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Movies You've Seen Recently |OT| February 2017
- Thread starter Divius
- Start date
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Spacehunter: Adventures in the Forbidden Zone I saw this as a kid and remembered just some fat dudes sliding down a tube and amazingly found this by that description. The movie is pure 80's cheese but the leads actually put in what I would consider good performances for such a shitty movie. Unfortunately the movie still isn't very good.
The Ninth Configuration This on the other hand was a damn good movie about some military guys that have gone insane. William Peter Blatty was in on some weird stuff that is for sure.
Le chant du Styrène The guy that did Night and Fog did this as well which is a documentary about plastic manufacturing back in the 50's. Pretty cool short documentary. It's almost hypnotic to see an actual filmmaker take that craft and apply it to something as boring as plastics could be. You get a lot of interesting shots of pipes and stuff like that but through a better lens if you will.
Video Nasties: Moral Panic, Censorship & Videotape Saw this up on Shudder and dove right in. In the US we had battles over music where the UK had this battle with stuff like Cannibal Holocaust and other so called nasties. Let's face it, whether the medium is music, books or movies there are some really out there things that make people uneasy which is what starts all this so it was cool to see that the 80's had some censorship around the world so to speak.
The Ninth Configuration This on the other hand was a damn good movie about some military guys that have gone insane. William Peter Blatty was in on some weird stuff that is for sure.
Le chant du Styrène The guy that did Night and Fog did this as well which is a documentary about plastic manufacturing back in the 50's. Pretty cool short documentary. It's almost hypnotic to see an actual filmmaker take that craft and apply it to something as boring as plastics could be. You get a lot of interesting shots of pipes and stuff like that but through a better lens if you will.
Video Nasties: Moral Panic, Censorship & Videotape Saw this up on Shudder and dove right in. In the US we had battles over music where the UK had this battle with stuff like Cannibal Holocaust and other so called nasties. Let's face it, whether the medium is music, books or movies there are some really out there things that make people uneasy which is what starts all this so it was cool to see that the 80's had some censorship around the world so to speak.
Net_Wrecker
Member
People who act like it's sacrilege to not have T2 in thier top 3 are weird since Jackie Chan has like 4 T2s by himself. Take a chill pill brehs
PassiveObserver
Member
Saw Paterson today. I liked it as expected, but it didn't quite hit the highs of a say Stranger Than Paradise or Mystery Train. Solid 4/5. The Berkeley crowd was a bit much though; the dog elicited guffaws every time he appeared on screen, when chuckles would've sufficed. Now I've seen 10.5/12 of Jarmusch's films (fell asleep during Dead Man and skipped Limits of Control). Still chasing that initial cool achieved in Stranger.
AngmarsKing701
Member
La La Land (2016) - what a delight. An absolute delight. Someone once wrote a review for my first novel, saying they were "swept away" by it. That's what happened to me here. Swept away. I loved the vibrancy of it, the energy. Gosling and Stone were amazing. And we visited LA a couple years ago, so seeing the city from that Observatory road was something we had done. So cool. I loved the way Gosling talked about jazz, how every song was different, how a sax player would take over with a different beat or rhythm and the rest of the band would catch on and play along until someone else, the trumpet player, would take that beat and overwhelm it with one of his own, as if the entire song were a battle. And I loved how Chazelle brought that back in for the ending, with that last piano piece, how the movie changed, became something else, promised a different ending, until the piano stopped playing.
Amazing. Beautifully shot. Wonderfully acted. Bittersweet. Tough to believe we got something this delightful in 2016/2017.
4.5 / 5
Edit - also thought it funny that two of my favorite movies of 2016, this and Deadpool, have highway scene openings.
Amazing. Beautifully shot. Wonderfully acted. Bittersweet. Tough to believe we got something this delightful in 2016/2017.
4.5 / 5
Edit - also thought it funny that two of my favorite movies of 2016, this and Deadpool, have highway scene openings.
MidnightCowboy
Member
I recently rewatched Stranger than Paradise and what struck me was how the movie manages to convey such a cool tone, considering the characters are remarkably uncool. They all want to be cool, and they all act cool, but it's all for show. Contrast that with the Japanese dude in Mystery Train, who is so fucking cool without even really trying.
Get Out: Great stuff from Jordan Peele's directorial debut. Really looking forward to what he does in the future. Saw him tonight at a Q&A screening where he said he has about 4 other social thrillers he's working on over the next decade, so that's exciting.
