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cbsteven's Replies
Elena had been suspecting for a while. I think she was as much angry at his poor excuse.
Definitely some funny moments (Nixon masks and waterbeds), in a film that gets heavy at the end.
They make out a bit, but not much more.
To answer the last question, money doesn't necessarily make people happy. They were in a position where life was easy, and they were stagnating. Some people like to use their wealth and time to work on other ideas. Others don't. Some people just don't know what to do with their time. 'Ennui' is the word for it. Maybe white people feel that more than others? Maybe that's the common thread - people not knowing where to go next, and not knowing how to get out of it. Maybe afraid to risk their comfort for something new. Which can seem pretentious from the outside.
To reference AB, we all know how Lester deals with his malaise. Chris in Into The Wild is another example. People who find themselves feeling that way, or trying to avoid it.
Scars, maybe?
Almost Famous is my choice, but TTYD has got the same story of starting a new band. The Mac were the basis for The Six.
Right. It's been done better before.
Feels a bit forced so far. Have you seen Almost Famous, The Runaways or Still Crazy?
Two guys who happened to start talking, then got to know each other a bit through their searches of the rock.
The whole film can feel like subtext.
To show how a town reacts to a strange situation/event. Like those unsolved murder films where the policemen become obsessed with solving the case. The not knowing what's gone on. Certainly a frustrating first watch, if you go in with set expectations.
Both have people stepping away from their usual surroundings, into an unknown situation. The folky/spacey soundtracks too.
The big difference is in their endings of course, with the all or nothing approach.
TWMs ending makes it an 'easier' watch in that sense for some viewers, and is rightly regarded as the finest British horror film. PAHR exists in ambiguity and atmosphere.
A 'psychological' horror, certainly. Some strange stuff going on, then they don't handle the situation well.
One of those films that's not so easy to put a genre to.
I think there was a longer pool scene, where she was in the water too. Guess she was the easiest character to write out.
SM had the purely religious theme, and the ending seemed to come out of nowhere. Censor gives us the back story of Enid's sister, and the reasoning for her actions. They're both acting entirely from delusion, but two completely different ways of getting there. Hence Censor being the only one worth watching.
Could that be done convincingly though? Sounds a bit like Driller Killer. The sister plot helped justify her actions.
You could say she was insane already, from obsessing over her sister. Then seeing 'Church' gave her a delusion to act upon.
Watched it again last night. You can't go back to the theatrical cut.
I never said you were. I wonder how many nightmares were planned/ scripted, that never made it?
Three hours. Long films tend to tank because they get less screenings. Plus being a foreign indie.
Wiki says it took 19.5 mill dollars and a 4 mill euro budget.
Nancy is becoming the main character, so we see Rod from her POV. We know by now how Freddy operates, so did we need to see Glen's dream? And would it take away the shock of his death scene? Also again, we're going through Nancy.
At least some listings put the year next to the title, so you don't get your hopes up.