[9.0/10] There are some losses that you can’t come back from, that change you so fundamentally that even the most vital pulls and connections cannot bring you out of it. That is the core idea at the center of Manchester by the Sea. It is a film about grief, how we deal with it, and how its tendrils wrap themselves around the rest of our lives, to where some can wriggle free and some cannot.
The emblem of that is Lee Chandler (Casey Affleck) a Boston handyman who is the film’s protagonist. When Lee’s brother Joe (Kyle Chandler) dies, he is called back to Manchester to settle his affairs, including what’s to be done about Lee’s nephew Patty. These events call on Lee to face the site and memories of his own traumas, as he’s trying to do right by his brother and help his nephew with his own grief.
What’s striking is the way that even before the exact contours of the loss that made Lee into the person he is today are revealed, it’s clear that he is a broken man, someone who is not fully present in the world. Some of this comes from the flashbacks pepper into the film, which show a much more jovial and engaged individual, cutting a contrast with the dead-eyed janitor who lurches through life in the present day. But a great deal of it comes from an outstanding performance from Affleck, who evinces a detached hauntedness from the first minute of the film.
When it is revealed, at the halfway mark, that Lee’s three young children died in a fire, a fire that he accidentally caused, its crystalizes the reasons for Lee’s demeanor and his difficulties in returning to Manchester and acceding to Joe’s wishes that he become Patty’s guardians. But to the film’s credit, it never underlines these points too heavily, to where they’re barely uttered or even acknowledged out loud, but permeate the background of every scene and every moment.
It’s never says that Lee so resists the notion of living in Manchester because it’s the place where his children died. It just shows him looking out onto the city and intersperses that with scenes of the grisly aftermath. It never says he’s reluctant to be a father because he blames himself for what happened to his kids, it just shows him struggling to give any meaningful direction to Patty. It never says that he’s overly cautious when it comes to safety, particularly the safety of children, it just shows him overreacting to a misunderstanding when Patty tries to get out of the car while he’s driving. It never says that Lee won’t grant himself the chance for human connection again because he doesn’t believe he deserves it and because he’s scared of where it might lead, it just shows him having ample opportunities to connect with people and invariably turning them down.
Much of this is conveyed in Affleck’s bravura performance. He portrays Lee as completely hollowed out by the horrors he’s been a part of, so convincingly deadened by them that he’s no longer fully alive, just this inert, barely there thing that continues to exist without any reason to. The little details of the performance win the day. There is his sublimated anger, at himself and at the world, that prompt him to get into bar fights to feel something. There are the moments where a real human being breaks through so that Lee can comfort his nephew. There are hints, in a heart-rending scene with his ex-wife (Michelle Williams, who makes a big impact in limited screen time) at the recriminations, self-inflicted and otherwise, that leave such overwhelming guilt lingering within him.
But the best thing to recommend the film is its ending. In so many movies in this same vein, the natural move would be for Lee to have his troubles with being back in Manchester and faced with the ghosts of his past, but that the importance of Patty’s upbringing and his brother’s wishes would be enough for him to overcome them. Instead, in a quietly emotional moment, Lee confesses to Patty that he “just can’t beat it.” The memories of his children’s deaths, of his inadvertent hand in them, are too much for him to bear, even for this, one of the few people, if not the only person, that Lee still loves.
There is boldness in that choice. It’s too much to call Manchester by the Sea subversive, but the heart of storytelling, particularly in quiet character dramas like this one, is change. It’s the old story circle again – a character is called to adventure, has an experience, and comes back changed. Manchester uses that structure, but subverts it. It shows Lee on the cusp of recovering, on the cusp of making a breakthrough, coming ever so close to having that change and epiphany and recommitment to a new life, and then faltering in the face of inescapable reminders of what he was running from in the first place.
It is, in that way, one of the truest testaments to grief imaginable. There are some things in life that cannot be outrun or overcome. It is not a heartening notion, but it is true to live, and Manchester by the Sea examines it with conviction, empathy, and grace.