Get Out is a really tightly-plotted thriller about race that strikes a fine balance between delivering comedy and scares. The comedy always feels grounded and realistic and avoids stepping into Wayan Bros parody humor. The horror is sometimes a little campy but I felt invested because the main character and the struggle felt real, so the ridiculousness of the situation never took me out of it cause the main character's reaction usually echoes how we're supposed to feel while watching. The ending is perfect too. Highly recommend people see this one whether you're familiar with Peele's comedy or not.
It's a film that takes more risks with its subject matter rather than just stuffing it into a Hollywood genre filter and coming out with a superficial thriller.
Get Out is a really tightly-plotted thriller about race that strikes a fine balance between delivering comedy and scares. The comedy always feels grounded and realistic and avoids stepping into Wayan Bros parody humor. The horror is sometimes a little campy but I felt invested because the main character and the struggle felt real, so the ridiculousness of the situation never took me out of it cause the main character's reaction usually echoes how we're supposed to feel while watching. The ending is perfect too. Highly recommend people see this one whether you're familiar with Peele's comedy or not.
It's a film that takes more risks with its subject matter rather than just stuffing it into a Hollywood genre filter and coming out with a superficial thriller.
Lion (2016): Bringing the tally of Best Picture nominees I've seen to seven (and that's probably all I'll see before the ceremony, unless the Cineplex shapes up and gets Moonlight or Fences in next Friday). This is a solid film. The common refrain in reviews is that the second half is weaker than the first, and I basically agree with that; the story of the young Saroo is gripping and immediate, and filmed very engagingly. The second half of the film is good, but you can see them trying to corral the story into an engaging cinematic narrative when the main action isn't particularly cinematic (it's also a great example of a narrative that would be dismissed as insanely contrived and implausible if not for the fact that it actually happened). Great cast, even if Rooney Mara is seriously overqualified for the part she's got here (though the scene where she and Patel dance in the street is the most charming I've seen her in a movie; she's generally in much more dour roles).
The Merry Widow (1934): Another Lubitsch musical, which feels very much like a retread of The Love Parade, reuniting that film's stars, Maurice Chevalier and Jeanette MacDonald, for a romantic plotline that also involves affairs of state in a made-up European kingdom. I can't entirely decide how I feel about this film, because it entirely lacks the dubious gender politics that marr The Love Parade's finale, but at the same time it never feels anywhere close to the highs of that other film's first half.
The Music Man (1962): The opportunity presented itself to see this iconic 1960s musical, oft-parodied in years since. And...eh, it's okay. Unlike so many film musicals from slightly earlier, the songs don't feel like isolated setpieces that exist solely for their own sake; but at the same time, none of the songs are terribly memorable either, and Hill's character arc never really land for me.
The Merry Widow (1934): Another Lubitsch musical, which feels very much like a retread of The Love Parade, reuniting that film's stars, Maurice Chevalier and Jeanette MacDonald, for a romantic plotline that also involves affairs of state in a made-up European kingdom. I can't entirely decide how I feel about this film, because it entirely lacks the dubious gender politics that marr The Love Parade's finale, but at the same time it never feels anywhere close to the highs of that other film's first half.
The Music Man (1962): The opportunity presented itself to see this iconic 1960s musical, oft-parodied in years since. And...eh, it's okay. Unlike so many film musicals from slightly earlier, the songs don't feel like isolated setpieces that exist solely for their own sake; but at the same time, none of the songs are terribly memorable either, and Hill's character arc never really land for me.
TissueBox
Member
"Your anger is shutting down the brain God gave you."
Empowered, brash, searing, this is a movie driven by pristine main performances from two Edwards and a study of the racism cycle seamlessly disguised as a powerfully bold and dirty cinema verite melodrama. The extravagantly ominous and sentimental score paints the events as they happen as not just urban unrest, but for what they may be at the core -- an ancient struggle that's as close to home and our own families as it is the very essence of American, international, and human history. Through this glimpse at a fascinating subculture and an even more fascinating character in Derek Vinyard, and the tragic society he finds himself and his loved ones in the center of, we are given no untimely reminder, but also no new answers -- just a glimpse.
