Started out pretty strong, then quickly devolved into cliché. Woody Harrelson is a good choice for this role, and he makes the film watchable, even when the script gets lazy and offers up the most predictable situations. A pretty good way to kill time on a plane, but otherwise…
I think I read that there is archival footage interspersed with the scenes of this movie, but if so, it is done so well that it’s almost seamless.
The accent is a bit off-putting at first, but I’m guessing it’s pretty accurate. Natalie Portman is a tour de force here, present as she is in nearly every scene. By the end, I’d almost forgotten it wasn’t really Jackie O.
How much is that bottle of wine? Where did you get it? Check the label, carefully. And the foil. And the glass. And also the contents…
Fascinating account of a wine savant gone rogue. It’s juicy, but something doesn’t smell right…
Wait, is this Ben Stiller again? In a Noah Baumbach film again? I may just become a fan. Add Naomi Watts, Adam Driver, and Amanda Seyfried and you have a winner.
Channing Tatum cancels out Matthew McConaughey. I always like the former, and I’m always annoyed by the latter. Not what I’d expect from Steven Soderbergh, but this is pretty fun – more for the energy than for the depth of the material.
Netflix can do no wrong, it seems. This is a film that, on the surface, I wouldn’t expect to enjoy so much. The cast is not one that I have much interest in. But I’ve never liked Adam Sandler and Ben Stiller so much as I did here. They are both excellent, good enough to keep up with Dustin Hoffman, with no-one outshining the others.
Ah, the writer/director is Noah Baumbach… That goes a long way in explaining the quality on hand.
On the front lines of the opioid epidemic, in small-town America. Powerful.
A sequel worth seeing. Not only worth seeing, but quite possibly better than the original… this is very nearly a masterpiece.
Some will say it is too long, but I think that the pacing is very deliberate, and quite necessary. It allows the viewer the time to think, to ponder the questions that are being asked, and to come to the same conclusions that K comes to. This flies in the face of most current moviemaking, and that’s fine with me.
I was reminded at one point of “Eternal Sunshine of the Spotless Mind,” when a key character talks about how memory is essential to identity. And it is the intersection of memory, DNA, robotics, and all of the ethical questions raised by those things that make this movie so interesting.
See it and think…
Cameras follow her everywhere she goes – sounds like a typical, modern documentary, right? Meant to be intimate and give you an inside look. Which is fine, except with someone like Lady Gaga, there’s very little that is not scripted, or at the very least, not very un-guarded.
She’s a genuine talent, but I can’t say I like her any more after seeing this than before.
What the fuck was that?!
Even by Aronofsky standards, that was a fucked-up fever dream… I tend to agree with those critics who say it was supposed to be a comedy. But I only laughed in the uncomfortable way that you do when you are just completely at a loss as to what to do…