Da 5 Bloods
On the Record
I May Destroy You
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Natalia Dyer, as the baffled, kindhearted teenage girl making her way through Catholic high school in what would seem to be the 1980s, does more with her face and eyes than this timid, understated script manages to do with words. The story pulls its punches, when it could have had real bite in presenting religious hypocrisy toward sexuality. It ends after an hour and 15 minutes with a kind of shrug.
Poor title aside, there are subtleties to evey single character in this movie, which beautifully reflects the Female Gaze.
Utterly gorgeous set-pieces (and music) make this a must-see classic. The camera adores Tuesday Weld and the young Jennifer Connelly, though throughout, the movie is mysogynistic, and in some scenes savagely so. There are major continuity problems, and even with nearly four hours of run-time the screen the director, editor, and screenwriters couldn't seem to come up with a plot that makes sense.
Moves along nicely till the train-wreck of the third act, when too many writers and kibitzers obviously got into the script.
Softhearted buddy movie about two popes who are in fact deeply culpable, each in his own way, with the requisite magnificent Vatican pageantry.
All wonderful technique, cinematography, and set design. But the plot is silly. The physical travails this guy goes through before half-saving the day (while still standing) are utterly unrealistic, and especially the tumbling through the rapids and over the waterall. The movie is cloyingly sentimental. And what's with that woman with the infant (the only female in the whole movie) living in the massively fiery ruins while German soldiers run around shooting at Our Hero?
Lots of things get blowed up real good here, and women are doing it. Also, this movie is funny. A nutty girlfriend movie and with the inimitable Margot Robbie to boot.
Splendid moviemaking with spectacular acting, and those sweet shots of Margo Robbie as Sharon Tate are indelible. Plus Sharon Tate lives at the end!
Disconcertingly "busy" in the first 15 minutes (do these people ever stop dancing?), then a series of gorgeous but vapid tableaux, beautifully photographed. I agree with Louisa May Alcott, who disliked her own story.
Frazzled and frantic, ridiculous plot points; all the main characters were ethnic or racial grotesques, which I found disturbing. And what's with that colonostomy opening?
Absolutely cannot understand why this badly written and poorly acted movie is regarded so highly, or why in the world Scorcese chose to direct it, unless he badly needed a payday.
Except for the sentimental ending I loved every minute of it.
Not often you get to witness a movie quite this bad, in direction, script and acting. Even the extras are awful. However, the phony crowd scene in the bullfight arena and Michael Imperioli's ill-fitting wig are simply not to be missed.