- American History X
Empowered, brash, searing, this is a movie driven by pristine main performances from two Edwards and a study of the racism cycle seamlessly disguised as a powerfully bold and dirty cinema verite melodrama. The extravagantly ominous and sentimental score paints the events as they happen as not just urban unrest, but for what they may be at the core -- an ancient struggle that's as close to home and our own families as it is the very essence of American, international, and human history. Through this glimpse at a fascinating subculture and an even more fascinating character in Derek Vinyard, and the tragic society he finds himself and his loved ones in the center of, we are given no untimely reminder, but also no new answers -- just a glimpse.
- American History X
Discotheque
Banned
Absolutely. It's always gonna be a top 10 for me though
mariachi507
Member
Last Action Hero - It's messy, but the good outweighs the bad in my opinion. The tone can shift to disturbing (break in at the beginning, to McTiernan action, to fucking 90's Disney (the ending) and I really don't think the movie knows what it wants to be. Speaking of the break in, the only purpose it served was making Danny late to the midnight screening of Slater IV, but that still didn't have any consequences, what the hell was the point? It's never even brought up again. That's one of my main issues with the movie, much of it doesn't have any consequences or bearing on the story. It's just there to get us from point A to point B and doesn't serve any purpose really.
The film tries to juggle not only having a three act structure with it's main story, but also having a three act structure for the movie within a movie. It's ambitious, but it doesn't really pull it off. I could care less about Danny or his story and was much more interested in Jack Slater. I really wish the movie went further into Jack coming to grips with him being a fictional character, and that all of his pain was written for entertainment. Westworld dealt with this same themes in its first season, and the time given to deal with these issues are my favorite in the entire film.
Critics completely panned the film and it lost money at the box office, but it opened the week after Jurassic Park so it didn't really have a prayer. I feel that the movie is ahead of it's time with it's metaness and scenes parodying the action tropes at the time are a riot. If the script was developed more and the plot was made tighter Last Action Hero could possibly be an all-time classic. It may miss the mark but it's still worth your time.
6.5/10
The film tries to juggle not only having a three act structure with it's main story, but also having a three act structure for the movie within a movie. It's ambitious, but it doesn't really pull it off. I could care less about Danny or his story and was much more interested in Jack Slater. I really wish the movie went further into Jack coming to grips with him being a fictional character, and that all of his pain was written for entertainment. Westworld dealt with this same themes in its first season, and the time given to deal with these issues are my favorite in the entire film.
Critics completely panned the film and it lost money at the box office, but it opened the week after Jurassic Park so it didn't really have a prayer. I feel that the movie is ahead of it's time with it's metaness and scenes parodying the action tropes at the time are a riot. If the script was developed more and the plot was made tighter Last Action Hero could possibly be an all-time classic. It may miss the mark but it's still worth your time.
6.5/10
Baroquemantic
Member
Doctor Strange
I think that was the coolest shit I've ever seen! The visuals and effects were just friggin insane. I regret not seeing this in theaters, because I've still never seen a single movie in 3D and I really need to see all those crazy effects in 3D. I hope this is still playing in theaters or IMAX or whatever somewhere near me.
Anyway, that was dope. One of my favorite comic book movies ever, so far. Also some great music accompanying the stellar visuals.
As for Mordo,
⭐⭐⭐⭐½
I think that was the coolest shit I've ever seen! The visuals and effects were just friggin insane. I regret not seeing this in theaters, because I've still never seen a single movie in 3D and I really need to see all those crazy effects in 3D. I hope this is still playing in theaters or IMAX or whatever somewhere near me.
Anyway, that was dope. One of my favorite comic book movies ever, so far. Also some great music accompanying the stellar visuals.
As for Mordo,
I don't like the way they show him going the villainous route. I just find the reasoning really weak. I know he strongly believed in the teachings, but bruh, c'mon. Meh.
⭐⭐⭐⭐½
In the Heart of the Sea: The story behind Moby Dick always fascinated me (bug Melville fan). I liked the film overall. I can see why many did not like it, it doesn't exactly set the viewer on fire with narrative, characters, or visuals. I didn't like some of the changes they made, like suggesting Pollard was a rookie who didn't know Chase, and Chase wanted his job. The two men, IRL, had already been on a successful whaling trip together at that point and were friends.
Now You See Me 2: I didn't care for the first, but I decided I'd just go with the second and try to have fun. It is kind of corny, but the stuff they do is cool and the movie is fun. I wanted to ogle Isla Fisher but I guess she dropped out. Pretty fun, a much wider scope than the first and a better plot.