It would be easy for Lee to be the bad guy, for Patty to be a brat or the piteous kid who lost his father, for the community of Manchester to come together to raise them both up. Instead, there is complexity in the film’s DNA, to where Lee is equal parts unreachable and understandable, Patty experiences genuine pain and difficulty but also reads as a genuine teenager with all the rough edges that come with, and the people of Manchester help the Chandlers as best they can, but help them with well-warranted reservations as well. And it posits that recovery, even when necessary to take care of others you love, may simply not be possible.
And yet, for all that the film has been decried or championed for its depressing qualities, it ends on a note of measured and earned hope. Lee is not ready to be a father again, to be back in the place where his children died again, even for Patty. But he is ready to open his life again, just a little bit. His new apartment will have an extra room so that his nephew can come visit and stay. We see him out on that boat, on the water once more, symbolizing the times when he could be happy and his old self, and it’s a sign that he is not better, but that for the first time in a long time, there’s room in his life for something better.
Lee may never recover from this, may never become the person he was or even a person who a stranger could stand to have a conversation with for a half an hour. But he is, it seems, ready to become more, to open himself up to the last person in this world that he cares about. Manchester by the Sea ends on a note of hope. That hope is measured, balanced out by the cloud of grief that Lee will likely never fully escape, but it is a sign that even amid the harshest of losses, the ones that take away everything, there are people who give us something to hang onto, something to live for, something that makes us just a little bit more who we were before.
The movie that propably had the most impact on my life.
I was little over 10 at the time I saw it first. My dad brought it home on VHS. From the first second my eyes were glued to the screen. Immediately after it was over I rewound the tape and watched it again which up to today, close to 35 later, I haven´t done with any other movie. I recorded it on audio tape so I could listen to it, even wrote down the whole thing on paper (that was well before the internet, folks). We re-ennacted the scenes, I had memorized every line. I cannot recall how many times I`ve seen it since then.
I would give it 11 if possible.
I don't even know where to start. Enemy was one of my most anticipated films for this year. It is based on José Saramago's book called "The Double" (in its original Portuguese title "O Homem Duplicado") and it was constantly delayed here in Portugal but now I understand why the wait. They wanted to release it at the 4th year anniversary of the death of José Saramago, winner of a Literature Noble Prize in 1998 and one of our the greatest Portuguese writers ever! It was a beautiful homage, afterall this country unfortunately did not praised him as much as he deserved during his life. He had his very own philosophies, he was a very peculiar and different man. He was against Catholic Church and in a country where most of people are catholics, he was not very well regarded and I think his writing was damaged before the eyes of a country that sometimes cannot see through differences. I look at the writer not at the man, everyone is free to think whatever they want but well, that's another story. Now back to the film!
Enemy is a very complex thriller, very nightmarish and dark with an absolutely engaging atmosphere that will twist your mind and oh, how do I like this kind of mind-f*cking films! As a film that is based on a José Saramago's book and I know that he is a very metaphoric writer, who liked to makes us pull things from our head, mixing reality with mere thoughts, I knew that I would have to pay very attention to all of the details and that's what I did.
I also loved the claustrophobic feeling in the air, it's almost like we are trapped into the film and the absolutely creepy and dreadful soundtrack helps to create that feeling.
There are some things left hovering the air but I have a pretty strong theory for this story. This is a film that requires more than one viewing and I believe that can become more special to us in each visualization. Is very difficult to talk about it without spoiling anything. I think it is a film which is best experienced and then discussed.
What can I say more about Jake Gyllenhaal that I haven't said before? He must be one of the most underrated actors ever and he is so amazing! I can't remember to had seen a single bad performance from him. Once again he shines and what can be better than have, not one but two Jake Gyllenhaals?
I don't see everyone enjoying this film, some might think it is too slow or too boring. Some will feel very bothered with the atmosphere and with what they are watching but for me worked even better than what I was expecting.
Denis Villeneuve amazed me with Prisoners, one of my favorites of last year and he amazes me again with another fantastic work directing Enemy.
Wow.
Just got back from the cinemas. I think the movie is great.
The mix of humor, action and darkness and some really good twists.
The last 10 minutes are also perfect. Everyone was shocked.
Fuck that ending. I'd give the movie an 8.5 up until literally the last two seconds of the movie. After that it's a high 6.5 or low 7/10.
