A Complete Unknown — and a lil bit of Challengers— for Black people and with Jazz. 35mm print had me so immersed like I don’t think I’ve ever seen Brooklyn and Manhattan locations with sheer rich color and depth on film. Right when I was about to scream bout the end, that montage by the end decimated me. The fact this was Spike’s second movie. Remarkable. One of the best of our time.
A tragic, yet profound, depression era Mississippi tale about addiction on two s: the thrill of robbing banks as if their lives depended on it for the sake of it since nothing in life fills their cup and Coke. Big Coca-Cola propaganda all around. Thought the Voss product placement in Smile 2 was obscene but goddamn.
Shelley Duvall fucking phenomenal here. Wow.
I’ve never seen slapstick that varies between silly and cirque du soleil like this. Wow! What a delight. Robert Altman really fucking hates taxes and monopolies. He’s so real for that.
Excellent spinach propaganda, crazy set demolition, ROBIN WILLIAMS AND SHELLEY DUVALL understanding the assignment! It ain’t got no plot but sure compensates by being so funny and entertaining.
Why couldn’t ANY of the cartoon to live action adaptations I had to suffer from growing up be as good as this!?
So this was Not really my thing. However! It’s so nice to watch a 70s movie that feel like a time capsule to the period it’s depicting in of itself. Like after watching a piss poor old frontier western series this week for work, this was that good shit i desperately needed. I was throughly entertained with Altman’s approach in exploring early stages of American capitalism within this old frontier town that feels like both a relic of its time,…
What the hell?! I thought this movie was about platonicism. Now it got me wanting to find my soulmate underneath the Washington Square Park monument right before the new year. Ugh, curse you Nora Ephron! Making me believe in love and shit. 😩
Also there were a ton of kids in my audience and I never felt more weirded out. Oh well teach em sex talk while they’re young, I guess.
Say what you will about how the animation aged but watching this masterpiece on film today exemplifies why it’s the best format to see anything in. Because it looks so great. Like I’ve never noticed how much of a noir atmosphere this evoked due to the muted colors and use of effective lighting during its darkly toned scenes. And the character acting is so complex and the backdrop is completely grounded you almost forget it’s an animated movie.
Fuck what the South Park dudes say, that soundtrack is straight fire and I’m tired of niggas pretending that it’s not. Great device for this films storytelling and a genuine strong character study on identity and belonging that had me crying. There’s a reason why my enby ass gravitated towards this so much as a kid with my VHS. An absolute classic.
This review may contain spoilers. I can handle the truth.
James Gunn has some big ass shoes to fill. I’m serious when I say this deserves to be in the criterion collection. Every revisit, I’m floored by the gorgeous fable-like structure of its storytelling, the breathtaking animation on the giant, vin diesel and Eli Marienthal‘s phenomenal performances. Man, I hope Brad Bird’s direction reaches these heights again someday. It probably won’t but it’s wishful thinking.
Lola, the original “fuckgorl”.
Ugh how Pedro pens complex women needs to be studied. Or if it has please send me all the essays. I wanna pick his brain. I didn’t want to leave this world full of transcendent mothers. Even the moment i understood the meaning behind the title my jaw dropped. Went in blind and was floored by the end. Incredible work.