Highly Recommended
-
plsletitrain — 9 years ago(January 24, 2017 06:28 PM)
lol yeah, I haven't even watched The Tree of Life but for some reason, reading your review reminded me of how everyone reviewed about it and I couldn't understand one thing when I watched the first 10 minutes!
"LaLa is closer to Titanic crossed with a romcom."
Now that's what I like.
Alrighty, I'll take your word for it. Here's to hoping it still shows in our theaters this weekend.Age of Loneliness-
-
sitenoise — 9 years ago(January 25, 2017 11:32 AM)
I guess I always sound like I'm talking about Tree of Life even when I'm reviewing a dumb Chinese chomedy.
I think through self-selecting what films you decide to watch, this is probably true. In a very positive way, for me at least. Life is an organic struggle, a continual (Nietzschean) self-overcoming (or whatever), as you pointed out in your LaLa review about what the film experience allows us (perhaps more, or only, theatrically as opposed to home viewingwhich I'm contemplating very much right now after watching and loving
The Girl on the Train
even after reading all its bad reviews). Some folks watch films to live out vicariously some fisticuffs, a gun fight, a car chase, a little J-navel gazing, perhaps. Some folks watch Olympic level Women's indoor volleyball oops.
We all have projects and concerns that shape our experience. The beautiful thing is that the prism of analysis is subjective. I hope you don't waste any time boning up on different forms of martial arts in the hopes of offering us an objective review of the next
Raid
film. -
zelena33 — 9 years ago(January 25, 2017 05:59 PM)
Yeah, so interesting: I'm not sure if this is what you were getting at, but it's one of the beautiful things in life that sometimes people see things that are just not there. Sometimes they hear things that other people are just not really saying. And the agreement and the "yeah, right on, man!" that comes with it is based on a kind of misunderstanding. This can be kind of hilarious and touching, when people like and approve of things and genuinely like or respect each other based on subjective interpretations that are wrong.
This happens a lot in the movies, and god willing, it always will. It's part of that mysterious sauce of the Human Connection. As you say, the vicarious experience of other people's experiences. The experience of imaginatively seeing through their eyes. This pretty much mirrors "theory of mind" which is literally, scientifically,
the
thing that distinguishes people from other animals. Far out.
For many of us, Asian film is the shizzle, Japanese particularly, because it can't get any more foreign (from the American/Western perspective) than that, so you get that vicarious experience of something very novel, and purely human, because the cultural subtleties that we can't understand are scrubbed off, leaving pure human experience. Like we're children.
In LaLa, it's a lot to do with experience of that happy, childlike pursuit of some dream. It forces you to confront yourself with whether or not you're really doing it. The film thinks it's taking off and soaring on that point about chasing career dreams and "succeeding" and so on. It partly trips on that point, because it's misguided and hollow. But that doesn't take away from the power of that confrontation. Am I doing it? Did I just give up on it? Most people have completely given up on life, and they're living in way very similar to prison inmates who are intensely focused on their Bridge game, and not seeing the fact that they're in jail. -
plsletitrain — 9 years ago(January 30, 2017 09:49 PM)
Hi zelena. So unfortunately, the movie was already pulled out the time I decided to finally watch this. And now I regret it. I wish I saw this in the big screens. Tsk. I managed to contact my resource person to use his almighty piracy powers and look for a copy of this on the internet. And he did. You know those times you wish you did something when you still had the chance, this is one of those times. I passed by the theaters with La La Land playing countless of times and I just stared at the title doing nothing. pulls own hair
Anyway, to the movie now. I agree with everything you said. And I also agree with you about your remark when you tried to watch it the second time and you didn't like it as much.
What's kinda new (at least for me) is that the movie captivated me in the latter parts. Usual experience would be, I get so high on the first parts, starts to feel drowsy in the middle, and then just say wake me up when the movie ends. With La La Land,the first parts were the bummers. It starts sparkly in the middle, and the ending was one of the best endings ever.
Funny thing on the first scene. That scene alone where there's switching of sounds (to show what type of music each car on the throng of vehicles listens to) is award-worthy already but then..it cuts to a girl who slowly sings and then boom! A production number! I was about to say "Zelena, I didn't sign up for this!" but since it was just the first act, I can't bail out, right? Especially if everyone's raving for it, I have to check if the movie redeems itself somewhere down the road. And it did. I think what made the movie appealing is the fact that in this day, its refreshing to see a film that makes you feel like you're watching a broadway musical. The song and dance numbers are not Grease-type levels of catchy but they're passable.
