story. Even some major elements in its plot stem from the smallest details of previous movies I would have never seen coming. Taking even lesser liked fragments and stringing them into a more meaningful poetic story than the original movie would have ever told.
Using style and grace to tell this bold epic is strong with this movie. Gone are the golds and purples of Infinity War. And in comes a bleak atmosphere with hope lingering yet far. Visual storytelling is a bit lacking, but that is not what you come here to expect. You have been supported with all the exposition you need in previous movies. Since this is the case, it must be judged as a singular part of a series.
The themes in this movie are unity, utilisation, and more importantly; revelation. Kevin Feige has given this movie a lot to work with through these themes and has finally made his magnum opus.
Yes, there are a few hiccups. But that's to be expected. Captain Marvel was not given her full potential again sadly. But worked well with what was given. There is an amazing moment within the third act that truly gives her and a certain cast of characters time to shine. Plus the time it takes to leave out is a bit jarring. Not to mention, that to me Thanos seemed less threatening than in Infinity War because of something that happens. Still great impact by Josh Brolin of course.
Everyone will cry. Everyone will laugh. Everyone will leave sad yet satisfied with this amazing conclusion to the MCU so far. It's no Dark Knight, but then again, that was more drama than superhero epic. But this is modern hero gold. Here is the Holy Grail of superhero cinema.
9.6/10
8/10 After second viewing - Hype obviously had its hands around my neck I admit. Review doesn't meet my current thoughts about the film
Check here for my rankings on the MCU:
https://trakt.tv/users/corruptednoobie/lists/my-mcu-rankings?sort=rank,ascCheck here for my 2019 movie rankings that I've seen:
https://trakt.tv/users/corruptednoobie/lists/best-to-worst-2019-movies-so-far?sort=rank,asc
Wonder Woman is... well... wonderful! This movie is a true representation of the characters I have grown up with and loved from DC comics and the justice league animated series. This movie is about how Diana the princess of Themyscira becomes Wonder Woman, a classic fish out of water tale of innocence and heroism.
The chemistry between the two leads feels so natural and it is because of this chemistry that Steve's sacrifice is so heartbreaking . While the movie may not be as layered or multifaceted as other DCEU offerings such as Man of Steel, making use of a more classic 'by the numbers' superhero formula, it is undoubtedly a more meaningful movie. It shows us the true nature of humanity through the eyes of an Amazon who has no preconceptions or history with our species. It shows us the ugliness of mankind, how cheaply we value human life with the wars we create, and how stereotypical gender roles have been/are to the detriment of women without bashing us over the head with a heavy-handed feminist agenda. On the other hand, through her eyes, we also see the things humanity is capable of through the power of love.
Despite the importance of this movie, Wonder Woman doesn't depress or bog the audience down. It conveys these important messages within the context of an uplifting film filled with fun, action and romance.
Critics have voiced their approval for this movie, but that shouldn't make fans of the DCEU fearful. Wonder Woman seamlessly fits in with the DCEU, making use of similar colour palates, action direction, and story telling. While this is a movie all little girls must watch, it is truly a movie for everyone... it is simply... WONDERFUL!
After 6 seasons of meticulous setups and character developments, the series finale of The Americans ends, appropriately enough, on a quiet note.
The episode has very minimal dialog. Each word is carefully consumed. The rest is driven by imageries, powerful performances from 4 leads (Philip, Elizabeth, Stan, and Paige), and effective selection of music from Dire Straits, U2, Tchaikovsky, and the series composer Nathan Barr.
Three amazing scenes.
The garage: The exchange between Stan, Philip, Elizabeth, and Paige is more suspenseful than all the heists, chases, and kills in the entire series, driven solely by performances.
The train: Totally unexpected and perhaps the most dramatic and heartbreaking scene in the entire series.
The car ride home: The border crossing, Elizabeth finally sleeping in peace lovingly leaning against Philip. They lived in a sea of lies. But their marriage was as real as any. The only thing they can trust as 100% authentic. Absolutely beautiful.
These three scenes are expertly interconnected with fantastic ensemble and writings.
