Trailer:
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IMDb / wiki / RT / Metacritic
Official website
Trailer:
[]
IMDb / wiki / RT / Metacritic
Official website
Last Seen:
Pantheon, S2 (C. Silverstein, 2023) ☆
Pantheon, S1 (C. Silverstein, 2022)
Bring Me the Head of Alfredo Garc?a (S. Peckinpah, 1974)
Crouching Tiger, Hidden, Dragon (A. Lee, 2000)
Henry: Portrait of a Serial Killer (J. McNaughton, 1986) ☆
Blowup (M. Antonioni, 1966) ☆
Io capitano (M. Garrone, 2023) ☆
Raging Bull (M. Scorsese, 1980)
Network (S. Lumet, 1976) ☆
Sideways (A. Payne, 2004) ☆
First time ☆
Heh I remember seeing a trailer for this when I went to Birds of Prey back in February. Looks good.
Blog!
And it's happened once again
I'll turn to a friend
Someone that understands
And sees through the master plan
But everybody's gone
And I've been here for too long
To face this on my own
Well, I guess this is growing up
I love everything about this from the premise to Carey Mulligan's performance and Fennell's direction, especially her visual eye. The colors pop in every location and the wide shots are framed as if conversations like the one between Cassie and Madison in the restaurant are taking place here and now in our society.
Then the ending happened and my rating went down a whole point. Thoughts on it under the tag:
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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
615 Film
Letterboxd
A case where big-picture structure and bracing endgame help paper over some in-the-moment screenwriting clunkiness. The first half-hour especially feels so wobbly and scattered in approach, almost seeming content to just toss off culture tropes and buzzwords as plot in place of its own details and identity. One can argue that it is writer-director Emerald Fennell's tactic all along to lull viewers into a false sense of security of what kind of film this is going to be, but even then the plot/dialogue writing should be way tighter and snappier.
Still, the film's focus tightens fearsomely as it goes along, and the way Fennell finally pulls the rug out under us is really something. She has walked a knife-edged tonal line of black comedy, between bleakness and fantasy, for most of the film, and the subversive finale she has concocted up is the ultimate of have your candy-coated cake and viciously eat it down too, bringing the two seemingly irreconcilable tones together most stunningly. And apart from Carey Mulligan's justifiably hyped, ferocious turn, the film does a killer casting of current TV clean-faced funnymen as key supporting players too. 8/10
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
This movie is brilliant.
Quoting Ivan Drago (view post)
Pretty much agree. The first half hour in particular is biting. Seeing McLovin doing coke while babbling about David Foster Wallace and how he wants to write his own "gritty" novel set in NYC made me feel SEEN (well I don't do coke, but ya know).
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I do like the look of this. I assume this is Los Angeles, because if it's not, they sure didn't do a very good job of making it NOT Los Angeles. Not sure if they ever specifically say. All the men seem very Los Angeles as well. And Carey Mulligan is of course excellent, as is all the casting of "oh hey it's so-and-so" of television and film.
Last edited by Pop Trash; 01-24-2021 at 01:22 PM.
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
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Agree on your points, especially Brie's character.
I gathered Los Angeles as well, with the bachelor party being in Ojai somewhere (north of LA).
The treatment of the subject matter is for the most part very sound and the script excels at subverting our expectations of a revenge movie, but I still found a lot of this pretty bland for some reason I can't entirely pinpoint - maybe I'm too removed from a lot of the stereotypes it parodies to find it that poignant. Unlike a lot of you guys, I found everything after the big twist pretty exciting since I didn't see it coming at all. That scene was Tarantino-esque in its defiance of expected plot developments.