A thriller about relationships, the limits of fidelity and jealousy that is developed with solvency, with perturbing elements that create a strange atmosphere, between nightmares and disturbing memories. But it's when the story embraces the mix of genres, when it becomes more interesting. And the ending is so crazy that it ends up being brilliant.
You can tell this movie was made by a woman. in a country like saudi-arabia in which women have to hide their body, hair and even faces, this movie shows everything from a female perspective. You learn about the things females face every day in saudi-arabia, which is really interesting and it makes you think. Not long ago it was quite similar in Europe, which ppl tend to forget.
Being that I am a sucker for the conflation of humans and animals this pretty much hit the sweet spot for me. Much love to little Scraps, may he have a long and illustrious career. For a seminal early work it is not difficult to see why Chaplin succeeded, truly a democratic figure and talented performer.
Although I prefer late Chaplin to early Chaplin - "The Idle Class" is hilarious. Chaplin's light-hearted barbs at the rich are always appreciated. prefer his darker, more savage critiques of Capitalism ("Monsieur Verdoux," etc) but - hey, It's Chaplin. What more needs to be said? He had more talent in his foot than most "actors" or "directors" have in their entire bodies. Even when he's bad he's great.
It's fun to observe these little men overthink everything they see, and ultimately getting it all ridiculously wrong; fun to hear all those snobby French monologues collapse under the weight of their own autoindulgence. I loved the drowsy Mediterranean atmosphere: too bad the cinematography was so amateurish. It often gets as annoying as the characters it satirizes, but in the end I appreciated its subtle sarcasm.
Whilst it lacks the allegorical potency of Ellis' 'American Psycho', this Palahniuk adaptation captures the jaded ennui of 'the postmodern condition' with hyper-real simulations of dysfunctional masculine identity. Fincher's depiction of Tyler Durden; the idealised alter-ego and schizophrenic actualisation of the Narrator's inferiority complex (a ripped, 'rebel without a cause' Brad Pitt), still deserves acclaim.
I was so excited to watch this. The topics are so interesting.
I've listened to the podcast for a long time. I like the research and I like being spooked. However, Mahnke has ALWAYS been a weirdo. In the podcast he really overuses "you see...." and he loves a weird pause. The acting in the show could be better. I love Holland Roden so I liked seeing her in a new role. I watched the whole thing because I was avoiding other tasks and I couldn't get netflix and hulu on the wifi I was using. Would I watch this if I had other things to watch? No. Is it like the podcast but with less detail? Yes. Strange that they adapted it, feel like everything they covered was already on the podcast. Seems like this didn't need to be made.
What kind of person wants to inhabit other people's lives? An actor. Only with an actor there's not the same type of risk.So he's a bit of an adrenaline junkie. I kept wondering what he was going to do in their position. Would he be a killer? In this case he takes the musician and makes him a better person.
Released on Mr Bongo in 2005 "Terra em Transe" is dated, and has a confused screenplay, although being magnificently updated regarding the lack of ethics and the amoral behavior of the politicians. If the reader has had the opportunity of reading Machiavelli's "The Prince", you'll probably see how the behavior of politicians remains unchanged along the centuries.
However, keeping in mind that in this is movie Brazil was under a tough military dictatorship, this movie is a milestone in the history of Brazilian New Cinema. Glauber Rocha was very braze, discussing forbidden themes such as fight of classes, manipulation of the submissive masses by the elites, corruption in politician, anarchism, campaign promises not kept after the elections, economical power of foreign groups (or countries) in Latin American countries and coup d'état. In 1967, "Terra em Transe" was awarded with "Great Prize" in the Locarno Festival (Switzerland); "Luis Buñuel Prize" in Cannes Festival; "Federation of International Critics Prize" in Cannes Festival; and Best Movie of the Year in the Air France Prize, among other prizes
A series of loosely connected vignettes, most all of which are single takes, focusing one a few different characters and their lives, sometimes intersecting. This is not an easy film to watch, partly because of its depth, mostly because of its unrelenting bleakness. It almost feels worth it, but in the end anything I feel I may have gotten out of it is overshadowed by its weight.
Rosamund Pike is a really good actress, whenever she's on screen it's impossible to not to look at her and her villainous smile, and when she's not you just miss her. But, she's typecast - it's a repeat of Gone Girl and ever since the Fincher film she's never been offered something better or different.