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
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:
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
Initial Reaction
After two viewings
The Good
• Deadpool himself is as funny as ever. Ryan Reynolds keeps up a fantastic performance and really gives it his all.
• Cable is also really good. Josh Brolin, despite being in many movies this year. Has given a great performance.
• Jokes are really funny when they hit, and they hit hard.
• Secondary characters are also really well done. Some anyway. More on that, below in the spoilers
• It has a true charm to it. Making it more distinct than the first. But not outshining it.
• The action was on point. The director really knows how to capture a great fight scene, and there are plenty here to enjoy and marvel at.
• Villain. This point is actually a fairly good one, but also has spoils. So read below if you really want to know. What I can say is that Ajax is nowhere near as memorable compared to the bad guys here.
• The amount of balls this movie has. It just does things, I would never expect them to do. The first movie gave us shocks at what they could say and show. Now they just go and toy with that to the next level. And I loved it.
The Bad
• Plot. It's not the best. It's also not that simple. The first Deadpool was very straightforward even with the time jumps. Here, it's a bit of a mess. Not to mention it's kind of a rip off of T2. But it acknowledges this at least
• Some jokes don't quite land. They reuse some of the same lines from the first movie, and it feels as if it really is lazy writing. As far as it seems, they are trying to make Deadpool's catchphrases more clear. But to me, it was just annoying.
• The jokes seem to build off the story in this. Whereas the first one felt more improvisational and made it seem like the plot revolved around the humour. Here it just seemed like the comedy was slotted into this action film. But it's not all that bad, just let down the overall tone of the movie.
• CGI is actually pretty bad. It's so distracting, it takes away from the comedy they try to sprinkle over it.
• Wade. He is focused on more than the first. And I just didn't like how they were trying to go about it.
• Along with the focus on Wade, the emotional scenes don't mix that well with the comedy like they did in the first.
Other Things
• You're going to want to stick around for the mid-credit sequences. They are some of the best ever in a Marvel movie, and in movies in general.
• There are two mid-credit scenes (almost back-to-back) and no end-credit scenes.
Spoiler Things
• The X-Force joke is so damn good that I can forgive the lack of build in the team up until the very humorous end. Again such a great ballsy move. Props to the studio.
• The villains in this movie, aren't really present in terms of villains. The first Deadpool had a villain, he had to beat him. Done. This sets it up to be all about Cable, but it actually gives us villains that turn out to be the same as Wade. Which is great for a Deadpool movie to show anti-heroes having a connection with the villains they are fighting.
Conclusion
DP2 is not better than the first. It lacks the simplicity and catchy humour that it had. But, it does grab onto you and takes you on a ride that is not as funny, but is just as enjoyable than the original. I don't see it being as rewatchable like the first. But as its own movie, it holds itself up for a fun experience, wonderful character portrayals, and a damn good time.
IF YOU THROW ANOTHER MOON AT ME I’M GONNA LOSE IT
While the film is an incredible and affectionately made tribute to the boys, there is a fair amount of artistic licence used and the film’s story differs from real life events.
“Zenobia” - The Elephant Film....
In “Stan and Ollie”, the film portrays Stan at Fox Studios ready to sign a contract but Ollie doesn’t turn up because he’s still at Hal Roach Studios, making “the elephant film” ( the actual title was “Zenobia”).
In reality, after leaving Roach Studios in 1940, both Laurel and Hardy made 6 films with Fox Studios and 2 films for MGM between 1941 - 1945. (Therefore Ollie did actually turn up to sign the contracts.)
“Zenobia” was made in 1938, when Stan’s contract with Roach had terminated and he was unwilling to sign a new contract with Roach until Ollie’s had expired too. Therefore they could sign a contract at the same time together. It was the next best thing to having a joint contract.
While the “Stan and Ollie” film portrays them both as remaining bitter about “the elephant film” and eventually having an argument in public about it, the reality was that it was never an issue between them. By all accounts, they always remained friends and never had a falling out.