Now You See Me 2: I didn't care for the first, but I decided I'd just go with the second and try to have fun. It is kind of corny, but the stuff they do is cool and the movie is fun. I wanted to ogle Isla Fisher but I guess she dropped out. Pretty fun, a much wider scope than the first and a better plot.
darkwing-buck
Member
Wow you guys weren't kidding, Spectre is bad. Worst Bond film I've seen since Die Another Day.
Cool, now thanks to this very detailed opinion and explanation I can now understand it's THE WORST. Thank you.
Hexxen-Panda
Member
MY DUDE.
Believe me that this is one of those situations where someone is telling you not to put your hand on a hot stove.
Sneaked in one more film last night!
Network: Me, back in 2003 when I saw this for the first time in a media studies course: "Why is everyone shouting so much on TV and rambling about god knows what?"
Me, a few minutes ago: "Boy, do I wish things were this civil and coherent on TV nowadays."
If Paddy Chayefsky didn't somehow have a time machine to see where things were going to be headed, then it is clear to me that he must have been a fourth-dimensional being that saw time differently than most folks. It's still a funny movie with some of the finest and carefully measured over-the-top dramatic performances out there, but it can't be denied that it's a lot less funny when so much of it has already come to pass in about as exact a manner as depicted here. You'll laugh, but you'll also cower in your sheets in equal measure.
Plot doesn't make sense.
Action is bad.
Villain is laughable.
Bond is particularly assholish.
The bondgirls are particularly throwaway.
darkwing-buck
Member
All of this.
Even if the action was good I would be able to give it some lee-way but nope it had terrible set pieces.
Discotheque
Banned
yeah. god damn did it look nice though, great cinematography and you could see the absurdly high budget on screen in the fashion, location shoots and cars.
but what a boring piece of crap it was. dull and nonsensical plot (or maybe it was easy to follow and I was just too bored to bother). I thought I was in for something pretty solid with that slick opening with Bond bouncing from the chick's place in Mexico and wearing that Day of the Dead costume. I loved that. but man was the rest of the film (and even that opening action scene in general) boring.
A shame too since I thought Skyfall was alright. no particularly great but it got the job done. and of course Casino Royale is such an entertaining Bond movie and just action film in general.
but what a boring piece of crap it was. dull and nonsensical plot (or maybe it was easy to follow and I was just too bored to bother). I thought I was in for something pretty solid with that slick opening with Bond bouncing from the chick's place in Mexico and wearing that Day of the Dead costume. I loved that. but man was the rest of the film (and even that opening action scene in general) boring.
A shame too since I thought Skyfall was alright. no particularly great but it got the job done. and of course Casino Royale is such an entertaining Bond movie and just action film in general.
Fancy Clown
Member
Spectre felt like nobody involved in the movie gave a shit what they were doing
AngmarsKing701
Member
darkwing-buck
Member
Saw Rear Window for the first time. My goodness what an excellent film. Hitchcock is truly the master of tension and build up. The last 10 minutes had me at the edge of my seat. I also loved the writing and dialogue with the small cast of characters. A true classic through and through.
Cripplegate
Member
Yup, this is exactly the moment I checked out. They used a car chase to prop up yet more terrible plot exposition. It really did feel like nobody cared what they were doing here.
But for all that, nothing offended me more than the retcons. It was me all along, Austin. With a screenplay like that, the whole thing was DOA.
Omg that movie has so many fucking quick cuts that is is jarring. Definitely a step down from the first
Berlinale roundup:
Ciao Ciao: Starting my Berlinale (very) late this year with a film from the Panorama section.
Not much to say here: Skeletal but not without merit, Ciao Ciao required more fleshing out to really make an impact. The cigarette economy was one of the couple points of interest, as was the intriguingly dissonant choice of soundtrack.
Golden Exits: After the furious Queen of Earth Perry settles for something quieter while still wringing out that same intense ugliness and anguish from human interaction. All the strengths of his work are still present here, marred by the occasional character-driven commentary track that explicates the obvious all too breathlessly.
Dick Tracy: Watched as part of the Homage section at Berlinale this year, this is probably the best neo-noir/comic adaptation I have watched, beating out the likes of Roger Rabbit or Sin City with ease. Too frantic for its own good sometimes but by that same token a well-choreographed and exquisitely designed piece of pulp filmmaking that may well be deserving of a re-examination.
