Yeah, you're probably right. Just trying to be cautious.Quoting D_Davis (view post)
Yeah, you're probably right. Just trying to be cautious.Quoting D_Davis (view post)
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
I think Nolan reaallly likes to leave things up to the audience to figure out. I doubt, on a production this big and something this close to him, this didn't cross his mind.Quoting Russ (view post)
I agree it's a (hopeful) possibility, but it's hard to give someone who displays a clockwork tendency to so explicitly hammer so many points home, the benefit of the doubt.Quoting Barty (view post)
"We eventually managed to find them near Biskupin, where demonstrations of prehistoric farming are organized. These oxen couldn't be transported to anywhere else, so we had to built the entire studio around them. A scene that lasted twenty-something seconds took us a year and a half to prepare."
This dramatically lowers the stakes that the film has set up. Even if it makes it more plausible, it doesn't make it a better film.Quoting Barty (view post)
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
And you would have to accept that most of the information you are receiving through meticulous expository dialogue is not in fact actually true.
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
Yeah, I can see that. But, on one hand you have survival of a small number of humans while everyone else on earth suffocates and dies horribly, or survival by all of humanity and hope for a new Earth right around the corner. I would still say that's dramatically compelling.Quoting Spinal (view post)
The journey to get there would be pretty dramatic too (which is what we sees).Quoting Barty (view post)
I like the scene where the Hans Zimmer music is really loud and the spaceships are spinning.
What's your rating of this?Quoting Barty (view post)
Special relativity allows for the existance of bootstrap paradoxes under certain conditions. It sure is one of the most far-out concepts in the film, but the science as it is laid out throughout the film allows for it.
Since spacetime isn't curved in special relativity, that doesn't sound right.Quoting [ETM] (view post)
The bootstrap paradox isn't actually paradoxical in general relativity. It's completely consistent with the only way time travel could work in the theory. There would be no notions of "timeline A" or "timeline B"; there's only ever one timeline, and nothing can ever be changed. I haven't seen the movie, so I don't know if that removes Spinal's concerns.
I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?
lists and reviews
This all makes a lot more sense when shouted hysterically by Doc Brown in a thunderstorm.
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
I think Nolan is starting to lose me.
This was well made, and well intentioned, but I feel that it goes completely off the rails when it shifts from what had been a film steeped in hard science (even if much of it is theoretical) turns to new-agey pseudoscience at the end.
If it wasnt such a serious film, it would not have bothered me as much, but holy hell it completely ripped me out of the film and completely diminished it for me.
For those asking, YES the score was way too loud. I even made a point to tell the customer service at the theater about it, and they said that they've received multiple complaints about it but that the film or the print was designed that way. So freaking frustrating. Because of it, we missed several lines of dialogue.
And here again, most of the emotional moments fell completely flat for me. Other than the drive away / launch (which was pretty masterful, and makes the rest of the "heart tugging" moments more frustrating.
I got tired of the "spot the famous person" casting thing that Nolan keeps doing, and when [] showed up, I was like "really?"
His entire subplot was as subtle as a sledgehammer and I felt most of it could be cut out completely.
I agree, by the way, about the whole [] problem - in a film that doesn't seem to take itself SO seriously, it wouldnt bother me near as much, but in this one, it stands out pretty glaringly.
In short, its typical Nolan: Well written for the most part (except for a couple of absolute groaners), gorgeous visually, but at the end of the day, it leaves me cold. Acting was adequate, not fantastic.
It gets a yay from me because it does have several good moments and good attributes, but its a VERY mixed yay because of all the frustrating negatives.
I didn't really pay attention to who was in this film before I saw it. So Hathaway was just as surprising to me as Damon was.
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
Ratings on a 1-10 scale for your pleasure:
Top Gun: Maverick - 8
Top Gun - 7
McCabe & Mrs. Miller - 8
Crimes of the Future - 8
Videodrome - 9
Valley Girl - 8
Summer of '42 - 7
In the Line of Fire - 8
Passenger 57 - 7
Everything Everywhere All at Once - 6
Absolutely loved it. Seeing it on the "real" IMAX screen was an experience.
The science talk gets close to being a bit much, but the movie pushes the idea of providing for your kids' future and the idea of exploration so much that I didn't really think about the science at all until I read this board. It was strong enough that I even got pretty emotional watching it, which almost never happens.