“Stan and Ollie” doesn’t mention the fact that Ollie appeared in two further films without Stan. “The Fighting Kentuckian” (1949) starring John Wayne and “Riding High” (1950) starring Bing Crosby.
If “the elephant film” was such a big issue between them, it’s doubtful Ollie would have appeared in two more films without Stan.
Nobby Cook.....
In the biopic, when Ollie falls ill, tour manager Bernard Delfont convinces Stan to temporarily join a new comedy partner named Nobby Cook. Due to his loyalty towards Ollie, Stan backs out at last minute, causing them to cancel the show.
Nobby Cook was actually a fictional character created for the “Stan and Ollie” film. There was never any attempt to form a new partnership. In reality, Ollie suffered a mild heart attack in Plymouth in May 1954. He recovered at the Grand Hotel and they both sailed back to the United States on 2 June. Ollie sadly passed away in 1957.
The UK Tours....
Laurel and Hardy toured the UK in 1947, 1952 and 1953-54. They had also arrived in the UK for a holiday back in 1932, however the huge crowds of people that greeted them prevented any relaxation they might have hoped for.
The “Stan and Ollie” film portrayed it as though they’d lost their popularity and that they were initially playing to almost empty theatres. In reality their first tours were highly successful. The crowds that greeted them at each public event can only be compared to Beatlemania.
It was only on their final tour in 1953-54 that audience numbers occasionally dropped but certainly not to the same extent portrayed in the film. Contemporary reviews of this tour were also mixed, most likely due to Ollie’s failing health.
On all of their tours they were part of a package variety show with a number of different acts on the bill.
Hal Roach Studios - The Lot Of Fun.....
Laurel and Hardy’s film producer, Hal Roach was nothing like how he was portrayed in the biopic. All of his actors and crew were extremely well paid.
In 1934, Roach paid himself $2,000 a week, Ollie also received $2,000 a week and Stan was on $3,500 a week. Therefore Roach was paying Stan Laurel more money than he was even paying himself. This was reflective of the many extra hours Stan spent working with the writers before and during the production and then working with editor Bert Jordan after photography was completed.
If certain scenes didn’t play too well in the previews, Roach never objected to spending more time and money to make it a better comedy film.
According to Laurel and Hardy film historian, Randy Skretvedt: “Roach actually lost money by making the three and four-reel films because the agreement was for a set number of two-reelers.”
On making the four-reel Laurel and Hardy film “Beau Hunks” Roach told Skretvedt: “It was already sold as a two-reeler; we couldn’t get any more dough out of all the circuits because they’d already bought it. But it was just one of those things; it was intended to be a two-reel comedy, but it kept getting funnier.”
Roach kept Laurel and Hardy on separate contracts that expired six months apart. This was to encourage them to stay at his studio. While some would say that this was a manipulative arrangement, it is understandable that Hal Roach wanted to keep the biggest comedy stars of the day at his studio. Especially considering the fact that his first major star, Harold Lloyd left his studio in 1923 to produce his own films.
In the Laurel and Hardy Encyclopedia, Glenn Mitchell writes: “Though necessarily ruthless, Roach permitted his employees a mostly free hand with an agreeable environment; most agree that there was no finer boss.”
“There’s been no other studio to date like it. MGM, Fox, Universal - they were nothing but machines. The Roach lot was very individual. And the people there had talent with a wonderful sense of humor. The Roach studio was nicknamed ‘The Lot of Fun’ because it was a comedy studio - and it was a lot of fun”. - Roy Seawright, optical effects department. Quote from “Laurel and Hardy, The Magic Behind The Movies”, Skretvedt.
"Much of the time, you feel like you're beholding the real duo, so thoroughly conceived are the actors' physicality and performances”. - Todd McCarthy, The Hollywood Reporter.
While “Stan and Ollie” is a fictional re-imagining of the events and creative with the facts, it is certainly an excellent tribute to their work and legacy. Many skeptics have been astonished by the skilled performances of Steve Coogan and John C. Reilly and most agree that they couldn’t have chosen anyone better to play the parts.
The costumes and set designs for the film are nothing short of phenomenal. During the re-creation of the famous dance sequence (from their 1937 feature “Way Out West”), they were able to use exactly the same background footage used in the original film. It’s this attention to detail which makes the viewer believe they’re watching the original sequences.