OMG I've had relationships that seemed shorter than this film. Despite some fine examples of editorial technique during some sequences the film , for so slight a plot, goes on forever. Also not assisted by the mugging of lead Severin Mars. To think this 4 1/2 glacier was once near 9 hours is a staggering thought. The moments of brilliance do not compensate for the whole. The entire final hour is superfluous.
Arletty is wonderful, but this thing could use a bit more subtlety
No idea why this is regarded as a 'lesser' Carné. I find it more relatable than the rather stagey and single-mindedly melodramatic 'Quai des brumes'. There is quite a bit of taboo-busting (in the way suicide is presented - apparently, Sartre took notice), coupled with subversive accents (the kid from Civil War Spain, the accepted homosexual), on a background of ever-present empathic humanity.
Beautifully shot and acted melancholic journey, filled with broken dreams and that fog... Charmingly old-fashioned for the most part, a bit out-dated in some regards, but still this is an exceptional film, and a masterful blend of romantic poetry and cinema. I understand why it had a difficult start, as it's quite heavy and depressing - it wasn't exactly what people on the brink of WW2 were eager to watch (I guess).
Plain actors (PC) with presence and talent are dramatic shortcuts.. Harry Baur, Max von Sydow, Gene Hackman, Paul Douglas, Ralph Richardson, Louis Jouvet, Raimu add authority, craziness and humanity to film. It may be ungallant to list women but what about Frances McDormand, Anna Magnani, Olivia Colman. Here, Simon is expressive in part due to his looks. He uses them as an artist in the service of a near-great film.
Haifaa al-Mansour is the greatest director of our generation.
Better to perform than conform! I'm really fond of Al-Mansour's smooth style of protest drama portraying bold and profound female protagonists who raise a voice against the calloused cultural concerns in Saudi Arabia to spark a debate upon the strict patriarchal mindset. She paves an undulating yet bright path of possibility leading toward tolerance and acceptance by deconstructing sexist tradition of theocracy.
Lovely beautiful film, I cried twice, it was warm and interesting
I think I still need some time to process this film, but for now I have to say what seems so simple its so thoughtfully made. A coming of age from a middle life point of view and the message that change is good. I am beginning to think that Mia Hansen-Love has still a lot to give and I am genuinely excited for her films to come.
Goodnight Mummy is tough to call: It sets up the movie perfectly, builds tension very early on and is likewise tightly shot, with the twin brothers performing strong. Yet the film's second act lets it down. There are scenes that stretch so long, when ending does eventually hit, you would think it happened in an instant. This is a hard movie to sit through ultimately and it is a shame because it has so much potential.
This movie starts off slow but it finishes with such a refined ending. Emotional, powerful, beautiful. Absolutely worth the watch.
It was an okay movie. The acting was good. I'm not a deaf person but I could tell there were some things that were just kind of...off. Like he was so shocked at how the implants sounded but wouldn't the doctors have prepared him for that before he shelled out thousands of dollars and got his head torn open? And the deaf community he was at literally shunning him for wanting to regain his hearing seemed weird, too. Also I couldn't believe the supposed love of his life hadn't even bothered learning sign for him! Wow. She was awful.
Ahead of its time and subtly political. Great shots that don't hold back.
It's always difficult in films dealing with sex to distinguish the border between art and pornography. Nagisa Oshima certainly makes art, even if the story becomes repetitive after the first half and with certain extremes that can certainly be avoided. That said: down the hat to the master for the beauty and the construction of the shots.
This looks painfully cute, and would probably be a huge success in Japan. :D
It's amazing how did the director capture the right moments to fit in the story that he wants , I mean they're animals and it's really hard to give directions right??. But I almost die because they look so adorable!! I remember my cats when they were kittens, life is so short.. HAHA.. And the cats acted so well! HAHAHAHA!!! I love Felines!!!!
René Clair picks up the gauntlet thrown down by Méliès and runs with it-literally, in two separate and memorable sequences. Clair shows that the surrealists (Man Ray and Marcel Duchamp are in the credits) had excellent senses of humor. He also seems to have a blast playing as he invents cinema.
A kind of perpetual monochromatic Mondrian-in-motion. Seen with Sue Harshe's appropriately stark modern score; although the inevitable question is posed of whether the meaning changes with the interpolation of seemingly unconnected audio. Given it's an abstraction, perhaps less so.