Trakt for iOS
Works on iPhone and iPad.
A comedy should be judged by if you laugh. A horror movie should be judged by if it is frightening. If this movie was judged by its ability to put an audience to sleep, it would be great. It's a horror movie, though, so a fail. I'm not saying I saw the end coming, but all the characters acted like they were just serving the plot instead of being actual people. Toni Collette's performance (or was it the script?) was incredibly uneven as she moved from unaffected to completely traumatized...sometimes within the same sequence. I actually liked the final story reveal and it was certainly built throughout. The problem is it took forever to get there and I hated every character so much, I couldn't care less if they lived or died. Garbage that every critic wanted to use "heightened" in a review will be lining up to kiss its ass. Here's the thing...my theater was full and never even a gasp. Did hear one dude snoring, though. See at your own risk.
This movie stressed me the fuck out.
The Dark Knight movies were so much better. The second Batman held up a thumb attached to a thumb drive and said “thumb drive” I was absolutely done with this movie. The score and cinematography are good and all, but that’s about all this film has going for it. The best thing in this film is knowing that the Riddler canonically records vertically on his phone. The acting was subpar at best.
Why is Parasite such a big deal? Because it’s different. It’s not a Hollywood movie, it's completely new and original.
I don’t think Hollywood is running out of ideas, but I think they’re more focused on making a profit and safe choices. That’s why they keep remaking the same tired scripts with different actors. Basically, the studios are too afraid to take a chance on something new because they are scared the movie won’t be “woke” enough. That’s why studios are busy with actors' skin color, sexuality or gender, not the actual story or characters. Creators want to be seen as “woke” without actually developing good, complex personalities and storylines for the characters because flaws make for interesting characters, but showing a female/minority character with any flaws will be condemned as sexism/racism by SJWs. That’s how you end up with shallow Mary Sue heroes with no character development.
Parasite is wildly innovative, suspenseful, unpredictable, with many subtle metaphors and satirical notes with pure silence. This is not a "bad guys" vs "good guys" movie, the world isn't black and white. The creator went out of his way to make sure the line of good vs bad was non existent. There are no teams, we are not supposed to pick sides. Both families are fucked up, and all of them are parasites, in some way. I really liked the use of stench as a symbol for poverty. And how the movie pitted a poor family against another poor family, and ultimately the poor people are the ones that still lose. Also, the movie shows how greed can be your downfall.
Just like any other movie, it requires some suspense of disbelief at various points. For example, somehow surviving two rock hits; the detectives didn’t search the entire house, even though they were looking for a man wanted for murder; the scene where the Kims are hiding under the table dragged out but the slow zoom on Mr. Kim’s face as he felt entirely ashamed in front of his children was so utterly heartbreaking.
It is definitely a well-made movie that holds your attention throughout. However, I do still think its a little overhyped by some people. Calling it the movie of the decade is beyond hasty.
I can’t. This was like watching a senior project or something and not a quality film. Acting was mod, interesting plot twist at the half way point but then goes completely downhill. “Effects” are terrible.
Not my jam.
This movie is really something special. Having had this sold to me as "John Wick but with Nic Cage and a Pig", I went in expecting dumb action and loud set pieces. What I actually got was Chef made by A24, and I absolutely loved it. Pig is a sombre look at the effects of grief and loss on those left behind. It's bleak, but so masterfully told and way above the expectations I'd set for myself going in. So much is told with so little dialogue, it's truly impressive stuff. Nic Cage really turns out here also; the man is the epitome of range and he absolutely nails this performance. Wow, great great stuff and much to muse on, do not skip this.
I had heard good things going in, and I was still thoroughly impressed. This is definitely my favorite movie I've seen this year, and quite possibly in the past few. While he is at some of his best in the movie, very little of that has to do with Nicolas Cage.
There is way more substance than the trailer gives you clues to. Outside of the rich narrative, the film is a masterclass in "less is more" to illustrate complex subjects through well executed inference. Michael Sarnoski's writing and directorial debut demonstrates some of the best storytelling skills I've seen in a long time. This will be a piece I point to for a while on effective filmmaking.
Underneath the novel premise of the movie is deep subject matter and one of the more mature explorations of grief and purpose in life. I wouldn't call this a feel good movie, but rather one that lays out a difficult but healthy and necessary path to dealing with tragedy and loss. I called Manchester by the Sea on of the best movies on grief ever made, because it showed how broken it can make people. Pig is an answer to it that shows the health of acceptance and recognizing the value in what we chose to spend our time doing.
This was a loud non stop chaotic trip. There were very few breaks to catch your breath. Some people are going to hate it. Adam Sandler is terrific, it's great to see him doing something different than his normal Netflix crap. The music is trippy.
This is a movie about Steven Patrick Morrissey (who would later become Morrissey, frontman to the seminal 80s art pop band The Smiths) not singing.
While the film details the lad's pre-fame roots as a giant stereotype filled with neuroses and ego, England is Mine doesn't feel like Morrissey's story. It feels like someone else telling us Morrissey's story--and not doing a good job of it, at that. The recreated Manchester of the late 70s / early 80s looks as superficial as the costuming and hair design, and the character's pouty hubris is more grating than fingernails on a cheese grater.
Do we really need a cliche ridden biopic to learn that young Morrissey was an average moody teenaged pretentious twat with a hatred of people, dislike for work and a love of himself? Or is that something we already suspected before-hand...
