What suprised me most here was the lack of wokeness-minus one scene. None of the queer propaganda or multicultural nonsense that has ruined most shows and films nowadays. What you get here is a nice and sexy chick flick without all the feminist crap.
Sure, it ain't Eric Rohmer, but it's sexy enough and pleasant to watch. Most of the jokes seem to fall flat. It seems the female director wasn't sure if she wanted to make an American style sex comedy or a French style film like Pauline at the Beach.
After Titane, this is further proof that the Palm D' Or doesn't amount to much nowadays. First hour is okay but the lame rhetorics gradually take over, as if the director at first was trying to disguise that he is making a message movie, but suddenly changed his mind and decided to hit you hard with lousy slogans and quotes in case you never noticed that rich people happen to be a bunch of privileged assholes. He further demonstrates that despite being rich, they're all full of shit, just like the rest of us.
After the pirates show up, the whole thing falls apart. It's cheap, with a disjointed narrative that makes little sense, leading to the most stupid ending you can imagine. But worst of all are the two-dimensional characters, more stereotypical than any Hollywood film. They are poorly developed and unlikeable. Not knowing what to do with them, the writers resort to laughable gimmicks like the "Robinson Crusoe" section on the island-an inhabited island keep in mind- which makes the idea even more stupid.
Last two minutes will make you want to punch the director in the face - especially if you bought a ticket to see this thing. The fact that this is supposed to be an "art" film doesn't mean that it shouldn't have a proper ending.
To summarize everything : Art film equals lots of puke (a poor shock gimmick probably lifted off a Mae Zetterling film) and lots of shit (exploding toilets) and bored rich people.
This is Woody Allen's love letter to Italian cinema. Apart from being a tribute to 8 1/2 , you will also find references to Toby Dammit, Juliet of the Spirits, Roma. The Fellini inspired camera work is stunning and there are lots of funny lines. My only objection is that the women are not as impressive as the divas in the Italian films.
This is probably one of top Woody Allen films, but as another reviewer said, it doesn't make much sense unless you are familiar with Fellini's work.
Fans of Suspiria and Phantom of Paradise may want to catch it for Jessica Harper. There is also a mesmerizing cameo by Sharon Stone.
The black and white photography is the best of it's kind in a film shot in USA. As good as the real thing.
Extremely gruesome serial killer thriller with political overtones. You know you can't do wrong when Park Hoon Jung is behind the camera.
Lee Jong Suk is excellent in the role of the effeminate serial killer. He does such a good job, you want to dig out his eyeballs with your own hands.
That smile of his is something else. He would have been perfect for the killer clown roles in It and Terrifier.
I suggest you don't try to overanalyze this film since there are certain credibility issues, and enjoy this very wild ride.
It seems that this director has lost the skill to make good films. Compared to other Korean thrillers such as New World and Yellow Sea this is a rather poor effort. By trying to charm simultaneously both Chinese Censorship bureau and European festival board members, the director has made a film which is unable to decide which audience group it wants too target and at the end fails to satisfy either.
The presence of Tang Wei was probably a calculated move to guarantee the film will hit the Chinese screens. Most of the time, Decision to Leave plays like a less edgier version of modern Mainland noir such as Wild Goose Lake and Black Coal Thin Ice. Storyline is ludicrous perpetuates lots of old fashioned cliches from Asian love stories. Tang Wei is good, but there is no chemistry between the two leads, and the male protagonist is too bland in terms of appearance.
Flawless production design is nothing new in Korean cinema. As a matter of fact you will spend more time ogling over those speckless interior spaces rather than the personal dramas unfolding before your eyes.
One a positive note, at least there is the presence of former pop idol Lee Jyun Hun. Not that she does anything special in this film, but she is always good to look at.
Woke junk. Stupid finale. An insult to all audiences regardless of gender (ha!)
Masterpiece. Kinda like Wong Kar Wai making a horror film based on Chinese medicine.
Boring and pretentious. Not gory and not much killing. The only thing it shows is some animal offal.
If you're a vomit fetishist , this is a must see though.
An attempt to go woke which didn't really work well. Of all episodes, I gave this one the lowest rating.
Nice glossy cinematography that gives a classy look to several scenes of sexual perversion but the script is mostly an unacknowledged remake of a Mexican film from the seventies with a dash of Shylaman's The Village thrown into the mix.
Not sure what it wants to say about Greek society, as a matter of fact, if you start thinking about it, it does not make much sense.
If nothing else, it does show that Greek filmmakers have lost touch with any sense of reality.
Some scenes are downright stupid, such as the family party with the ridiculous dancing.
Obviously this was inspired by Human Centipede, but Tusk is far more disturbing on an emotional level, mostly due to the final scene.
In Human Centipede there is no way you're gonna take it seriously, its like watching a screwed up cartoon for kids.
Tusk takes it time so that the viewer will connect with the main characters, thus making the grim ordeal the protagonist goes through, harder to endure.
It does not matter the whole thing does not make sense scientifically - how does the walrus take a crap? - there is a sadness in this film which is on the same level as The Elephant Man.
I also like those little comic touches. The two chicks in the 7-11 are priceless.
Not as good as they say.
First hour is okay.
From sixty to ninety minutes it's great. You know when the good part is over because The End is going to appear on the screen. Kinda like the season two finale of OA- a show that also deals with parallel worlds (I hate the word "multiverse")
Last forty minutes are the most goddamn awful thing you've ever seen. It was excruciatingly painful to get done with those. Each second was a masterclass in cringiness, sappiness, and ultra boredom. Kinda like a Chinese blockbuster, only worse!
Worst episode of the season. Lab scenes are copied from Akira!
Nothing important happens during the ninety minutes running time. Just one cool helicopter explosion which has nothing to do with the plot.
Hey, has anyone noticed how cheesy the CGI creatures are? Like some crappy video game.
This is probably the worst episode of the whole season. Despite the one and a half hour running time, nothing significant happens.
I enjoyed Part 1 of Season 4 more than I had expected, but once it's over, it's amazing how forgettable the whole thing is.
Part 2 is quite boring, in the same way as the third act of most Hollywood blockbusters. The makers of the show need to realize that bigger and longer does not alway mean better.
CGI monsters are quite lousy. Better suited for a video game.
Overbloated beyond belief. Lots of pointless dialogue scenes that serve absolutely no purpose. Particularly annoying is the overextended boring epilogue that goes on forever. Sure there are good scenes here and there,, but not enough to justify the two hour plus running time. This episode ought to have been 75 minutes maximum.
