Why don't you guys ever talk about this kino?

Why don't you guys ever talk about this kino?

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Because it's boring

cause it's shit

i saw her boobs

It's terrible
An abomination lauded by pseuds and shills like Drive
Immoral without horror or effect, uncinematic, derivative, no innovation or energy

It''s 1/3 of a film and 2/3rds a really trite sins of the father thing that has no function as a story outside of saying that.

Because the white guy gets cucked by a BBC

Threads all the time

One of my favorite films in recent history. Along with one of my favorite movie theater experiences ever.

I watched in when it released. anticipated it massively because patton was doing the score.

its good but Ive never bothered to give it a second watch. the 1st and 2nd acts I liked alot however thats probably due to having a newborn son at the time
3rd act is OK but its carried by Bradley Cooper.

It tricks you into thinking you're watching goosekino but it turns into some bullshit teenage drama about an hour in.

The score is amazing. I listen to it on Spotify all the time.

yeah funnily enough best song on the film was done for something else
youtube.com/watch?v=w_W17Yb1tPU

most reddit opinion: the movie becomes boring after gosling die

Are you retarded? The black guy is a cuck for raising someone else's child. But because he's black you instantly assume that Gosling was the one who got cucked, ironically indicating that you have an inferiority complex when it comes to black guys and you view them as sexually threatening/intimidating. You fucking cuck.

It become severely less cool

The film also makes it very clear the black guy is a better, more responsible parent than Gosling. He's an objectively better dad

It's three connected films inside of one. That said, while the third act was still good, it wasn't nearly on par with the first two.

100% me, except for the son.

So this movie is in opposite world. Prob why he dies Midway.

what is there to talk about?

But it objectively. The dude playing Cooper's son is another embarrassing bar mitzvah hire, can't act for shit

So many kino bike scenes

youtu.be/x1l1gbK7-Os

>Goose dies in 1st half of the movie
>Kino

>Derek Cianfrance must be a pimp to get a project like The Place Beyond Pines green-lighted. Its less than compelling story about a criminal (Ryan Gosling) and a police offer (Bradley Cooper) whose lives cross (a newspaper headline identifies them as “Moto-Bandit and Hero Cop”) is dragged out in that same enervating style Cianfrance used in the banal, meandering Blue Valentine.

>verse to narrative efficiency (and editing), Cianfrance insists on vague, rambling scenes supposedly full of verisimiltude and working-class local color. He prefers brooding protagonists and characters who, if not inarticulate, repeat indistinct, half-revealing phrases or sudden apercus.

>A lowlife tells the Moto-Bandit “If you ride like lighting you’re gonna crash like thunder,” a WTF insight that, laughably, Cianfrance uses for prophecy. As his title The Place Beyond the Pines suggests, Cianfrance has poetic delusions and combines them with an inane approach to storytelling. He seems not to know he’s dealing with clichés which makes him the perfect directorial partner for Gosling’s seething, blondined phoniness.

>After Blue Valentine, Gosling and Cianfrance continue their petulance duet, here attempting a petulant modern epic spanning several generations of father/son disconnection and consequences, yet without any narrative drive other than the writer-director’s cussed insistence. Cianfrance tells this story his way–not a quick or efficient way. He’s so dramaturgically illiterate he fails to achieve psychologically or experiential connections between his disparate protagonists. Moto Bandit and Hero Cop are merely conceptual conceits that Cianfrance tries heightening into some kind of mythic status: first by depicting their lives sequentially rather than interlinked, then rushing ahead with the lives of their offsprings, boys who reject their fatherly role-models and become a new pair of laughable clichés.

>Hey Shannon, did I ever tell you about my father? He was a professional biker who honed his skills doing stunts in a carnival show. When he found out he had a son, he started robbing banks to try and support me and my mother since he had no marketable skills other than his job as a mechanic in which his boss was ripping him off and paying less than minimum wage, much like the agreement you and I have together. But unlike me, dad couldn't stand his girlfriend's boyfriend and ended up kicking his teeth down his throat because he wouldn't shut his mouth, which caused a series of events leading to my father's suicide by cop after a botched bank robbery. I later befriended that very same cop's son, whom I had rapidly escalating altercations with after learning his identity, leading to my buying a gun and almost killing him and his father. That whole event really traumatized me, so I don't carry guns anymore. Anyway, after that I ran away from home and bought a cheap bike and road west and that's how I met you, all thanks to my dad. He was a good friend.

>The Place Beyond the Pines suggests three bad movies in one (The Bandit, the Cop and the Boys would be a better title) because Cianfrance, despite his artistic arrogance doesn‘t know how to cohere his overwrought ideas about class, ethnicity, crime, fate, love, parenthood. Fortunately, this week’s release of Criterion’s newly remastered version of Michael Powell’s 1943 The Life and Death of Colonel Blimp exemplifies the way a modern epic can evoke ideas about national character. Powell’s patriotic mythos and personal romanticism make a finer combination than Cianfrance’s reach for pessimism and profundity.

>In Colonel Blimp, Powell’s megalomania was perfectly matched with the subject of British jingoism personified by Roger Livesey’s military hero who is challenged by Anton Walbrook’s brother from another culture and Deborah Kerr’s three stages of Woman. One of the most ostentatiously idiosyncratic epics ever filmed, Colonel Blimp succeeds through expressive visual language. Cianfrance is burdened by indie amateurishness that tries passing for idiosyncrasy. Instead, his muted, inchoate technique highlights his actors then defeats them. Bradley Cooper as Hero Cop and Eva Mendes as Moto-Bandit’s ethnic babymama show strong emotion yet Cianfrance’s stock characterizations deprive them of moments that Walbrook and Kerr made meaningful and memorable.

>Cianfrance is hardly a psychological or atmospheric director. His style is not phantasmagorical like Powell’s, just nihilistic melodrama and dark realism; part Christopher Nolan, part James Gray–the wrong parts. He makes the film’s events oddly telescoped, predictable and pointless. It takes chutzpah to attempt a modern epic when one’s methods are so puny.

>“If you ride like lighting you’re gonna crash like thunder
Unironically love that

It's pretty bad

>It takes chutzpah to attempt a modern epic when one’s methods are so puny.

GOD
DAMN

I think it was ad-libbed too. Neat how it ended up being one of the most memorable lines of the movie.

because after gosling dies it turns into a shitty mtv series about kids i couldn't give a shit about.