John Wick: Chapter 3 - Parabellum
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I'll get a handheld camera & we'll make up a movie. This is one godawful movie. I can't believe it took more than a crew of three to make this movie. The only redeeming feature is there wasn't a car chase.
In my opinion this is the strongest film that post-The Tree of Life Terrence Malick has made, it has it's flaws certainly but he manages to craft his most interesting and accessible characters since 2011. He claims he will be returning to more plot-driven narratives, for Terrence Malick anyway, with the upcoming Radegund but Song to Song already represents a shift from entirely conceptual work to a character based film.
We meet 4 distinct characters in this film, BV, Ryan Gosling, a musician in love with Faye, Rooney Mara, who devastates him by cheating on him with Cooke, Michael Fassbender, who is married to the innocent Rhonda, Natalie Portman. All of their lives intersect in one way or another and their actions often lead to horrific consequences that blow back most on the one they love or claim to love.
The film is set in the modern day Austin, Texas music industry but has a definite 1960s-1970s feel to it, with cameos from rockers Patti Smith and Iggy Pop and music that harkens back to the sounds of 1970s folk music. Every character exists in a sort of dreamland in which they live purely to play music, sleep together and desperately try to attain love in an industry that encourages them to be fake and sell themselves just as a prostitute hired by Cooke tells Rhonda.
This strange, dreamlike sensation is something that Malick has achieved before to varying degrees in almost all of his films but here it feels more real and intense than in the dreary To the Wonder (2012).
Emmanuel Lubezki again serves as cinematographer and he is able to capture the wild, rambunctious spirits at South by Southwest and the pained, struggling parents living in suburban American through an equally beautiful lens. Colors appear brighter and lens is softer when Portman's Rhonda appears on screen and as she becomes increasingly ruined by the lifestyle of her husband her features are more sharply defined and she appears in the same harsh, unforgiving light as Fassbender. This is just one of the visual tricks that Lubezki, who deserved an Academy Award nomination for his work on this film, uses to represent Malick's poetic vision.
The narrative wanders and occasionally gets lost at some moments such as when BV has a liaison with, Cate Blanchett's Amanda, an older woman who loves him. This side-plot serves to display the fact that BV truly loves the straying Faye and is unable to move on from her even when he meets a loving, compassionate woman who is willing to support him. Blanchett's performance has shades of her role in Knight of Cups (2014), as an angelic doctor with a lovely bedside manner, and as with that role she is able to bring weight to a supporting character within a very small amount of screen time, this is a performance that reminds you why Blanchett is one of the most in-demand actresses in the business.
Mara, an actress who failed to impress me in The Girl with the Dragon Tattoo (2011) and The Discovery (2017), gives an adequate performance as an unfaithful but remorseful guitarist who wishes to right her wrongs. Her face trembles with a quiet sorrow and her black eyes give the impression that she is hiding a brooding darkness behind her sweet smile. Gosling is the least exciting screen presence of the 4 and I am surprised he is still able to get employment with his average looks and overused â~strong, silent type' shtick. Fassbender is brilliant as a cold, almost sociopathic man with bizarre sexual fetishes and Portman is reliably good at representing the evolution of her sweet, demure character into a suicidal sexpot. Holly Hunter also deserves recognition for one scene in which she cries hysterically in a parking lot having received the worst news a Mother can hear.
This certainly represents a return to form for Malick and any of those who might have gotten off the Malick bandwagon should jump back on because his directorship is far from wretched here. I immensely enjoyed watching this and it has stuck with me in the weeks since I have seen it, the sign of a great film. That is why I put it above all of his late-career work and the much-loved The Thin Red Line (1998), which I felt no love for.
This is not one movie it's many.because you will never finish it in one sitting.nope.you 'll see 10-15 minutes and leave then you'll happen to see it playing again after a while and you'll sit for 10-15 minutes more.nice photography.only if you smoke several joints then you can watch it in one take.and all these people talking in silence,great to dose you off.no i don't smoke.that's why i only saw fragments.i can be more surreal terence you want me too?maybe i'm also in the movie.wait a minute no i'm not.cause i am no movie star with bu....it problems.
Shot very well, but that doesn't make up for the convoluted story telling. At about 20 minutes in I thought it could be a good movie, but then the next hour and a half ruined that. Experimental movies can be made a lot better than this one so don't waste your time. A disappointment coming from Terry. 3/10.
Malick creates a beautiful visual poem on love, control, and freedom in a way only he can.
Song to Song doesn't add anything new to Terrence Malick's style. It still uses the same old voice over narrations to develop its plot. While I personally like the approach, I felt like the execution could've been better. The story tells of a super complicated love triangle (rectangle?), where almost each character has at least two different lovers at some point at the same time. Song to Song fuses rock and roll music, love, lust, sex, desire, betrayal, and trust.
We have Michael Fassbender as a record producer who hires Gosling and Mara. And all two guys are having an affair with Mara, one in secret, the other in public. Until the whole complication was solved. Natalie Portman and Cate Blanchett joins the picture. It's super messy and a little draggy.
It's a brilliant ensemble cast with all Oscar nominating and winning actors. The acting was amazing, the story was the downfall of this film.
Song to Song used a lot of jump cuts and time jumps. We don't see much action. And it is confusing most of the time. It's like Terrence Malick was jumping from Song A to Song D to Song H then back to Song A. The timeline in the film is meant to be confusing and all over the place. Which makes it a little thought provoking and I like that.
The voice over narration adds a very melancholic touch to the film but I think some dialogue wouldn't have hurt. There are also elements of LGBT in Song to Song that I really liked.
Great all star cast with beautiful scenery but this movie just plain sucked!
Well let's face it Ryan Gosling has mastered the art of frolicking around with women. I am a big Natalie Portman fan and went into thinking she was going to be the lead, but to my surprise Rooney Mara completely outshines her and makes this movie bearable , even enjoyable at times. I liked the fact that it was narrated , but not much of the actual writing. Cool cast, strange pacing, but the dialogue rang true for me which combined with the Maya's performance made the whole film worth seeing.
why are you changing your story..
Song To Song
The procedure to convey the message has always been convoluted and thought-provoking for the audience but if the resultant outcome isn't worth the effort invested, it turns into disappointment. Terrence Malick is no short on execution but the script, that is not something fresh, in fact a typical story merely retold through Malick's lenses. On performance, the feature doesn't rely upon single actor in fact, each individual factors in as a supporting cast where even though Natalie Portman, Ryan Gosling and Cate Blanchett are good in it, Rooney Mara and Michael Fassbender steals the show. Song To Song has everything on its side i.e. beautiful cinematography, amazing background score, stunning visuals, brilliant execution and stellar performance, except a good old tale.
A sensational film. I don't mean that in the sense the term has been perverted, but literally a sensory experience. Malick takes us on a real trip, almost entirely shot on wide lens with an impressive array of sets and colors.