Reviews

1

No es una buena película, pero tampoco es horrible, es considerablemente mejor que la primera entrega, es entretenida y tiene referencias que emocionan a cualquier fan. Sin embargo, el guión podría ser mucho mejor. Hay un potencial que no saben usar bien.

Although the story relies mainly on simplicity, that’s what keeps it going. The film’s messages of desire for freedom and poetic atmosphere are universal. The photography captures beautifully what idea the film is trying to pass and the cast does a very good job.

This one certainly struck me. Whether it is because of the mysterious facts that came to shape the script or all the complexity and creepy events shown in the film, which in the end could lead to a deep study of the supernatural phenomena in psychology.

One the best portraits of how technology could’ve and did surpass human means. To think that in the 80s people were already bringing up this discussion is both impressive and shocking. What a blast!

Enjoyable, but not satisfying even for those who haven’t read the book (like me). Emerald Fennell goes a little overboard when it comes to adapt this particular story in her own terms and there are moments when it becomes exaggerated. Not to mention the whitewashing casting.

Timmy Chalamet’s acting is what mostly keeps the film going. The story is about being resilient, so much to the point that it leads to extremely bizarre situations, but in the end there’s simplicity found.

As someone who doesn’t watch as much European cinema as she should, this was quite an experience. A moving story, profound acting and themes that can resonate with most people.

An intriguing and compelling story, from the characters’ arcs to the dilemmas of family life, also ads up a director’s central view, a carefully crafted screenplay and thoughtful soundtrack.

review

Good, but doesn't do the book justice.

You had me at Mads playing cinephile 💕 It's clear why Refn and Kojima became so close. This was fun. The camera work, the ultra tight lived in spaces. Refn went super naturalistic here. It's gritty, a little deranged, and even honest. Sucks about Vesemir.

Funny buddy movie. It borrows a lot from a number of sources, all pretty recognizable movies/media... Back to the Future is a big one. But it's a wild blend of hidden-camera footage and normal fictional movie footage. Hard to decipher what is real and what is staged, but that's the point. A really unique ride. Highly recommend if you're looking for something that'll make you LOL.

Yahya's in the zone. The meta lore is the cherry on top.

Kyung-Sook Shin

law enforcement Mark strikes again

It has that fun outsider but hero vibe. Very fun watch

Fmjhn

Say what you wanna say about this movie, it was all worth it for that one scene. Where she finds her son and lets him go in the same gesture. In that instant, the private wound stops belonging to one body and floods the room. You can feel the collective pain and catharsis. That scene lands with such force that it retroactively consecrates the film around it.

Having said that, it echoes the same malaise as Sentimental Value. Artists are often the most committed transgressors in the lives of those around them. Partners and children as collateral in the war for a masterpiece. Then, later, they pour their confession into the medium and place it in front of the world. The apology is brilliant, devastating, formally exquisite. It moves us. It earns respect. It may even receive awards. And in that glow, it risks becoming its own justification.

Art can be the envelope for an apology, and that is fine. But we need to stop venerating apologies that are carved with the same knife that did the damage. What deserves elevation is not the confession itself but the practice of reparation that should follow it.