Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
Wristcutters: A Love Story
Life is a trip, but the afterlife is one hell of a ride.
Zia, distraught over breaking up with his girlfriend, decides to end it all. Unfortunately, he discovers that there is no real ending, only a run-down afterlife that is strikingly similar to his old one, just a bit worse. Discovering that his ex-girlfriend has also "offed" herself, he sets out on a road trip, with his Russian rocker friend, to find her. Their journey takes them through an absurd purgatory where they discover that being dead doesn't mean you have to stop livin'!
We all know the common religious belief that if you're a good stand-up person you go to Heaven and if you're a cunty prick you go to Hell, but where do you go if you commit suicide? I mean, commiting suicide is never the best option, but it doesn't make the person bad or good and they don't necessarily have to be bad or good; it just means they had it rough and couldn't go forward. What happens to that person after life if not Hell or Heaven? That is the question raised in Wristcutters.
There's something about this film that really resonates on a second viewing. For some reason, the meaning and the emotion behind this film packs an…
Wristcutters takes an weird, interesting concept and completely rolls with it, committing fully to creating a limbo-ish world where people who commit suicide reside. Its a bleak and desolate place that is kind of like the real world, "only a little worse" as our main character Zia puts it.
I absolutely loved this movie the first time I saw it. I was able to buy in fully to the general concept and thought it was a unique enough of a world that I was fully absorbed. On this repeat viewing, those general feelings were lessened a little bit. There is a bar scene in the beginning where Zia and two girls try and guess how other people in the bar…
Wristcutters: A Love Story is an original piece of work about boy meets girl, giving the well-exhausted premise a breath of fresh air. At first this film screams middle of the road indie flick, but there's a twist that ultimately sets it apart from the rest: the film is set in a Purgatory-like world for those who took their own lives.
Starring Patrick Fugit (Almost Famous), Wristcutters tells the story of Zia; a heartbroken young man who's relegated to an afterlife of never-ending melancholy. After hearing of the suicide of the girl who inspired his own act of self-destruction, he sets out to find her in this dreary land of the dead with his Russian rocker companion Eugene (Shea Wigham).…
Cause everybody knows guy in the back seat doesn't have a cock.
Goran Dukic's feature film directorial debut is stereotypical in it's indieness (that a word?) but it actually does something that indie films used to always do and that's tell us a story that you'd never see in a mainstream film. Here that's a romantic black comedy that takes place in a Purgatory for people who died by committing suicide.
This isn't the film that will stop me from thinking of Patrick Fugit as that "Almost Famous kid" but he's perfect for this kind of role. The entire film could have just been a typical road movie and I would have enjoyed it with Fugit's chemistry with Shea Whigham who plays a Russian musician that still lives with his family in Purgatory as they all committed suicide (individually). The "love story" isn't between these two characters, but it is the high point of the film for me.
I stumbled upon this movie's preview once while watching Hesher and thought that the concept was pretty interesting. Wristcutters: A Love Story is about a guy named Zia (Patrick Fugit) who, after a rough break up, decides to end his life; only to find out that the afterlife isn't all that it's cracked up to be- at least not for the ones who choose to end it.
Zia makes a few interesting friends and travels across many different and unique places in search of answers to his and his friends' questions.
The film was funny and quite charming, but I didn't like it as much as I had hoped to. I guess I just expected something fantastic and got something…
Different but the same. Imaginative story, immerse and mimtic though fantastical world, kickass Gogol Bordello soundtrack - but flat presentation and poor structure. It's a beautiful could-have-been, but just sort of drags its feet.
watched a looong time ago but i really did love this. very cheesy but has a very unexpected twist. the premise is really fascinating and the film couldve been a disaster but it wasn't so bad, i enjoyed watching it and cried at the end. really feels resolved, fills your heart with a lot of love for life
Keret's stories are stylized like long riddles without answers: fathomless and ambivalent, hazy and arbitrary, comprised of banal detail and negative space. Wristcutters takes a darkly hilarious premise and hardens its somnambulance into cloying outward expression and facile drama. Down to the line readings the film is too studied and pantingly zany. Editing breaks scenes into overlapping pieces sapping any contemplative energy, Will Arnett pops up as Gob Bluth, the ending panders and panders some more. The worst offenders, the factors that really repel, are the genuinely unenjoyable music and the choice to film in very barren realistic locations. Eugene's horrible accordion songs are a forced quirk to compensate for flatness elsewhere—like in the landscape cinematography. Rather than use the camera to transform this world into something blurry and restless and beguiling, it's simply boring.
ik lette niet echt op tijdens deze film
First published by musicOMH
If you want to evoke hell in cinema, all you need is smouldering fires and horrific torments; and for heaven, just paint everything pearly white. When it comes to limbo, however, the iconography is far less defined.
Neither here nor there, limbo tends to be both familiar and uncanny at the same time. In the supernatural mysteries Jacob’s Ladder, The I Inside, Donnie Darko, Stay and Reeker, so close is limbo’s resemblance to home that its occupants struggle to recognise they are even there. In the recent psychological horror 1408 (as well as in the classic Last Year in Marienbad), it is depicted as that most ordinary of transitory spaces, a hotel room.
Wristcutters: A Love…
oddly magical gem that despite the gloomy atmosphere, it actually is a road trip adventure full of hope that carpools the viewer to an attainable beyond. there is an oscillation of distress and euphoria running all throughout.
I think this was the last great movie viewing experience I had with (repressed). I remember she downloaded the Eugene Hutz song from the movie and we played it and sang along really loud (like idiots).
I loved this movie but thinking about it is making me sad. It's good to be out of 2005 though. That was just not fun.
Stick through some of the painfully slow parts.
Shannyn Sossamon remains an engaging presence, but otherwise this is like a no-budget hipster Beetlejuice without any special effects, which isn't really a particularly appealing proposition. Also depressing: That there's a guy pretending to be Eugene Hutz, who sings songs actually sung by Eugene Hutz, who isn't Eugene Hutz. Which seems dumb.
No. 85 in my 365 Days of First-Time Watches
Far less bleak and depressing than I feared it might be, this film was very enjoyable for me. I found the concept of this film very interesting, and it got even better as the story went on. The soundtrack was great, the characters were really well-acted, and I loved the ending. I guess this shows me not to judge a movie by its title!
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