and I believe in cinema.
Man I really wanted to like this, I thought it was the perfect opportunity to breathe new life into this series and finally do something worthy of the source material. Unfortunately this is more of the same old stuff with fresh new faces, and it’s not even as entertaining as some of the original ones were.
One star goes to Kaya Scodelario and the other one goes to Avan Jogia for being the best damsel in distress to have ever damselled distressingly. Hopefully they can get better screenwriters if they make sequels.
Let me start this review by saying I don’t understand how so many people didn’t like this because it seriously fucks. There’s no other way to describe it, it’s just so fucking fun.
I went in expecting to see a campy film, since that’s how everyone and their mothers described it, but it really wasn’t. Not at all. There’s a very big difference between camp and extravagance, and this film definitely fits the latter.
Ridley Scott’s direction and its screenplay…
“Cuando la gente se va deja todo puesto, como si fuera a regresar.”
Esta reseña debe ser escrita en español. Tatiana Huezo hizo una carta de amor a lo que significa ser una niña, a la sororidad, a las amistades que nunca expiran. Al lenguaje que existe entre mujeres, y que sólo nosotras podemos entender.
También, es un duro golpe de realidad sobre cómo en México la inocencia que se supone debe acompañar a la infancia siempre nos ha sido…
“Just try to make it sound like you wrote it that way on purpose.”
I loved every single second of this film, and I wish it could’ve been three hours longer. This is probably Wes Anderson’s funniest movie to date, but it’s also filled with so much love, and passion, and tenderness.
Every character is so well thought out that it seems almost unfair how easy it is for Anderson to create these people that are so outlandish and yet…