The series finale will stick in my mind for years to come.
What do you call a movie in which fantastic beasts have 15 minutes of screentime, and a character named Grindelwald commits 1 or 2 crimes? Fantastic Beasts: The Crimes of Grindelwald? That’d be weird, right?
Pros:
- JK’s imagination. Even when a movie messes up as much as this one does, it’s still one of the most charming and imaginative universes put to screen.
- Pretty well directed with great performances
- Newt (gets more development here) and Jacob
- Queenie’s storyline (if you pay close attention, I think it all adds up)
- The beasts, who are reduced to tools for Newt here, are a fun and creative addition
- The climax, Grindelwald’s speech and motivation
- Visuals, score and CGI (this was especially improved after the first film)
- Action scenes (opening scene and bookstairs chase)
Cons:
- Incredibly incoherent (they really should’ve scrapped a lot of characters and their storylines, in my opinion: Leta, Nagini, the black wizard, and even Dumbledore, as they don’t contribute a lot to this particular story).
—> Also, a lot of scenes are pointless (like the underwater creature)
- Two characters are still incredibly annoying (in my opinion those are Credence and Tina), although I’m not sure it’s the writing or acting that makes me hate them so much
- The ending feels like bad fan fiction; good twists should have subtle hints, JK should know this above anyone else
- Too much exposition
- A few scenes are underlit, or too dark
- Some continuity errors (and no, I’m not just talking about the one that has already been reported everywhere)
- The CGI on those cat creatures wasn’t that great
4/10
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dul boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no plany Makes ack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dul boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All work and no play make Jack a Dull boy
All work and no play makes Jack a dull boy
All work and no play makes Jack a dull boy
All workand no play maks Jack a dull boy
All work and no play makes Jack a dull boy
All work and no plany Makes ack a dull boy
All work and no play make Jack a Dull boy
To call this another Marvel winner would be an understatement.
Volume 2 is the best cinematic experience I've had in a long time. The action is great, the various cameos hilarious, the effects awe-inspiring and the laughs frequent and well-placed (one of the few gripes I had with Doctor Strange). And in the midst of all this, what really drives the story and keeps the audience interested is the character development. The heroes with which we fell in love in Volume 1 become deeper and multilayered, and the new additions add fantastic new dynamics.
While still falling victim to some minor storytelling tropes, GotG2 is the epitome of the spectacle movie.
LIFF31 2017 #2
"Nature has cunning ways of finding our weakest spot."
There is no doubt how incredibly beautiful "Call Me By Your Name" is. Putting aside your age and sexuality, the film offers more than romance. It's not sad or tragic, but a peaceful one. It's all about falling in love. What's been said by many will be repeated here, so none of this is gonna be new to you, because it's all true.
Armie Hammer, Michael Stuhlbarg, and newcomer Timothée Chalamet all deliver terrific performances. Not a weak or unconvincing actor in sight. All of them were perfectly cast in the roles and there was no shred of doubt during the emotional parts. Especially Stuhlbarg monologue towards the end is as moving as anything I have ever seen.
The way Luca Guadagnino manages to play on your emotions and present gay romances is really mesmerizing. The warm and summer spectacle of Italy makes you want to be there. With the scenery, sunny waters, and the food which look so good, all through Sayombhu Mukdeeprom brilliant cinematography. It's paradise.
Even the sexual tension never once came across pornographic. I don't mind sex or nudity in movies and people seriously just need to stop being so sensitive about it. Ever thought that making little things a huge deal only makes it a huger deal. Or your sloppy description.
The sexuality in this film is more of an emotional connection you personally experience through the characters. And you don't have to be gay to enjoy those scenes. It avoids the typical tropes you find in movies that isn't as perfectly presented as this.
This is a truly special movie that I easily got lost in.
"It's just a flying saucer, Ed. We gotta go." lol, Peggy kills me.
You know it's bad when you can't switch off your brain to enjoy the mindless fun because your intelligence is being insulted at every turn.
Mind blown. Everyone needs to watch this. I definitely want a season 2 after that ending.