Most importantly, the film has helped put Laurel and Hardy back in the limelight and encouraged parents to show their children the greatest comedy films of all time. Their timeless humour appeals to all ages and this film has helped introduce them to a new generation.
It is a very funny and moving film made with genuine affection for the comedy of Laurel and Hardy.
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
The friend zone has been taken to a whole new mechanical level.
Oh hey, it's February the 2nd, let's re-watch this for the umpteenth time. :D
Oh hi trakt
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.
The rating should at least be in the 90s for sure! Very inspiring movie for me personally. If you have an idea you are trying to get off the ground, watch this movie, then you will start working on it immediately after. Trent Reznor & Atticus Ross do an amazing job with the soundtrack. Interesting note that approximately 83% of trakt has been coded while listening to this soundtrack :)
I'm not sure this is a worthy continuation of the tv-series. I really liked the series, but this movie kinda falls a bit flat. I don't know if I'm grown up since I saw these guys last, or if it's possible to take immaturity too far.
There were a few good laughs, and it was great seeing all the characters again, but again, I wasn't really all that impressed.
...and well...I kinda liked the football part of the series. No football at all in this movie.
ever since i first saw Carol in theatres on opening day back in December 11, 2015 after missing my flight to mexico, cinema has gone downhill. i genuinely can't think of a more perfect movie than Carol. this is a film about seeing and being seen, looking and being watched, longing and being received. it's a film about women finding redemption in a world made small, unfriendly and inhospitable by stupid, egotistical, controlling men. every single look or touch shared between carol and therese is so deeply imbued with unspoken feeling and warmth.
this movie makes me shout let's go lesbians but it also makes me sad, angry, and sob. there's a million things i could say about this movie, this movie means so much to me... but specifically therese means so much to me because it's so true to my Life. SOME MOVIES CHANGE YOUR LIFE FOREVER. Carol makes me wanna set myself on fire but it also gives me hope.
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.
I love this movie so much. A completely bad ass lead slashes her way through some bad guys and a few great twists. I don't understand why people have a problem with the ending. The ending is amazing!! Seriously, I don't know why Sharni Vinson isn't in a million horror films by now. Also....of course, I can't not mention the original horror icon, and my personal favorite, the one and only Barbara Crampton. I LOVE THIS MOVIE!
“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.“
Even my 6-year-old son watches it in complete silence.. There are no words to describe it.
I have seen this film many many times, last night on my hd tv in blu ray, and looked absolutely amazing, this is a masterpiece, this is cinema's mona lisa, absolutely spellbound watching it, gets better with every viewing
Remember when you watched 2012, San Andreas, Geostorm, The Day After Tomorrow and you wished there had been more action? Well, Hurricane Heist is the first disaster film where you'll wish there was less because what they have here is so cringe-worthy it feels like watching your parents have sex: yes, it's action but my lord, no one should have to witness something that awful.
The CGI is from the 1970s, before it existed, with rain that looks hand-drawn and special effects made with a Snapchat filter. There is enough WTF in this film to sink a small island and the only thing more predictable than the story is how much you're gong to hate this film should you see it.
Hurricane Heist is nothing more than a storm in a teacup. Watch Twister again, instead.
i just watched this movie for the second time and it's still fantastic
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.
10 for the first story line and 5 for the others.
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.
Wow, just wow. Kinda been in a teen/high school movie phase as of late but had no idea what i was getting myself into with this one. Not your typical teen movie where you meet girl fall in love with girl movie plot so much meaning and value in this story and not even a romance really at least I don't really think it is. Such a great cast Emma Watson is obviously good, Ezra Miller and Paul Rudd are both great, and Logan Lerman is phoneomeal I mean phoneomeal, kid really did a great job. For a high school movie where you would expect such upbeat and happy themes this movie wasn't afraid to constantly stay real. Don't get me wrong this movie isn't depressing just it's so real I mean you could feel it through the screen where at times you didn't want to watch, because of the awkwardness or tension cause you could feel it as if you were the character in the movie, this movie definitely surprised me.
