Grew on me slowly, and by the end I realised I'd rather enjoyed it.
Godard doesn't seem to care about the plot of this movie. It's a tertiary concern at best. This makes it hard to follow, until you realise perhaps you don't really need to. He's more interested in the art of filmmaking and the examination of emotion. It's odd that he should choose a sci-fi noir to do it in, but there you go.
It's visually spectacular -…
I don't know if the movies James Franco has been directing are any good. I've seen a few of them and it's still impossible to say. They are fascinating, though, and nobody else is making anything like them.
I do wish he'd give up on his 'mouth full of marbles' policy, though. Trying to understand the dialogue in these movies is a fool's errand.
One of the year's very best movies.
David Fincher never gives me exactly what I'm expecting. Here, I wasn't even close. I'm told that while the plot sticks close to the book, the utterly bizarre sense of humour is new for the movie.
It's a tone that turns an insane plot into something truly special. Fincher knew how crazy this story was, and by the time it gets where it's going, it felt like the plot itself was part of…
Look, it's exactly as good as the last one was. What that means depends on who you are.
For my part, while it's one of the biggest special effects spectaculars of the year, it's still an hour too long, and filled with humour that doesn't work and action you can't see.
It's almost incredible how little replacing the lead characters changed the movie. Wahlberg is supposed to be the hero, but he's repetitive and annoying about his daughter the whole…