And yeah, Emma Stone was born for this role. She was very natural (except on the sing and dance parts). And what do I know, lifeless-looking Ryan Gosling can actually act to save his life.
The director knows how to play with his camera. He shoots these angles that captivate life aside from the one he's shooting. I haven't heard of him before but if he works like this, he has just reserved himself a star in the hall of fame.
And now to the best part which is a masterpiece of its own: That scene showing the alternate ending. Its very refreshing to see this type of approach that the director utilised. He made it look like an animated movie with real people on it. And the ending was..it was the ending I was looking for!
I got teary eyed two times here. I think everyone who watched this cried too. The first time I cried was when they had that major fight and Mia was acting in her own-produced, own-starred play which no one watched. I cried when Sebastian came to her despite their fight and with him saying "I'll make it up to you!" (with Ryan looking confused/constipated/whatever) because he just doesn't know how to console her, what with them having a big fight just a night beforeI just..it was so real. The second time I cried, it was on the ending.
Overall, I think I can agree with the majority who loved this. I can't say I would watch this later again and I wouldn't call it a masterpiece either (although its 80% there) but this one is definitely one-of-a-kind. Something that is so above the usual hollywood movies that gets spewed every now and then. The director has potential, he is someone to look out for.Age of Loneliness-
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zelena33 — 9 years ago(January 31, 2017 09:24 AM)
Lovely write-up, and I agree with every word of it. You're absolutely right, it was one of the best cinematic endings I've ever seen, and it was not one of the best beginnings. Luckily I was warned before I saw it that everyone agrees, the beginning was terrible. That must hurt for the girl that sings in that scene and doesn't appear again in the movie! But it wasn't her, actually, it was everyone else, and the song, etc.
But yeah it was a powerful ending. Pixar couldn't have engineered a more movie-magical ending. I say that even though I didn't like the "decision" in the ending, but that's normal: a lot of the most satisfying movies
have an ending that the audience can't like.
Yes, that "alternate" ending was a great device to put us in the mind of the both of them. I never thought about it before, but it's rare that a scene can transport you into the subjective mental state of two characters at once and it's obvious why they're thinking the same thing. Pretty powerful, actually.
I honestly liked this movie in spite of the musical scenes; I never liked musicals and this certainly didn't change my mind. I think the fact that he made it a musical was decided maybe just in order to give him freedom to be really Romantic and Fantastic without it coming off as superficial. They fly through the air because of course they fly through the air it's musical theater.
I'm not really convinced about Ryan Gosling he has a kind of expressionless face but he's not one of those Michael Cain types that can express a rainbow with an expressionless face. Still I did definitely get some dust in my eye at the end of this movie. It uses the Zelena Formula for a great film: make a character the audience can sympathize with, and make terrible things happen to that character, and then give that character some little friends. -
plsletitrain — 9 years ago(January 31, 2017 04:56 PM)
"That must hurt for the girl that sings in that scene and doesn't appear again in the movie!"
Haha yeah lol! Well at least she could get to say "Hey I made the opening act for that Oscar-worthy movie!" Hehehehe. I forgot to write in my post to tell you you should've warned me of the disaster I will be facing on the opening act. Anyway
Yeah, powerful would be the perfect word to describe that alternate ending scene. And yes, I think expressionless would also best describe Ryan Gosling (I think I was too harsh with lifeless lol).
I think everyone who watch this did get some dust in their eyes. Even I cried and I'M STRONGGGGG!!!!! (That's why I need to watch movies alone so no one sees me when I get softy and emotional lol jk).
Lastly, thank you very much. Were it not for you, I could've missed watching on this one-of-a-kind movie.
Age of Loneliness-
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ebossert — 9 years ago(January 28, 2017 08:58 PM)
I started posting videos of my DVD collection recently. Heres the playlist:
Here are the films I saw the last few weeks.
Highly Recommended
Early Summer (1951) (Japanese Drama) (repeat viewing) Director Yasujiro Ozu contributes this great story about a young woman who is being pressured to marry by her family members. The most entertaining moments come by way of the various discussions and debates over marriage, which are frequently humorous. Setsuko Hara carries this movie with her fresh, playful, and wise demeanor. Her interactions with the various family members are very good.
