was the world wrong about this film?
Was the world wrong about this film?
Noah Martin
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Nolan Young
Maybe but I don't give a shit. I loved it and that is all that matters to me.
Levi Wright
I thought it was great, but im an overweight loser who loves Ryan gosling
Levi Bailey
unlike drive, it was boring as fuck.
Nathan Peterson
>Be me hated the movie
>2 days later
>Kino
I don't know how or why. When I went to bed I couldn't get the movie out of my head. The night I finally decided that it was a perfect movie
Jaxson Roberts
It has flaws but overall it was good
Ryan Smith
no, but for the wrong reasons
it’s bad not because it’s “slow and boring”, but because it’s a love letter to Jodo that fails to live up to him in any way
Dylan Moore
oedipuskino
William Adams
TAKE IT OFF
Wyatt Hernandez
SO
FUCKING
BORING
Thomas Jenkins
I liked it.
Cameron Rogers
I watched it with my mom.
Samuel Ramirez
Boring is a state of mind, an mere emotional response that says nothing of the work itself but rather only your own mindset. Discuss the film, not yourself and how you felt. If you can't approach film unbiased, just shut up.
Jordan Evans
>someone stares at a wall for 10 minutes at a time : the movie
Thomas Rogers
Dylan Ortiz
>people staring at shit for the majority of the movie is not boring
Kayden Barnes
>a film has to pander to your arbitrary ideals of not-boring to be considered worthwhile
Do you realize what state you put the auteur in? "Boring" is solely in the head. A film cannot be boring, as it exists outside of such biased interpretation. "Boring" is fine as long as you can realize it's not indicative of a film but rather of your own interpretation and mindset to it. Used as a sole criticism, it's utterly baseless. This apples to "fun", etc, also.
Nolan Morales
This nonsense is so inorganic to any sense of globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism that it just feels derivative. That Kubrickian scene in Drive of dead-eyed strippers watching an assault gets extended here in a more elaborate whorehouse sequence where catatonic hookers bear mute witness to instances of police corruption. Refn’s tableau of organdy-gowned call-girls listening to pop while watching violence in a bouquet-bedecked whorehouse is the ultimate David Lynch parody.
Gosling and Refn have art ambitions–a strange sense of fun. But how can film culture progress with fantasies like this? There’s no shock or outrage left. Refn relies upon a level of menace (unerotic, non-provocative) that precludes caring about or responding to violence, vulnerability, mortality. This is cinema for unsophisticated viewers who don’t already know Bunuel’s eye-slashing, Altman’s Coke bottle assault or Shakespeare/Julie Taymor’s Titus. Children of Kubrick, Friedkin, Lynch and Tarantino, they remain infantile about movies.
Lincoln Sanders
>one character says something
>long pause
>30 seconds go by
>other character responds
OHHH SO DEEP AND ARTISTIC, DID YOU SEE THE RED/PURPLE LIGHT AND LISTEN TO THE ELECTRONIC MUSIC SOUNDTRACK?
Joseph Ward
Shut the fuck up already you goddamned idiot. OGF was the superior film of the two.
Julian Wright
contrarian faggot, you have no taste. you wouldn't know kino if it slapped you in the face
Christian Jones
I thought you didn't like Altman.