Da 5 Bloods
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I May Destroy You
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Paying fair homage to the disturbing mind of Lynch, the symbolisms of Pasolini, the aesthetic beauty of Bergman's image compositions and the cannibalism of Greenaway, <i>Püha Tõnu kiusamine</i> lurks in the dark as an obscure gem of extraordinary cinematic relevance for the present millennium.
Cinema connoisseurs around the world deeply thank Veiko Õunpuu for this mindblowing and unique gradual, downwards spiral to insanity that destroys the fine line between dreams and hallucinations with such impeccable artistry.
I really don't have much to say about the film, except that it is uniformly frightening and exactly the sort of film I would want to make. The modern but timeless landscapes haunt in that they could be the future or the past in the span of a frame and the camera never forces us to decide what era it takes place. Each beautifully framed shot is a question, a search for hope, and not for a moment does it let it's audience rest in complacency. The audio is complex and challenging as well. I only wish my current set up could handle the bass better, as it shook things but the clarity was not there. Further inspiration to upgrade my audio!
Well worth watching.
Film dans l'univers nord europÃ (C)en, traitant de la dÃ (C)chÃ (C)ance d'un homme confrontÃ (C) Ã une suite dâ(TM)Ã (C)vÃ¨nement qui le poussera Ã un destin inconcevable pour son milieu social d'origine.Un changement de cap complet d'un homme en pleine apothÃ (C)ose professionnel, altÃ (C)ration d'un Ãªtre en 5 actes confrontÃ (C) Ã lui-mÃªme et Ã une puissance secrÃ¨te qui mÃ¨ne le dÃ (C)roulement.
AllÃ (C)gorie sur la recherche entre le bien et le mal.
Excellente production oÃ¹ le jeu des acteurs nous fait voyager dans un univers surrÃ (C)aliste mais avec une touche d'ironie face Ã des situations rÃ (C)elles.
Lâ(TM)esthÃ (C)tique de la photographie est recherchÃ (C) tout au long du film avec un noir et blanc qui ajoute une profondeur au paysages et aux Ã (C)motions. ScÃ¨nes finale Ã (C)piques Ã ne pas manquer!Bonne rÃ (C)flexion pour un samedi soir campagnard.
So confuse, I still wonder what was all the movie about.
This felt exactly like a David Lynch film, except that I didn't think it was horseshit. I actually, genuinely really enjoyed it, in spite of how blatantly pretentious a piece of work it was. There was a vague bit of story, which is perhaps what made me like it. Also, the actual 'art' as it were, was fascinating to watch. I don't get anything from Lynch's work, but I could read so many potential meanings into pretty much every scene of this film, from Tony discovering a series of severed hands in the woods to a running thing with dogs appearing. It worked as a piece of art for me -the same way I might walk around an art gallery and think "that's interesting, I wonder what it means". Except, I'm usually not a fan of art in art galleries either because it tends to be such bullshit. Something about this film elevated itself from all of that. Perhaps it was the gorgeous cinematography. Perhaps not. I don't really know. All I do know is that for the first time watching an arthouse film that requires multiple viewings to even begin to properly understand it, I actually want to revisit it.
Personal enjoyment: 7/10
Actual quality as a film: 8/10
With its black and white photography, laconic (subtitled) dialogue, slow pace and surreal plot, this comes across almost as a parody of a generic Eastern European art movie. However, itâs not without humour, the performances and camerawork are excellent, with many striking scenes and images. If you see only one Estonian-Swedish-Finnish co-production this yearâ¦ well, thatâs what the London Film Festival is for. If you like Bunuel or late Lynch this is well worth a go.
Another unique film by the Estonian director Veiko Ãunpuu. Too bizarre in some places near the end, but still a very emotional and deep picture. Like in his last film 'SÃ¼gisball', many scenes feel fresh and inventive. Which is a very rare thing these days.
What a malicious and illuminating journey to the depths of hellish beauty! That's a paradox alright but how can you explain Õunpuu's essay on the culmination of ideals, of anticipations and of obsolete dreams in any different way? A higher quality film than any Tarr of the 2000's and by applying a semi-Lynch universe in the black and white disturbance, I don't think anyone would really care that the plot's vignettes are over-represented and the abruptness of things defies the superlative characters. It's what it is and subjective interpretation is required when you're dealing with Estonian landscapes. After all, we're all gonna die at some point, poor Tõnu simply happened to preserve a slice of cynicism more than the rest of us.
interesting construction, but ugly and unpleasing
Suurimmaksi osaksi tylsÃ¤Ã¤ ja puuduttavaa hÃ¤rÃ¶ilyÃ¤ hÃ¤rÃ¶ilyn vuoksi. YksittÃ¤iset kohtaukset ovat kyllÃ¤ usein hauskoja mutta kokonaisuudessa ei ole mitÃ¤Ã¤n imua. Ja niistÃ¤ hyvistÃ¤kin hetkistÃ¤, joka toinen on napattu jostain toisesta elokuvasta. Hostel meets Bergman meet Fellini meets Lynch meets Roy Andersson meets eastern european tradition of absurd.
No, kauniisti kuvattu kuitenkin, paljon hienoja freimejÃ¤.
TÃ¤stÃ¤ olisi saanut kymmenen mainiota lyhÃ¤riÃ¤, mutta nyt... booooring!