Operation Mekong (2016) (Chinese Action) The Chinese government sends a band of elite narcotics officers (led by Hanyu Zhang and Eddie Peng) to the Golden Triangle to uncover the truth behind the murders associated with a huge methamphetamine recovery. The action design is mostly gritty and diverse, with an emphasis on urban apprehensions and special ops strikes that involve gunplay and hand-to-hand combat. This creates a sense of thrill and suspense even though it does get unrealistic (especially in terms of how much damage a few characters can take). This is neat stuff, incorporating some creative equipment and technology, as well as one of the coolest dogs in recent memory. Theres plenty of bloody violence too, with a few intense scenes involving children and oppressed villagers. There are some gorgeous natural environments, as well as some great overhead shots of various country locales. Plot and character development are thin (they basically move from place to place for infiltrations or strikes), but this is frenetically paced and well-acted. International conflict and cast are nicely crafted together. No nonsense crowd-pleasing action from Dante Lam.
All About Eve (1950) (American Drama/Romance) (repeat viewing) A fan insinuates herself into the company of an established but aging stage actress and her circle of theater friends. The interesting element here is that for much of the film one is unsure if Eve is a well-meaning fan or a manipulative wench. Also, despite the constant complaining of the aging actress, one can understand her frustrations and paranoia. Performances are very good by everyone and the script is well-written. There are a few genuinely funny scenes peppered in as well. The restaurant sequence near the end is awesome. Heck, the entire final 40 minutes are awesome.
XXX: The Return of Xander Cage (2017) (American Action) Extreme athlete turned government operative Xander Cage (Vin Diesel) comes out of self-imposed exile, thought to be long dead, and is set on a collision course with an international team of renegades in a race to recover a sinister and seemingly unstoppable weapon known as Pandora's Box.
This is easily the best paced and purely entertaining big budget Hollywood action film in a while, and its certainly more entertaining than every single superhero movie from 2016.
Don't get me wrong, because it is an incredibly stupid film, but it's also damn entertaining from start to finish. For example, Donnie Yen is finally allowed to do what he does best in a Hollywood movie. It's not rocket science let the guy kick some rear-end. The action is completely ridiculous, but it's certainly plentiful enough and has good enough quality to be satisfying. The cast really seemed to have fun while making this. The big negative that popped out to me was the awkward sexual innuendos near the beginning, which felt very out of place and cringeworthy. Other than that, this is fantastic action trash that everyone should support.
Recommended
XXX (2002) (American Action) (repeat viewing) A notorious underground rush-seeker (Vin Diesel) deemed untouchable by the law is coerced by the NSA to cooperate with the government and infiltrate a Russian crime ring. People who dump on this movie must have conveniently forgotten some of the awesome, practical stuntwork that was performed using wide camera shots. And even some of the CGI stuff is fun (e.g., the avalanche). There is some conventional spy stuff mixed in (e.g., gadgets and a final disarmament sequence), but its still sufficiently entertaining. Sure, the story is generic and contrived, but I liked the actors and the plot keeps moving along nicely. Asia Argento is hot in this too.
Harmony (2015) (Japanese Anime Sci Fi Drama/Horror) In a future period called the Maelstrom, nuclear war and disease have plagued and destroyed the world, including the United States. To prevent new horrors, the world was divided into several smaller states. Each state is defined as an ethical, solidarity and futuristic society which is controlled by facilities where nanotechnology is used for medical purposes, to allow better living. A young officer begins an investigation to discover the truths and threats behind the perfect world. The protagonists complete distain for this society drives the film. The script focuses heavily on narration and dialogue, -
markus-san — 9 years ago(January 29, 2017 08:55 AM)
Highly Recommended
XXX: The Return of Xander Cage (2017)
I am highly sceptical
. Does Donnie Yen get to fight Tony Jaa? That might be worth the admission price alone..
Last Film Seen;
Split
(M Night Shyamalan, 2016)
7/10 -
ebossert — 9 years ago(January 30, 2017 05:43 PM)
They do not fight each other, unfortunately.
YouTube Asian Movie Review Channel
https://www.youtube.com/user/anticlimacus100 -
morrison-dylan-fan — 9 years ago(January 30, 2017 05:33 PM)
7
- This review may contain spoilers ***
Despite reading about him for years I've for some reason have never crossed swords with Stephen Chow. Taking a look at Netflix UK,I found an obscure title of his about to be taken off the site,which led to me Chow-ing down for the first time:
The plot:
Suffering the loss of his 13th child,infamous lawyer Sung Sai Kit decides that his get out of jail card ways must have put a curse on him,which leads to Sung retiring from law. Whilst her husband sits around bored,Sung's wife learns of a murder trial taking place. Wanting to end on a high,Sung comes out of retirement, and brings justice to foot.
