Wanted the walkers to eat Costner's head so this mess would wrap up sooner.
The ending isn't "ambiguous" as the film makers assert in the commentary. It's lazy. They didn't know what the Hell they were doing with the story. Ramble ramble ramble, we're getting too long quick! Go to black!
It's very much a "Made in Vancouver, made for TV" film.
There are some good performances hiding here, but they're largely irrelevant. It's not even a little bit subtle, with 30 minutes of story stretched past the breaking point.
Dissident books flee the United States of America to go to Canada, escaping the book burning Salamanders.
A book is killed, and they speak of that work being 'lost to humanity.'
If the US is the only nation (or one of a number) with the book burners, then surely there are other nations with libraries or used book shops.
"He grew an exoskeleton under his skin"
And she's a biologist?
Then some shit about how autism is the 'next human evolution.'
I'm not well acquainted with Giacometti's life or work, but this film is an interesting look into a mad man's process.
Aka Four Shallow Tropes and a MacGuffin.
Jet contrails during the civil war shots?
Confederate soldier with a gold stud ear ring
Gravity all OVER that space station, weird shots aside.
Shaving stubble flying around loose in the ISS.
Too much mumbling.
This isn't about the protagonist going crazy, it's about dragging the audience with him.
So Made-For-TV, it smells.
I have forgotten the contents of this movie.
How little can I care about the characters in a film? Uninspired Westworld wannabe with little plot or performance of note.
Sounds like Netflix has the option on a 10 episode series 2 follow-up, but nothing concrete.
It was alright for what it was. Which was "a bunch of misfits save the world against all expectations." It felt like a TV pilot, thoug, with characters introduced that really didn't add anything to the story but who might be useful in future episodes.
Poor Igor, though. What a horrible birthday.
The "girl fight" was pointless, as was the surprise reveal that the "bad girl" had a past with one of the team.
I was able to suspend disbelief about the tech things until the final bit where the USB drive falls and is "destroyed" by losing its metal shielding. That, however was a minor annoyance compared to the "let's just hook up these CAT 5 cables across the room for... reasons...
It feels like it might coexist in the world Videodrome inhabits. Not pure horror, maybe, but... odd.
I enjoyed it for the content - not so much the film making. The interviews aren't remarkable and the editing could make the film more concise. Five to ten minutes of the film makers driving? Yeah.
Still, big fan of the story hiding in the narrative, though likely due mostly to the nostalgia.
Opening scene in a book store, and the customer is asking the proprietor in an antique book store for an Acting For Dummies book. Neither is doing well in this scene, but one of the actors believes he is.
This does not bode well.
"No comment here, no comment at all. We only wanted to introduce you to one of our very special citizens, little Stephanie, who lives in a house all alone. And if by some strange chance you should run across her, you had best think only good thoughts. Anything less than that is handled at your own risk, because if you do meet Stephanie, you can be sure of one thing: you have entered The Twilight Zone."
I only recently learned of Audrey Hepburn's involvement in the Dutch war resistance, which reminded me that I've seen so few of her films. I've been correcting this mistake, and I was honestly quite surprised by this film. I'm quite happy with how it ended, especially as any other end would have seen Bradley's machinations be rewarded - either financially or by winning the girl. It's aged much better throughout than, say, Breakfast at Tiffany's.
I hated Krypton stories in the comics. Hated. I was afraid of even looking at this series for fear it was like the first half hour of the 1978 Superman Movie that faithfully represented the snoozefest of Krypton stories in my mind.
This is better. Much better. My attention is theirs to lose.
I love the Carmelita mini-dance numbers
AHEM!
The sun has come up!
The day has begun!
Watching you flunk will be so much fun because you're orphans and you're probably dumb!
I'm a sucker for a good impromptu musical number, and there are a couple here. I like that it's a self-aware romantic comedy that doesn't subvert the rules of the rom-com but revels in them.
Film includes the line "Space Honky"
Yeah.
All the producers working on this seem complicit in elder abuse, turning Willis into little more than a prop. He's so far gone at this point that he can barely put together two words, so they have Wilson there to be his voice for exposition.
Ham-fisted production.
Are you fucking kidding me?
"EXTRAORDINARY BELIEFS - WEAPONIZE YOUR CURIOSITY"
More like "Weaponize your stupidity."
"Armed with a patient, a scalpel, black lights, and a stud finder, I was eager to verify the authenticity of this alleged offworld implant technology" says the credulous narrator.
"It's not broadcasting in this electromagnetic spectrum at all, but is using scalar wave technology and then when we use our electromagnetic devices and pick up a radio wave, we're actually reading a harmonic." - Doctor Roger Leir.
"It is alleged that many of these mysterious that Dr. Leir and his team have removed display bizarre characteristics, such as having nano-topography and having metallic compositions described by some labs as exotic meteorite material, not having been forged in the furnace of our own sun." - Film-maker, credulous moron. What lab would describe anything like that? That's insane.
They pull what looks like a pencil lead out of some guy's leg. The lab shows it's "almost entirely carbon." Which likely means that he was stabbed by a pencil in school, forgot about it. Big mystery.
The microscopy guy is a True Believer, though. "Undoubtedly nanotechnological from offplanet."
Then, the film-maker starts editorializing, asking leading questions of the people to further lead them down the path of crazy.
Bad film-making, bad documentary, bad narration. If only there was a lower rating than one star.
The acting ranges between scenery chewing and fair.
The script goes tries going places and just never delivers.
The poster looks nice.
Predictable, unsympathetic characters written so shallow, less than caricatures.
Felt a good 45 minutes too long, and that's impressive for a film with less than 90 minutes of story.
Yeah, we get it, his pal is dead. Stop beating us up with it.
Annoying as fuck. So, mission accomplished?
I have a thing where I try to finish watching films, regardless of how bad they are. Even the worst films can have aspects that are enjoyable. I watched nearly half, and it just wasn't turning around at all. Unappealing start to finish. Nothing engaging or interesting.
I don't often shut a movie off this early, but the boring ass, predictable death scene of the loving father with the cut to the wake? Fuck that.
The only movie I can think of that has SUCCESSFULLY dedicated a substantial amount of its run time to the "how we met" montage is UP.
This is not UP.
I find myself in the second act, hoping that a meteor shows up and destroys the entire universe of this film. Lukewarm garbage. The characters are shallow, have no believable motivation, and they don't seem to be acting with each other.
Then, very soft ending that just further aggravates.
This whole film feels like it's the output of an AI tasked with making a film about law enforcement for a budget in the hundreds of dollars.
Lack of human emotion, sensible motivations, etc.
I mean, there's some acting happening in here, if only accidentally. Kevin Dillon isn't a complete stain, and Shelby Cobb appears more human than anyone else in her half page of dialogue.
I just feel bad for Bruce Willis in these 2022 films. He was being used as a name to lure in producers, and there are so many obvious work arounds to his illness here - lack of two shots, no banter, no shots longer than a couple seconds, no tough words, and no acting needed. A number of very rough dialogue edits from off-screen Willis where they seem to be assembling his lines from single words. Poorly.
Everyone involved in producer roles here should be shunned.
