Last Five Films I've Seen (Out of 5)
The Boy, The Mole, The Fox and the Horse (Mackesy, 2022) 4.5
Puss In Boots: The Last Wish (Crawford, 2022) 4
Confess, Fletch (Mottola, 2022) 3.5
M3GAN (Johnstone, 2023) 3.5
Turning Red (Shi, 2022) 4.5
Tokyo Story (Ozu, 1953) 5
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I've already gotten flak from friends who adored this, but Shults' visual gimmicks got in the way of me enjoying the melodrama. Anyway, here's my review.
Last Five Films I've Seen (Out of 5)
The Boy, The Mole, The Fox and the Horse (Mackesy, 2022) 4.5
Puss In Boots: The Last Wish (Crawford, 2022) 4
Confess, Fletch (Mottola, 2022) 3.5
M3GAN (Johnstone, 2023) 3.5
Turning Red (Shi, 2022) 4.5
Tokyo Story (Ozu, 1953) 5
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Hoping this actually winds up releasing near me.
Ha. It was the visual gimmick that got me to think it's something special over just a family melodrama that we've seen so many times before.Quoting Ivan Drago (view post)
This will be showing here starting this Friday. Looking forward to it.
Did you get to see it?Quoting TGM (view post)
Last Five Films I've Seen (Out of 5)
The Boy, The Mole, The Fox and the Horse (Mackesy, 2022) 4.5
Puss In Boots: The Last Wish (Crawford, 2022) 4
Confess, Fletch (Mottola, 2022) 3.5
M3GAN (Johnstone, 2023) 3.5
Turning Red (Shi, 2022) 4.5
Tokyo Story (Ozu, 1953) 5
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I did. Wasn’t blown away by it, but I thought it was fine. Didn’t post my thoughts cause I don’t really have much to say about it.
I did think Sterling K. Brown was fantastic though, and was a name that deserved to be mentioned alongside other notable snubs this awards season.
At the surface is the most irritatingly over-directed aesthetic of the year (awards exposure asides, wrong director to lob most of those 1917 criticisms at, people. How many spinning car shots in this, 5? 10?), and at the core is a rather misguided afterschool special where the need to tick off various social issue boxes, aggressively in both style and miserablism, renders the characters into broad archetypes rather than fully embodied people, which is where some of the unpleasant racial tone-deafness I heard about before seeing the film arises from (personally on that, I watched this soon right after Queen and Slim and it’s striking how despite that one’s grimmer subject matter, the two leads feel given much more space to breathe as real life-and-blood individuals than in Waves). In between is some very fine acting that almost keeps this afloat: Sterling K. Brown is very good; Kelvin Harrison Jr. confirms his range and then some with his calm, slippery turn in Luce and bottled, volatile rage here in the same year; but it’s Taylor Russell who gets her a-star-is-born moment after becoming more prominent late in the film. She is just so captivating every second on screen, so much that she even elevates that Lucas Hedges non-story subplot into something tolerable. Hope she goes on to better things soon. 5/10
Midnight Run (1988) - 9
The Smiling Lieutenant (1931) - 8.5
The Adventures of Robinhood (1938) - 8
Sisters (1973) - 6.5
Shin Godzilla (2016) - 7.5
Glad I'm not the only one who had this issue. Unlike Talbot in The Last Black Man In San Francisco, Shults was very overzealous in his direction here compared to Krisha and It Comes At Night.Quoting Peng (view post)
That said, it's got enough good going for it (the acting and score) and is well-meaning with its intentions to make me want to revisit it despite its flaws. Like Joker, it hasn't left my mind since I saw it.
Last Five Films I've Seen (Out of 5)
The Boy, The Mole, The Fox and the Horse (Mackesy, 2022) 4.5
Puss In Boots: The Last Wish (Crawford, 2022) 4
Confess, Fletch (Mottola, 2022) 3.5
M3GAN (Johnstone, 2023) 3.5
Turning Red (Shi, 2022) 4.5
Tokyo Story (Ozu, 1953) 5
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