View on the film:
Keeping the Kung-Fu wires spinning,director Johnnie To & cinematographer Peter Pau aim arrows at extremely broad Comedy that breaths in fart gags and spicy sass. Flying into a period piece,To cheekily sends up the dry historical epics with silk primary colours lined up the screen that are scanned in rapid-fire zoom-ins making the viewer a jury member of the absurd trial.
Knocking down the walls of the courtroom Drama,the screenplay by Sandy Shaw rips the respectability of instructions apart in a wickedly crass farce,sipping Sung stepping in corrupt double dealings in the courts with an unlucky taste for breast milk. Swinging to the defence of his wife,Stephen Chow gives a splendid motor mouth performance as Sung,thanks to Chow hitting the comedic action scenes with a relish,and delivering the dialogue at a lightning fast speed,as Sung puts his foot down on justice.
- This review may contain spoilers ***
-
sitenoise — 9 years ago(February 01, 2017 02:19 PM)
Kizumonogatari Part 1: Tekketsu
Director: Tatsuya Oishi, Akiyuki Shinbo
4.366/10
I don't get anime. This has some beautiful mixed shots of cartoons on top of landscape photography, and lots and lots of drawings of one of the characters' eyeball. Like there is emotion there.
White Bird in a Blizzard
Director: Gregg Araki
4.79/10
I watched this for the Harold Budd/Cocteau Twins soundtrack. The things we do.
The Girl on the Train
Director: Tate Taylor
8/10
Haters gonna hate. Likers gonna like. Emily Blunt is fabulous, and that means a lot coming from a guy who thinks acting drunk is one of the hardest things an actor can attempt. You Go Girl. So much better than
Gone Girl
.
The Workhorse & the Bigmouth
Director: Keisuke Yoshida
8.137/10
Requisite
SPOILER ALERT
because I may end up over describing this thing, but it won't matter because nobody reading this will, or should, ever see it.
Another home run for
Keisuke Yoshida
of
Himeanole
and
Cafe Isobe
fame. This is another small, tiny, little, dinky flick. Yoshida knows how to cut film. Bad cuts are when you're all like, "wtf?" Good cuts are when you can't help but joyfully ponder where the next few minutes of a scene might have gone if it wasn't cut. Thank you. I'm here all week. Don't forget to tip your waiters.
This is my
anti-
LaLaLand
. The gut punch here, the
Anagnorisis
(even though the fantastic fansubs totally boinked the money shot) is when
Kumiko Aso
, as a 34 year old wannabe screenwriter says (something to the effect of): "Getting rejected every time, never even making it into the first round, year after year after year that's nothing compared to giving up a dream you've had since childhood because you recognize you don't have the talent for it."
Kumiko Aso
is fabulous. If you don't like her you won't like the film. She's about as plain jane as a person can be, has an insincere smile, and yet while never wearing tight jeans she's totally hot. And she doesn't really act. As the "Workhorse", since she can't really
act
(thank god), she simply owns every scripted line. The ironic beauty of having her play a scriptwriter who attends classes and does every act I, act II, act III thing by the book was not lost on me.
The film is almost a standard jrom-jom.
Aso
is independent. The "Bigmouth" isn't loud, thank goodness, more of a slightly cocky
Jeff Spicoli
without the drugs, who attends the script writing classes, wants
Aso
, and criticizes everyone else's writing for playing by the rules, while being unable to write anything of his own. I pondered punting when I feared the two of them would end up together. If Spicoli would have bad eating-acted I would have punted for sure. In the hands of a lesser director he would have bad eating-acted all throughout. And gotten Aso.
Not here
. He does, however, put pencils up his nose.
There's also Aso's ex who is goodness personified. He's an ex-actor who now works as a caregiver wiping butts and cleaning up puke.
Aso
calls him and asks if she can volunteer at his nursing home as research for her next screenplay. Will they end up together?
Not here.
You have to be fairly smart and creative to write a screenplay about screenplay writers who dream, and discuss talent. What is talent? Who's got it? Can it be measured? Can it be improved?
There is also a handful of incidentals who all rise to the level of characters.