The Tokyo Night Sky Is Always The Densest Shade Of Blue: A sort of consolation film for modern Tokyo, Ishii squanders a lot of potential by treating the fears and musings of his character in a superficial and poorly articulated manner as well as banking too much on the natural visual splendour and other commonplaces associated with the city. Certainly an interesting and worthwhile diagnostic effort but, ultimately, no less confused than the mindset it is trying to capture.
On The Beach At Night Alone: Very much reminiscent of Roy Andersson but mostly without the absurdist twist. While some scenarios build up to reach strong scenic humour, others simply trickle along and obfuscate the issue. Not being familiar enough with the director's esteemed oeuvre, I suspect this will not turn out to be one of his major works.
Ciao Ciao: Starting my Berlinale (very) late this year with a film from the Panorama section.
Not much to say here: Skeletal but not without merit, Ciao Ciao required more fleshing out to really make an impact. The cigarette economy was one of the couple points of interest, as was the intriguingly dissonant choice of soundtrack.
Golden Exits: After the furious Queen of Earth Perry settles for something quieter while still wringing out that same intense ugliness and anguish from human interaction. All the strengths of his work are still present here, marred by the occasional character-driven commentary track that explicates the obvious all too breathlessly.
Dick Tracy: Watched as part of the Homage section at Berlinale this year, this is probably the best neo-noir/comic adaptation I have watched, beating out the likes of Roger Rabbit or Sin City with ease. Too frantic for its own good sometimes but by that same token a well-choreographed and exquisitely designed piece of pulp filmmaking that may well be deserving of a re-examination.
The Tokyo Night Sky Is Always The Densest Shade Of Blue: A sort of consolation film for modern Tokyo, Ishii squanders a lot of potential by treating the fears and musings of his character in a superficial and poorly articulated manner as well as banking too much on the natural visual splendour and other commonplaces associated with the city. Certainly an interesting and worthwhile diagnostic effort but, ultimately, no less confused than the mindset it is trying to capture.
On The Beach At Night Alone: Very much reminiscent of Roy Andersson but mostly without the absurdist twist. While some scenarios build up to reach strong scenic humour, others simply trickle along and obfuscate the issue. Not being familiar enough with the director's esteemed oeuvre, I suspect this will not turn out to be one of his major works.
Spectre was so bad lol. Not sure how it compares to Quantum of Solace because it's been so long since I saw that in theater, but I remember coming out of the theater from both and being very disappointed.
Skyfall was overall pretty damn good but it has its faults. Casino Royale on the otherhand, that's an all-timer.
I'm definitely ready for a new Bond and new direction after Spectre. It's time.
Skyfall was overall pretty damn good but it has its faults. Casino Royale on the otherhand, that's an all-timer.
I'm definitely ready for a new Bond and new direction after Spectre. It's time.
old manatee
Banned
Daniel Craig's Bond movies are basically a cinematic universe for the ads in GQ magazine.
Net_Wrecker
Member
What is wrong with me and these John Wick movies, man? John Wick Chapter 2, as with the first, seems like a movie tailor made for me, but I just can't get into them like others seem to. I can see the craft, in the production, in how they show all of Wick's action in stable wide screen framing, in the no nonsense approach to gunplay and magazine capacity. And I appreciate the world building most of all because, with 2 movies that stick close to thier clear central motivations, the assassin world is the only thing providing some color on a narrative level.
And yet, even with all this, I'm still left with the feeling I was when I came out of the first one: Ehhh, that was ok. The best parts of the movie for me were the intro, and the
, both occurring well outside of what we've come to know as "John Wick action." And when that action finally does occur, my eyes sort of glaze over after the first few kills. Like, it's ok to have some repetitive encounters in a third person shooter, especially if it had mechanics as cool as John Wick, but as a movie it starts to get... not boring, but too efficient, too normal. I still think it all feels too clean, too easy, too weightless. There's no tension, and though they do try to vary the rhythms of shootouts a little more in the sequel, particularly in Wick's fights with his assassin equal, that variety comes in the form of comedy, which is fine, but does nothing to aid that lack of tension. It's not exhilarating. Idk if that comes from how the action is constructed, or if the narrative doesn't provide a strong enough engine for the whole thing, maybe both, but it doesn't make me giddy in the way it should.
So, ehhh. Ok movie, I appreciate it for what it does, especially in 2017 and after watching Resident Evil The Final Chapter, but it doesn't touch my favorite action movies.
And yet, even with all this, I'm still left with the feeling I was when I came out of the first one: Ehhh, that was ok. The best parts of the movie for me were the intro, and the
sister's assassination
So, ehhh. Ok movie, I appreciate it for what it does, especially in 2017 and after watching Resident Evil The Final Chapter, but it doesn't touch my favorite action movies.
