Arc de Triomphe scene is a historic one. Jaw dropped. Definitely not a muddled movie—there’s barely a plot, and really not much dialogue, just a lot of John Wick shooting people four times in the head, mixed with incredible camera movements and great neon lighting. Very fun, particularly in a decently packed theater with some buddies.
Oh and holy cow am I looking for a spin-off with Rina Sawayama.
I sort of chuckled when I saw someone named David Shire did the music (presumably related to Talia Shire and FFC) but this is a theme for the ages! Wonderful score.
I particularly appreciated Harry’s obsession over his work/utter paranoia as blocking him from having a normal sexual relationship (cc: BONNIE AND CLYDE), and wished the whole thing were a bit more character-centered and less plot-focused.
Zooms, baby: ZOOMS.
Note: this makes me realize how insanely unhinged John Cazale is in DOG DAY AFTERNOON: what an actor. As with modern cinema, this film could have used more John Cazale. Miss him dearly.
There was one really good scene with the paramedics and Margo Martindale that I was laughing pretty hard at, and Isiah Whitlock Jr. was wonderful, but pretty meh besides that. Fun experience, though! And glad the theater wasn’t empty.
Phil Hall, man. A very good curser; he routinely fits three expletives into like half a second.
{ this poster goes so hard }
I think it understands well this odd condition among many youths of the desire for mental health problems as a sort of way to connect with others.
That being said, it’s a dreadful film, which is hard to materially enjoy. Also, not sure why it ends with the guy instead of Casey.
Edit: important to note the inspiration this film gives me as a very low budget, low-scale indie film that has been very successful, and feels like a real film, because it is.
How else is one to start their day?
1955 shaping up to be one of my favorite years in cinema history (between this, NIGHT OF THE HUNTER, and REBEL WITHOUT A CAUSE).
That first processing scene is an all timer. “I like kools… the minty flavor.”
Found myself constantly double checking how long the scenes were because this really is a series of like 6 minute conversations. They all feel so strange though because of the way Dodd speaks (he’s like Alex from A CLOCKWORK ORANGE where you just squirm and laugh and anticipate what they’re gonna say next because you know it’ll be funny). And that’s another thing I didn’t figure…
Such a wonderful score that really helps tone the movie.
I watched this directly after finishing the book, so maybe my opinion is formed sort of unfairly, but this felt maybe a tad bit too sanitized in the moments it wasn’t faithful to the book (which is mostly was), which perhaps lessens the emotional effects of intense bursts of sex and violence.
It was visually incredibly beautiful, lots of great greens and oranges in there. Lots of great cigarette-porn (new…
Oh, now I understand.
The great thing about this movie is the constant possibility of violent outburst among ‘friends.’ These people are nominally partners and wives and brothers and they always give a kiss on the cheek, but there is never a scene where we feel they completely trust each other. Because they don’t. It’s about losers who steal and kill until their stealing and killing gets them whacked.
And while Henry Hill misses “the life” at the end of…
I made that motion like at the end of THE BREAKFAST CLUB at one point, cheers audible.
Bill Murray in a Marvel movie just means there’s more Jim Jarmusch on the way.