If this movie remained exploring planet to planet, I would've been fine with it. Each landing and the venture out led to the unexpected. Going into the wormhole and the black hole had me gripping my seat like I did in Gravity. It certainly didn't feel like three hours.
I felt every second of the three hours. Nolan is still not very good at constructing a scene that involves dynamic movement; the movie staggers along and doesn't find any rhythm, racing through some parts, slowing to a crawl in others. Also, I don't really care about the logic of the time travel presented here because the movie is unable to convince me why I should care in the first place.
Someone mentioned performances; Caine totally phones in his performance. He couldn't have looked more bored.
Last 10 Movies Seen
(90+ = canonical, 80-89 = brilliant, 70-79 = strongly recommended, 60-69 = good, 50-59 = mixed, 40-49 = below average with some good points, 30-39 = poor, 20-29 = bad, 10-19 = terrible, 0-9 = soul-crushingly inept in every way)
Run (2020) 64
The Whistlers (2019) 55
Pawn (2020) 62
Matilda (1996) 37
The Town that Dreaded Sundown (1976) 61
Moby Dick (2011) 50
Soul (2020) 64
Heroic Duo (2003) 55
A Moment of Romance (1990) 61
As Tears Go By (1988) 65
Stuff at Letterboxd
Listening Habits at LastFM
To be fair, doesn't everything?Quoting Spinal (view post)
Well, I had plans to see this tonight, but I hadn't done my research on the film, since I usually like to go in with as little info as possible. But, upon discovering the near-3-hour runtime, my friend and I cancelled for something less daunting.
Personally, after the 3-hour King Kong debacle, I have little to no interest in sitting in a theater for 3 hours for anything. It's going to have to be a movie that makes me lose my mind with anticipation. And as much as I enjoy Nolan's voice, this is not that movie. (Talk to me again when The Infinity Wars begins.)
So ... looks like this will be a rental.
Interesting. I find it much easier to watch a 3-hour movie in the theater than I do at home. Time goes by so much faster when I don't have distractions.
Coming to America (Landis, 1988) **
The Beach Bum (Korine, 2019) *1/2
Us (Peele, 2019) ***1/2
Fugue (Smoczynska, 2018) ***1/2
Prisoners (Villeneuve, 2013) ***1/2
Shadow (Zhang, 2018) ***
Oslo, August 31st (J. Trier, 2011) ****
Climax (Noé, 2018) **1/2
Fighting With My Family (Merchant, 2019) **
Upstream Color (Carruth, 2013) ***
Yeah, I'm with Spinal. At the theater it's a much more contained event. No temptation to check my phone, no roommate walking through the living room, the screen is your only focus. And nothing about Interstellar drags. It does not feel like a three-hour movie. Given the visual and narrative scope of the movie and the emotional resonance, I'd say you're doing yourself a great disservice by not seeing it in a theater. It just can't feel the same.
last four:
black widow - 8
zero dark thirty - 9
the muse - 7
freaky - 7
now reading:
lonesome dove - larry mcmurtry
Letterboxd
The Harrison Marathon - A Podcast About Harrison Ford
Agreed
All right, well ... it's not going to happen on any given weekday. I have Thanksgiving week off, I may have time to see it then.
Yeah, as times goes on it feels like whenever I end up watching a movie longer than 2 1/2 hours at home, it ends up being doled out in multiple sittings, and I force myself to justify it in my head as an unofficial miniseries of sorts.
So for that alone, I completely agree with you guys about the theatre experience in general, but it also helps movie also looks and sounds fucking fantastic with the big screen facilitating its sheer spectacle, visceral atmosphere and general emotional journey of it completely consuming you uninterrupted for its runtime. I paid the full 20 bucks to see this in the IMAX 70mm and I don't regret it one bit. (Only Canadians might understand this, but this and then Nightcrawler helped push my Scene points to a free movie this week, and I might just use that to see this again on that same screen before it goes away.)
Last 11 things I really enjoyed:
Speed Racer (Wachowski/Wachowski, 2008)
Safe (Haynes, 1995)
South Park: Bigger, Longer & Uncut (Parker, 1999)
Beastie Boys Story (Jonze, 2020)
Bad Trip (Sakurai, 2020)
What's Up Doc? (Bogdanovich, 1972)
Diva (Beineix, 1981)
Delicatessen (Caro/Jeunet, 1991)
The Hunger (Scott, 1983)
Pineapple Express (Green, 2008)
Chungking Express (Wong, 1994)