The Workhorse & the Bigmouth
is a slow burn, smart and talky little anti-romcom. But it is emphatically NOT arthouse pomposity. It's a goofy little film filled with dorks who chew up and spit out (politely, into a napkin) conventional stereotypes. I loved this thing from top to bottom well, not quite. A few years ago when this came out I immediately dismissed it because the film poster is bad. You can almost always infer the quality of a movie from its poster. Yoshida needs help in the poster making department. My guess is he doesn't involve himself with it. Mistake #1. Mistake #2 would be the title of the film.
_-|/`— my opinions are incomplete. always wil -
plsletitrain — 9 years ago(February 01, 2017 05:24 PM)
"I don't get anime. This has some beautiful mixed shots of cartoons on top of landscape photography, and lots and lots of drawings of one of the characters' eyeball. Like there is emotion there."
Bwahahahaha! I admit, as an anime lover myself, there are some animes I also can't get into. Its a hit or miss when it comes to anime.
I've been waiting and looking everywhere for ages for Your Name (Kimi No Na Wa) but please please let the gods hear this, can they post it in the sites I visit now??? Complete with subs and all???? I really really wish I could see this already.
I was about to look for the Workhorse & the Bigmouth because Himeanole but your review of it kinda sounds like that movie I can't remember where I watched it because its your favorite but it only took me around 10 minutes to put it off because I can't stand the leads staring at each other and (I think) they were eating in a restaurant whispering some sweet nothings or what was that. I can't remember the title now. And the trailer for this Workhorse doesn't help too so I think I'll give this one a pass.Age of Loneliness-
-
sitenoise — 9 years ago(February 01, 2017 05:46 PM)
Workhorse & the Bigmouth
is nothing at all like
Cafe Noir
or
One Fine Spring Day
. The bigmouth is seriously a Jeff Spicoli spinoff so that gives you an idea of its goofy factor.
Aso
's ex is a lovely man but everyone else is a loser (well he's a loser too, but a lovely one). The overall humor is more heady, though, than slappy. The director wants you inside the people rather than pointing and laughing at them. There are many many touching moments but I think it would be too slow for you. If the trailer had subs it might be a better sell as a few of the jokes are there, but as Trailers are always stupid and non-representative of a movie, I don't know what to say. It had Spicoli with the pencils in all his top level orifices, tho. Isn't that a selling point? lol -
zelena33 — 9 years ago(February 02, 2017 03:53 PM)
When I saw your comments about his cutting skillz, I decided to give
Himeanole
a try I had downloaded it and was on the fence. I thought it was really good for the first 50 minutes. Then it turned into a senseless gore flick. I was really disappointed. Once that kind of violence starts in a movie, it doesn't stop. I bailed at 1:16 and I think that was at least the sixth graphic murder in 20 minutes. Sorry if I'm a broken record, but I'm not "for" or "against" violence in movies, it's just a question of whether it serves a cinematic purpose. If a death scene doesn't elicit empathy, that becomes an occasion for you to know that you have no empathy for other people. It's just porn, and there's way too much bad porn in Japan. The whole film still could have been great if the violence was cut out in the way Hitchcock would have, but the pacing, which was exceptionally well done up till then, would have been blown out. If I was teaching college kids film, I would have them edit out the violence and make it still work.
Anyway, does this other one have a lot of gore? I'm still open to the director. Himeanole had great humor, and as you pointed out, phenomenal photography and editing, and superb sound design, that added a lot to the storytelling. I was really digging the jrom-jom elements all guys are losers unworthy of women, but get them anyway, and all women are not as angelic as they're cracked up to be when you fall for them. I'll trust your take on whether
Workhorse
is zelenable. -
sitenoise — 9 years ago(February 02, 2017 05:22 PM)
Himeanole
is his outlier. It was strange to see where he went with it. Gore is not present elsewhere in his oeuvre.
I guess his first flick,
Raw Summer
, is a soft porno with Sora Aoi, but that's pretty common in Japan, I guess. Beyond that, everything is zelenable. It's not that much tho, just
Cafe Isobe
and
Workhorse
. Can't remember if you've seen
Cafe
or not. It has more energy than
Workhorse
. I like them both in the 8 area.
Oh yeah, there's
My Little Sweet Pea
which I found Hallmark channel awful. And I see he has another flick with a pig on the poster. I'm ignoring that one.
I think you'll like
Workhorse
. Too slow for weepyeyes, tho.
