A bank robber tries to avoid the law closing in on him.
A bank robber tries to avoid the law closing in on him.
When I first got home from the screening, I went immediately up to my bedroom. I laid in my bed until I fell asleep but I could not for about an hour. The pulsing synth score that was echoing throughout my skull, the third act filled with anxiety and unrelenting tension that I could still feel the rush of three hours later. What stayed with me the most was Robert Pattinson haunting performance. The way Pattinson transforms into this character - showing no traces of the man we once saw in Twilight - is incredible. Hopefully, that'll keep you guys busy until a shat out a full write-up for the website that sent me out last night, but until then just remember: No one's having a good time except for the audience.
I don't even know what to say. I'm aware that I often resort to hyperbole but I truly don't think that a film has ever left me in such a state of anxiety-induced awe. I'm so fucking stressed and my arms and legs are shaking but I rarely have such a visceral reaction to films, even when I have a strong emotional reaction. A few things though: 1) Robert Pattinson gives the finest performance of Cannes '17 with no other performance that I've seen even coming close; 2) Oneohtrix Point Never's seemingly Sorcerer-inspired score is, ironically, probably my favorite electronic OST (and thus, my favorite OST, haha) since Tangerine Dream's '70s and '80s outputs; 3) the Safdie brothers' utilization of…
Give me the first twenty minutes of this film over and over again. Give me the frenetic pacing, the tight closeups and saturated colors from Sean Price Williams, the pounding, pulsating synths from Oneohtrix Point Never’s incredible score. Give me the palpable sense of desperation in the air, the mountains and valleys of hope and panic, the brief but powerful expressions of fraternal love that flow through the rapidly disintegrating situation. Give me Robert Pattinson’s brilliant performance, the way his character pushes on even as the weight of other lives fall onto his shoulders, the way he walks and holds himself throughout the film. All of the above work well in tandem. It’s an engrossing and memorable experience. It’s a…
like a remake of ENTER THE VOID as directed by the ghost of Sidney Lumet. some questionable details and it doesn't sink under the skin quite like Heaven Knows What, but Robert Pattinson is truly next-level in this thing.
feel like i've said this before, but now it's *really* time to recognize him as one of the best actors of his generation. between him and Kristen Stewart, i'm willing to officially move TWILIGHT into the "win" column, so far as its cultural contributions are concerned.
Here's something you might not know about what makes this movie special for me. It's a bit of a landmark for this year in my life. As I mentioned in my Boyhood review I have friends leaving the state to go to college. The person who is leaving the farthest away is Judd. This is the last film I'll watch with my friend Judd before he leaves to go to Ohio for college. You might have noticed in some tags that some movies I see are with Judd. We have been friends since 9th Grade and ever since 2016 I've been taking to him to see a lot of movies with him. If you ask Judd he'll tell you…
didn't think i would see a movie louder than dunkirk but here we fucking are (also R-pats is back and he's not playing around, mama)
Q&A @ Cinefamily w/ Safdie Brothers and Rob Pattinson. Fun flick but didn't love it.
Pop art extravaganza consolidating Robert Pattinson as one of the best actors of his generation.
Hypnotic and wondrously odd.
Still processing but I fucking loved it. So well done and honestly so original. Best new crime thriller I've seen in a really long time.
"Good Time" does somethings really fucking well and it does others laughably bad. At its best, it's anxiety-inducing, nauseatingly framed, scored with heart, idiosyncratic with a firecracker pace (albeit a stilted one). But at its worst, it's one-dimensional, ostentatious, and politically myopic or, worse, simplistic.
Essentially a bad acid trip. The Safdies are brilliant at exploring the degenerates of society. They harken back to the days of the 70s New York Explotiation films with this "art film" aesthetic. It's this fun and brazen attempt at making films hard again. There's no doubt about it.
But beneath it all, I can sense...hmm...these kids didn't train under Corman. Where Toback and Ferrara WERE the degenerates they put on their screen, you could…
That lowkey Blumhouse diss tho 😂
This review may contain spoilers. I can handle the truth.
This is a complex one that I don't feel like assigning arbitrary stars to. So let's have DISCOURSE.
There are things I really love here. Pattinson is fantastic (and so handsome blonde), benny safdie delivers a remarkable calm and sensitive performance. I really do love the first 35 and last 5 minutes of this movie.
However, I think the safdie brothers lose track of Connie and intent of this movie for a large part of the runtime.
There are several movies in existence that begin with the audience viewing its main character as a driven and charming protagonist and as the film unravels we see their evil or despicableness. This reveal is often a shocking and hurtful one that leaves…
i was so absorbed and surprised and overwhelmed and excited by this. it defies genre, though i did think of after hours once or twice. the safdies render an inescapable layer of authenticity overtop of a compounding narrative absurdity that occasionally defies even videogame standards. just when you think it can't get any funnier, fuckier, etc. it FULLY DOES.
similarly to heaven knows what, the ending feels a tad aimless on the surface, but i'm convinced there's a complete and rewarding picture here, and heaven knows i'm watching this again.