Complete and utter immersion in Ruben and his experiences.
I am in awe of the filmmaking craft on show here. This is some of the finest direction, editing (visual and sound), acting and screenwriting of the year. And just when it looks like it might lose its way a little toward the end, seemingly a bit unsure of how to wrap things up, it brings everything together again to perfection to finish so exquisitely.
"Let’s go get my brother."
Your brother comes back from the war, but he's different, changed, and he doesn't just act different, he looks different too, almost like an entirely different person. He went to war as your brother but came back as a soldier, an idealized avatar of imperialism and masculinity, a vessel evacuated of personality to make room for militarist ideology, a fleshy sack filled with propaganda, haunted by his soul.
And maybe he's being excessively violent, but…
"You paid us trinkets to kill a prince."
Weapons manufacturing has a life of its own, the warmongering continues even after we stop participating, the missiles keep being built and sent to the bad guys in the Middle East even though Tony said we don’t do that anymore.
If only we could say War Profiteering Bad without projecting a brown terrorist outside the American defense industry, the xenophobic Other who's the "real" reason the weapons are bad, the "wrong hands" into which the weapons fall.
We are Jeff Bridges. We are the wrong hands.
“You literally take the hardest hits out of anybody I'd ever seen in my life. You know you don't have to do that, right?”
This was really good. I’m so mad at myself for taking so long to watch it. All of the acting in this was so genuine, so real. It was just a very raw story, and I’m so glad that Jonah Hill made it. He’s amazing and I’ve always loved him since I was a kid and saw The Sitter. He has so much talent in so many different departments, it’s truly amazing. He’s someone I would love to meet some day.
“I never wanted the throne, I only ever wanted to be your equal!”
What was with all those dutch angles though? In all honesty, this was ok, but not great. I found it dragged quite a bit for me and I kept getting bored and just kinda closing my eyes. Mind you, I’ve been totally exhausted all day, but still.
Put this off thinking the first was so wonderful this couldn't hold a candle to it but WHOA this is incredible!
I feel like it's not fair to even compare them because the tone is so different. I mean the first was just so 1978 you know, good music, hangin loose vibes, but this is bad music and hyper tense and just totally a different take... but whoa it freaked me out!
I was jumping all over this couch here…
Horrifying. Terrifying. Nightmare. Hell. I've seen a lot of war films. This is unlike anything I've ever witnessed. Damn all those who made things like this happen in reality. Burn in hell for all eternity for ever putting human beings through these atrocities.
As time kept progressing, and we are forced to see how things just continue to rot and decay, my anger reached higher and higher until it boiled over, rising to the top where I could…
Of course Maggie Cheung looks beautiful in this film, but the gap between how she usually looks and how she looks in this film is smaller than the gap between what cigarette smoke usually looks like and what it looks like in this film. Chipped paint, rain puddles, and strip steaks round out the top five.
Poor Siu Ping-Lam. Like Shelley Winters in A Place in the Sun, he’s the ordinary-looking actor that looks like the elephant man next to…
I’m teaching Tim O’ Brien’s great Vietnam book The Things They Carried, and The Guns of Navarone made me think about a passage from the chapter/short story “How to Tell a True War Story”:
You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, "Is it true?" and if the answer matters, you've got your answer.
For example, we've all heard this one. Four guys go down a…
- AAAAAAAAAAAAAAAAAAHHHHHHHHHH H !!!!!! HHH H
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Lucio Fulci's Don’t Torture a Duckling is one of those rare examples of a giallo with a rural setting; Mario Bava's A Bay of Blood, Sergio Martino's Your Vice Is a Locked Room and Only I Have the Key and Pupi Avati's The House with Laughing Windows are the only other ones that I can think of. It is also unusual in that most of the victims are children - something that was a major taboo back then and is…