You are dead to me. I felt the same about John wick 1 but number 2 8: easily among the goats
Net_Wrecker
Member
I don't even understand that position, tbh. JW2 just feels like the first one but more, with a way less emotionally charged center. Hell I'd even be ok with that if it felt like one of those detached European arthouse assassin movies, but it's just Wick moving from similar encounter to similar encounter, no sense of the actual world around him or what's boiling inside of him. The plot's not clever, the storytelling is transparent, the forward momentum is never derailed for interesting tangents. It's all very business, not loose enough, not weird enough. No matter how I try to look at the movies I'm not satisfied, not all the way, and not the way (seemingly) everyone else is.
But again, I appreciate that it exists, if only so other directors can see a successful action franchise that doesn't make your head hurt with its editing.
Death Metalist
Member
I think you're watching the wrong movie if you're looking for tension. Unless he's fighting off other hitmen, the movie obviously is extremely self aware about his god mode haxor aim bot status which is what makes it so enjoyable. These films to me are all about wanting people to fuck with him just so I could see how he'd kill them. They keep telling all these stories about'em yet still some decide to fuck with him.
Wick 2 is way more tense and has more varied set pieces. From vast weapons, characters, more plot structure.
Edit:: what set them apart is the amount of memorable scenes with action and without. Lot of times I was saying "holy shit"
His fights with common were raid level of quality. Even the story was improvement. People keep thinking they can take advantage of wick and it never works
Net_Wrecker
Member
And I understand that, but it still didn't feel varied enough for me. Wick has a very simple method of dealing with enemies and they don't deviate, even with his hand to hand kills. Like how many times can I watch him grab someone's arm, do the spin/toss, headshot one guy, then turn back to headshot the guy he's holding? It's a shooter on easy mode, which is funny for like 5 minutes.
I already pointed out that the movie did try to switch it up more than the first, but I still don't agree that it's any more tense than the first. I know Wick won't die, but I never even worried that an action scenario wouldn't go exactly how he expected it to. And the plot isn't delivered anywhere near as interestingly as it should to make up for the lack of emotional investment compared to the first. Way too much is revealed up front to the viewer, and laid out exactly as it will occur.
But I don't want to drag this out. It's been 2 movies, they are what they are, and they aren't that great to me. Everyone else loves em, that's cool.
this sums up how I feel :|. I don't think the series is for you
Puck Beaverton
Banned
echoes my thoughts, although I think 2 is good and way better than the first. By American Action standards, this franchise is exceptional.
I would say it is exceptional all across the board action wise.
He is so corny and stiff in the first one. He is like that in a lot of movies tbh. He moves a lot more naturally in the sequel.
Rhomega Beta
Member
Babe: Pig in the City: Watched this and the first back-to-back. I heard this was an overlooked sequel, so I gave it a try, and it's OK. I don't like it as much as the first. I don't like the new characters. It is cool that they were able to get most of the old cast back, even for bit roles...except for Christine Cavanaugh as Babe, who is replaced by Elizabeth Daily (funny, since they played Chuckie and Tommy on Rugrats, respectively).
John Wick 1 and 2 are about equal for me. The first carried heavier emotional weight and stakes, and the sequel expands with greater scale, world building and set pieces.
Both are exceptional actions movies, and a couple of the best this century. However, masterpieces, they are not.
Both are exceptional actions movies, and a couple of the best this century. However, masterpieces, they are not.
Puck Beaverton
Banned
there's a dorky charm to him
like he is still stiff as a board, but I can't hate him for it
Silence
Fuckin awesome. Lush cinematography, grand scope and sustained tension throughout. It feels so refined, like from a man making film after film over decades, slowly chipping away at pieces and ending up with a beautiful sculpture. It was a bold choice of having little to no music in the film, especially behind scenes where there's threat or death. Masterfully done and i'm glad I caught this one in the cinema. Now lets pray we get the next Scorsese flick.
Fuckin awesome. Lush cinematography, grand scope and sustained tension throughout. It feels so refined, like from a man making film after film over decades, slowly chipping away at pieces and ending up with a beautiful sculpture. It was a bold choice of having little to no music in the film, especially behind scenes where there's threat or death. Masterfully done and i'm glad I caught this one in the cinema. Now lets pray we get the next Scorsese flick.
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