If you're really scrounging, I would love your opinion on that Cat movie we went on about recently. -
zelena33 — 9 years ago(February 04, 2017 03:01 PM)
Well, seeing that Himeanole was a merciful 1:46 long, I went back and finished it, trying to FF through the gore scenes. However, there is hardly a three minute stretch in the rest of the film without a graphic murder. I was really puzzled and disappointed with where this film went. I guess this is why there are Executive Producers. They serve to nudge directors in the right direction (aka "interfere in the creative process") when they get too up themselves and get lost.
This director definitely has flashes of creative brilliance. I see what you mean by the cuts. He has some of them. "Your pasta " What do you want to bet this guy was the valedictorian of his film school class, and was one of those guys who everyone has always said is a "genius" (but isn't)? He sat down and learned some things from Scorcese etc, which is more than most people do. I wish he could have just made an odd jrom-jom out of Himeanole, instead of an adolescent slasher flick, where women are just there to be raped. I gave it a five point something because it had some merits but I barely watched the whole thing.
Workhorse was different, again some flashes of good stuff. What's her name was a pretty naturalistic actor too. She grimaces disapprovingly in a very natural way. But the plot though. You praised the director for not making it into the cliche where the guy gets the "girl" (who is 35). But I read it the other way; he makes it into something where he doesn't care if they get together, doesn't care if they don't. But then he still plays j-drama scoring. I thought it was too long and I wasn't satisfied at the end, put it that way. I gave it seven point barely
So what, now I'm down to cat movies and noplace to vent about them!?! -
sitenoise — 9 years ago(February 04, 2017 04:01 PM)
Not that it matters much, but I think it's unfortunate you watched
Himeanole
first. And wondered if there was more gore about him. (interesting, I haven't committed this director's name to memory yet).
For me, he's a comedy guy. I hope you'll give
Cafe Isobe
a shot if you haven't. It's mic drop city. That's why
Himeanole
was so weird, and surprising. I had no idea it was going to go there. I'm sympathetic to your views re: gore and violence, just have my line drawn at a different place.
You are right about the "j-drama scoring" in
Workhorse
. I remember wincing a few times.
My Little Sweet Pea
= OMG and he has a movie with a pig on a poster. It probably has an awful score. He's all over. I don't want to reduce him to a hired gun, but he's inching close. And in the end, anyone who doesn't get music will eventually lose me.
I'm just going to go on a little bit more here, lol. He made
Sweet Pea
and
Workhorse
the same year. Two films about women who figure out they don't need someone else to walk ahead in the world. Nobody raped them. I don't know if he's pandering or genuine.
In re: music(ality). That's what grabbed me about
Cafe
. Not it's score, but its rhythm. That's his cutting prowess.
Until such time as I believe otherwise, I maintain the guy is skilled enough, interestingly intelligent enough, and gosh darn-it, I like him. You should watch
Cafe
. -
sitenoise — 9 years ago(February 03, 2017 08:01 PM)
Here's the thing:
Kang-ho Song
. He has this magical ability to appear as if he's wandered on to the wrong film set, and then through sheer force of will he takes over the proceedings. He's got to be one of the finest actors on the planet. What he does in
The Age of Shadows
is amazing. I could never decide if he was a weak flip-flopper of a character or ultimately conniving because he does both. I don't think many people can do that.
Um Tae-Goo
plays one of the greasiest bad ass villains in recent memory. I was mesmerized by his face, especially his cheekbones. Kudos all over that dude. He really makes the film.
The "Train Scene" is masterfully done suspense.
But
This big a$$
Warner Bros
flick also stars Kermit the over moisturized Frog face. A guy who co-starred in a film with
Do-yeon Jeon
, which was written and directed by
Yoon-ki Lee
, and the film sucked. Do the math. -
clayton-12 — 9 years ago(February 03, 2017 08:35 PM)
I kind of shudder at the thought of what your answer might be if I were to ask what you didn't like about
A Man and a Woman
I thought it was really, really good (but I preferred
After the Storm
quite a bit more to
Our Little Sister
, so we probably aren't on the same wavelength).
BTW, your appraisal of the music in
If Cats Disappeared from the World
was spot on - I'm not usually as attuned to these things as others, but that film is surely a contender for Most Appallingly Annoying Soundtrack Of All Time award. The concept was interesting and the shifting timeframes were handled well, but the other thing that bugged me was the cinematography. You commented that it looked good, and, yeah, it did look good, in a Hallmark/David Hamilton kinda way I thought it was as, umm, tasteful as the soundtrack. It reminded me very much of the look of
Very Ordinary Couple
, but that worked in that film because it was so gloriously ironic.