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Wuchak (7970)


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The Devil's Footprints phenomenon rears its head in a wintery town in New York Trying to survive in desolate northern Canada Richard Gere pours out his wrath on sexual deviants in the deserts of New Mexico Tries too hard It's, um... creative A killer bunny-man is loose at a cabin-in-the-woods in England Norman Bates meets Carrie meets Willard... with a flamethrower Brando, Depp and Dunaway in an amusing and inspiring romcom A deadly "chicken-man" is on the loose at a farmhouse in the Midwest The most all-around entertaining installment of the slasher series View all posts >


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No, I just want to see a movie with a compelling last act, not the overlong and tedious climax we get here. The fact that it makes (the bulk of) the rest of the film a lie is a secondary criticism. ...not to mention an altogether different race (at least that's what it looks like). I hate it when I can't track down the identity of a notable peripheral. It's proficiently made, but the overall writing and filmmaking failed to draw me into the characters and their experiences. I guess the writer/director's style just isn’t my thang, speaking as someone who appreciates compelling coming-of-age flicks, including artistic ones, like “Clueless,” “The Man in the Moon,” “Dead Poets Society,” “Little Darlings,” “The Virgin Suicides,” “Footloose,” “The Way Way Back” and “Fast Times at Ridgemont High.” Even spare-change Indies, like “Everlasting Love” and “Colossal Youth,” are all-around superior entertainments IMHO. The similar “Welcome Home, Roxy Carmichael” had its issues, but it’s a masterpiece compared to this. I’m not saying “Lady Bird” doesn’t have its artistic appeal but, by the last act, I can honestly say I hated it. Odeya Rush as Jenna is one of the few highlights, along with Timothée Chalamet as the cool dude. I saw the flick last December. Is she specifically called Sue Allen in the movie? I realize this is implied in your statement, but I'm just making sure because, if not, Angela Bennett <i>could</i> refer to the brunette Caucasian (or Hispanic) in that particular photo <url>https://www.imdb.com/title/tt0087243/mediaviewer/rm2969652737/</url>. If her character's name is indeed Sue Allen then IMDb evidently made a mistake tagging that particular Angela Bennett to that particular photo (I come across such errors occasionally). In that case, I suggest going to the end credits of the film itself and finding her real name there, assuming you have access to it. I should've given more specifics, but I was talking about the sequence where he hugs & kisses his wife on the beach blanket. I was like, "Please <i>end</i>." The reason I dislike the last quarter so much -- besides being needlessly drawn out -- is that it makes the previous three quarters a lie. It never happened (I'm talking about the main story of the US Marshals investigating the asylum). Since this was all in the mind of DiCaprio's character, it wasn't reality... and that was the compelling chunk of the movie for me. It's similar to a "it was all a dream" twist, which I find to be an eye-rolling copout. Speaking of which, the only way I can appreciate "The Night of the Following Day" is to pretend the brief "it was all a dream" scene at the end isn't there. Back then, in 1966, it can perhaps be justified on the grounds that it was a somewhat fresh ending for a mainstream crime drama/thriller, but not in 2010. Not for me, anyway. As for the more specific "it was all in his mind" scenario, it was done almost a decade earlier in "A Beautiful Mind." I'm not saying fans of the ending are wrong. It's a well-made movie and, if people like the twist, they like it. But <i>I</i> would've preferred the story going the way it was going in DiCaprio's psychotic fantasy -- Mengele-like experiments being conducted on American soil by the sanction of the Govt so shortly after WW2. As it is, the film could've been titled "DiCaprio's Trip to Fantasy Island." The first three quarters are quite good as a slow-burn eerie investigation with the milieu of post-WW2 America and interesting flashbacks to Dachau Concentration Camp. Unfortunately, the last quarter ruins the movie for me. Don’t get me wrong, the ‘twist’ could’ve been done in a compelling, streamlined way, such as in “The Sixth Sense,” but instead everything’s unnecessarily drawn out. For instance, the final sequence between DiCaprio and Michelle Williams is dreadfully dull. <blockquote>Preacher refuses married woman (if I remember right)</blockquote> If I remember correctly, he <i>did</i> have sex with Hull's woman, but refused sex with his daughter, Megan, who was only about 15. I say "Hull's woman" because I can't recall if she was his wife or a cohabiting girlfriend, aka common law wife. The only reason I remember him having sex with the woman is it provoked a moral conundrum about the character: I thought he was supposed to be a <i>righteous</i> angel or whatever and bedding <i>another man's</i> mate definitely isn't righteous. <blockquote>The ending felt more necessary than organic to the script & characters. After all, Curry was sincere when he told Henry & Wyatt to leave while he held off the gang. No, it was definitely Henry having seen the brand that prompted Curry to shoot him. One can only guess that he assumed Henry would insist on turning him in.</blockquote> I doubt Henry would've turned him in to authorities since he'd want to keep what went down at the homestead as low-key as possible in order to keep his real identity secret. I don't believe Curry's actions were inorganic though. He was still recovering from his wounds and traumatized by the gunfight. I chalk his rash shooting of Henry up to paranoia and survival instinct: He knew Henry's discovering of the brand would blow his backstory and Henry might not take too kindly to being lied to; better to be safe than sorry, he figured (in the one second he had to make the decision). It's basically "Young Guns 3: the Epilogue." It's hard to get past Lemmy's lousy vocals, although he fit certain songs, like "Orgasmatron." View all replies >