Still one of the coolest high-concept thrillers I’ve ever seen. The special effects for the titular character hold up mesmerizingly well. So many iconic moments here, but the bloodbath bit takes the cake. Knowing that a childhood favorite still works after all these years always gives me cozy feelings.
Thought it was pretty neat! Thematically very obvious and reeking of post-The Last Jedi nicecore “be kind, save everyone we love” in its final third, which only served to contradict the fact that the movie went out of its way to revel in absurdist, Stephen Chow-esque violence for most of its runtime.
Not convinced it’s the greatest thing ever made, especially since it treats the characters at the crux of the narrative (the daughter and her girlfriend) as little more than Gen Z caricatures as opposed to actual fleshed-out human beings. Worth watching for the hilarious Wong Kar-Wai spoof interspersed throughout, at the very least.
It’s safe to say at this point that I’ve mostly outgrown these needlessly exhausting, excruciatingly infantilizing exercises in nothingness. World-conquering megablockbusters preaching against excess and greed, commodifying morality as easily attainable nuggets of wisdom to live by are the last thing we need in this sobering year.
It’s official: movies are now feature-length memes.
Nothing, and I mean nothing, in this movie means anything. The story is literally about nothing. At one point a character blurts out, “It would be as if none of this had ever happened.”
And that’s the movie’s entire thesis — that characters don’t matter, that stories don’t need to have any meaningful resolution to be “satisfying”, that nostalgia is the only cultural currency, that market imperative reigns supreme and allows cultural cannibalism.…