Well. This was fantastic

Well. This was fantastic.

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It was alright. Connections with the manuscript were a bit loose, but at least it's not spoonfed.

Aside from that REVENGE painting. That was pretty stupid.

Yah I mean,,it's not a master piece but I was very pleased as I didn't know what to expect.

Good to see a decent film from time to time

Dude was weak. His wife had a legitimate reason to leave him.

And what the fuck. She doesn't want to be with him.

Fuck that dude and the movie was a 4.6 out of 10.

It was ok. The story-within-a-story was much more interesting than the stuff with Amy Adams.

>Wife

I forgot they weren't married.

I feel like she wasnt supposed to be likable or interesting. Felt like the point of the movie.

The obese chicks dancing were deep inside her. Such is the life of an artist.

I didn't care much at all for the point of the movie, and if I choose to take the framing story seriously, it actually ruins everything I liked about the "Jakey's novel" sections of the film

>based Jake
What did you expect?
Has he even been in a movie that isn't great?

I even liked that music video he did.

Probably my favorite movie of 2016. Absolutely perfect.

>that music video he did

youtube.com/watch?v=bccKotFwzoY

I think he meant Time to Dance.
I didn't know about this one until the other day though. LOL

Am I supposed to know the ginger? I'd like to.

Kek, I did mean time to dance but he's great in this too

I'd really like to see him in Sunday in the Park with George.

Really wanted to like this because of Ford, but the Amy scenes felt like worse versions of Fincher or Refn and the Marfa scenes felt like worse versions of a Coen. I also felt the balance was way off with more attention needing to be paid to the Amy framing section (specifically current Amy, I thought past Amy sections were fine).

Overall disappointed in something I was hoping would be top 5 for the year for me.

name your top 5

Also, Tom Ford is nowhere near Fincher, Refn or the Coens m8, you should have not expected that much from him, your mistake tbqhwyf

That said, I do need to say the scene with Jake and Friends on the side of the road was the most tense scenes I've seen lately (since Green Room probably),

Explain your 2nd sentence, I'm not understanding it.

I'm still really behind on 2016 movies , but currently (in no order and by theatrical release dates), VVitch, Arrival, Knight of Cups, Neon Demon, and LLL. Once I get to them I'm hoping Moonlight, The Lobster, or The Handmaiden can bump one or two of those off

Yeah I can see that about Ford now. I was really impressed by some of the things he was able to in the fashion industry so I was hopeful.

It was pretty decent, more fun in the parallels than watching the story within the story to be honest. What set this movie apart was the frame from real life. Without the frame, it's just cliche'd detective gone rogue thriller bullshit. All that violence and drama from the novel is pretty boring and predictable (the cancer looks on the cop gave away how it was going to end too son) and not excessively violent.
I mean, would you feel any of the things Amy feels just from watching that 'movie'? Or from reading this kind of prose?

The ending scene in the restaurant was the best part.
>you're very sensitive, a romantic
>you are weak
>you're too weak
>you might never get (this kind of love) again
Then he doesn't show up. Brilliant. The revenge goes two-ways. Old Edward would never do that, nor would he write up a raw violent novel like the present one.

Not really.

It's a decent thriller (with 1 very good scene) wrapped in an extremely shitty, underdeveloped noir drama.

So I saw it as kind of three main sections between Amy Adams in the present, Amy Adams in the past, and the book sections. Out of the three, the book scenes dominated the other two, but I still felt like the Amy Adams in the past scenes were fleshed out adequately. However, the Amy Adams in the present sections didn't seem fully developed and instead a good deal of them felt like only brief excursions from the book sections. AKA important scene from the book section occurs, zoom out to Amy Adams looking scared, dive right back into the book. It felt so unbalanced I would have preferred to lose them completely and just have the entire movie be the book narrative (even though stylistically I preferred the LA sections).

I guess we just disagree then. I felt that everything was exactly as it needed to be. No more, no less.

>Aside from that REVENGE painting. That was pretty stupid
But how else am I supposed to know what the movie is about?

if you say that you prefer the story within the film then you are a certified pleb. it's literally babby's first comment when it comes to nocturnal animals.

The exchange in the flashback when edward and susan have dinner and he says she has her mother's eyes is probably the scene that says all there is. Maybe in addition to her dinner with her mother.

She says she's always trying to appear perfect and she's too cynical to be an artist.

Liked it. Had a really creepy vibe to it. Jake is really killing it right now in Hollywood.

MOTY

my opinion
dont b triggered
it was really good
show me a better movie of the year
i'll wait

Anyone still have the movie downloaded?

Is the car behind Edward when he's arguing with Susan and she walks off the same car as the on Ray drives?

Yes, it is.

The ending ruined it. Should have been Jake with his new family coming into the restaurant.

That's pretty neat.

Just reading the script and it says Edward is standing in front of an autobody shop when Susan walks away from him. It doesn't mention the car.

I wonder if that was a conscious decision during shooting or they used the same car because of the budget or something. I think Tom Ford did it on purpose though, this guy can write.

who dis nigga?

>cut to a camera angle outside the restaurant
>man in a leather jacket facing away from the camera
>the restaurant explodes
>Jakey turns to face the camera and gives us a saucy wink
>Smash cut to end credits; Michael Shannon blooper reel (he's a real jokester)

Oh I just noticed it says earlier in the script

>an old dark green metallic Pontiac GTO
with a dented fender

>as the second car, the convertible
that was lagging behind, comes into sight. We see the wide
grin of the shirtless driver as the car slows and then speeds
away.

that's all it says

Paterson

It would've been pretty effective (albeit not entirely subtle) if after they get out of the abortion clinic, Amy and the guy were inside a Mercedes.

>FLASHBACK: INT. MERCEDES COUP, PARKING LOT, TRAVIS COUNTY 82
MEDICAL CLINIC, AUSTIN TEXAS, 1997

It is a Mercedes.

But it's not shown as a Mercedes for whatever reason. I checked after that guy asked about the green car and the interior of Tony's Mercedes and the one from the clinic are different, and you never see the logo when they stare out at Edward standing under the rain.

Either it was a missed opportunity or it was cut because it'd be too heavy handed.