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Calledforblackup's Replies
How about the Asian kid who didn't have a story at all, was just on the team but I didn't see him do a single thing lmao
This site is called Moviechat, not Conservative Rants and Raves.
It was hiding in the clouds. the cloud didn't move. But it was hiding in plain sight, that's why it was undetected by most.
It was entertaining but it was by no means a good movie. Good for what it was? Sure. And I was thoroughly entertained.
Seeing as over half the movie takes place inside of an Ambulance what did you want it to be called? Oh and it's stylized with LA in color so you know it's an LA movie.
It was kind of low-budget in the sense that the plot felt really paper-thin and the characters all kind of heavy handed cliches.
It's totally pandering when you think about it. But I'm glad someone else found her unbearable. She was a grade A asshole and needlessly assertive and needlessly curt to everyone she spoke to.
It was more of a funny movie but there are a few moments that I was unsure if the tone was going to shift or not.
I agree. I just don't think Wes Anderson has it anymore. To this day, his best film is by far Rushmore and he just can't top it.
It sucks because I think now that I'm much older, I can see through this whimsy and overly stylized direction for what it is. A couple sitting next to me was literally sleeping during the movie. Others were forcing themselves to laugh at jokes that weren't even funny.
I think what I also hate is this pretentious "listing" exposition he always does, when a narrator starts naming random things. "1. He still keeps the same rock collection he's had since he was 8 years old! 2. He told his wife he would marry her, but then he went to travel the world by hot air balloon" Etc. Like I am absolutely tired of that shit.
And now let's get into what I see as "frame porn" - this is what Wes loves to do, and it's quite obvious, that he loves to manipulate how things are centered in a shot - but it's long become a one trick pony and it's just no longer clever to see subjects enter and exit a shot a certain way, it's just pretentious now.
Also, be wary when someone says "well that's the point" - you can see the point and the point can still suck. For example, you can go to a performance piece and watch someone roll around the floor for an hour screaming at the top of their lungs. You might walk away saying "well that was disturbing" and some idiot would say "but that's the POINT. you were SUPPOSED to be disturbed" that doesn't change the fact that the performance was garbage.
Put simply, I don't want my movies to go overboard in style over substance but it feels like The French Dispatch was basically that.
Why? All he did was make wisecracks at the cops. He had no characterization beyond being the "weird villain" lol. He did a good job with what he was given no doubt but he didn't knock it out the park or anything lol
Yeah but I Think the thing is they could have easily left that part out of the movie.
It definitely had some of the same characteristics that Uncut Gems had too (namely, it being very hectic and stress inducing)
It's definitely a bit brutal lol, but why is it a mess exactly?
I don't understand the gripe. What's exactly wrong with it?
One of the characters mentioned, "Werm found out she was leaving but not with you" I think implying that she was cheating on the dude and them being tuff Neo nazis they couldn't have someone disrespecting the crew...... or something.
Are these all really "of course"s? Lmao. The girl survived because she knew her way around a gun. She was the one in the beginning immediately talking about that gunplay. "Just shoot them" lol. And when she pulls up with the shotty she blasts first and ask questions later. That's why she survived.
Anton Yelchin's character surviving I think is more about him being the most cautious. The other band members were either too headstrong or too weak.
A lot, actually.... it feels like all of No Country For Old Men was told in a sort of an "eyeline match" and "shot/reverse shot"/ style, where we look at a character and then we look at what they're looking at. That happens alllllll the time in this movie. Couple that with how light it is on dialogue. The whole feel of this movie is No Country For Old Men.
Wouldn't it have been a faux pas to start dating the widow of a "legend" in the firefighting unit anyway?
That's beside the fact that Ray seemed opportunistic to the fact that she was a widow as well.
The movie already explained why precrime is flawed with Tom Cruise's situation. That is, to have knowledge of the crime you could commit presents you with a choice. If Tom Cruise doesn't kill the guy, that means precrime was wrong (and couldn't predict the murder). On the other hand if he kills him and they didn't catch him beforehand, they didn't prevent the death and it's flawed in that way too. The stuff with the old bad man is just icing on the cake on why the system as a whole is bad. As Colin Farrell states, the flaws are human in nature. The other part of why it's a bad system is because people aren't actually committing the crimes. they were going to, but they didn't, so it is a deep philosophical question at that point, if they didn't commit the crime how can they go away for crimes that they didn't actually commit?
I agree though, the use of clairvoyants is totally insane/out of the realm of possibility. but it's suspension of disbelief, man~
I think it was going for big impact there and it was kind of darkly comic in a way but ultimately it didn't "wow" me like some other Korean films with big twists like The Handmaiden or Oldboy. It's a surprisingly weak film for all the praise it had been getting all year.