Movie and show non-appreciation thread

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jacobhinds said:
Pulp Fiction is another example of a "film about nothing" I guess. Most of the subplots end without satisfying resolution but they're fun to watch in and of themselves. Similarly, the entire plot of No Country For Old Men serves no real purpose at all because the character arc fails, but since it's a very well executed and clearly intentioned comment on violent revenge films the deliberately unsatisfying ending is the best possible ending.

However pretty much any other film with aimless scenes just takes me out of the movie because I'm doing metamindgames in my head trying to work out if the editor was pretentious, spineless, or just incompetent.
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Did you know Pulp Fiction was directed by Quentin Tarantino? Did you know Quentin Tarantino is from Knoxville?

No Country for Old Men is one of the worst "good" films ever, and Densetsu just needs to accept that he's wrong about it. It is not well executed. The entire film is disgustingly bland and awful. Tarantino can make those sorts of films because he isn't so incredibly tryhardy. He knows his movies are a bit silly, and embraces that. No Country for Old Men is like Warhammer 40K if 40K were played straight or something. Grimdark without self-awareness.
 
I feel like you missed the point of it. The film never glorifies violence and is parodying anyone who does. There's a clear progression throughout the film where violent acts get shown less and less on camera, to the point where you just see the results of them like a news report. The police characters have a dialogue while this progression takes place where they talk about how criminal violence is too horrific to think about and how their whole perspective on human nature is shattered.

Meanwhile the main character is stubborn and vengeful like any other action hero and we are trained as moviegoers to egg him on, but because he gets killed at the end we're forced to reflect on how much of a selfish ass he actually was. It's a very clear comment on how violent films actually do affect the way some of us think problems should be solved in the real world. It's a fable which isn't as in-your-face as it would've been under any other director(s)

I'd say Tarantino lacks a lot of self-awareness in this regard. Pulp fiction comes very close to being pretentious and self-indulgent at a few parts, and some of his lesser-discussed films (dusk till dawn, kill bill, death proof) stray into ****post territory. I like (most of) his films but he's been remaking the same film with the same "edgy people kill each other" tone ever since Jackie Brown came out.
 
I literally slept through No Country for Old Men with bouts of wakefulness, but every single part I remember was terrible in every way. To the point that no matter how much it's lauded, I'm never going to watch it again to try and reevaluate it with full attention.
 
Army of One was as bad as you'd expect. But almost in a good way because of Nicolas Cage's terrible, energetic performance.
The main problem is how the entire story is centered around the protagonist, so it's linear and surprisingly uneventful.
 
TheFlyingFishy said:
I literally slept through No Country for Old Men with bouts of wakefulness, but every single part I remember was terrible in every way. To the point that no matter how much it's lauded, I'm never going to watch it again to try and reevaluate it with full attention.
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I don't think it would be wrong to dislike NCFOM but saying it's bland and awful when you barely watched it is pretty pointless.  :neutral: It's one of my favourites probably, really great at showing the way each character thinks, with the exception of Chigurh; his thought processes are very clear and he's obviously a genius (at killing people) but as to what really goes through his mind is beyond understanding.

I haven't seen it in a few years though, and my tastes seem to have changed much since then so maybe I'll give it another look. Also, tried to watch Seven Psychopaths a little while ago but really wasn't feeling it after the first 20 mins or so. Is it any good/bad/meh?
 
Why is Rear Window considered as a masterpiece? I can understand the limitations of that year, Psycho could make me feel suspense and anxiety despite being from the same period, but this scene for example, is just funny(i mean the first half of it where it's not supposed to be so):
 
Hitchcock isn't good at dialogue and his payoffs for suspense can sometimes be weird and flaccid, or hammy and incredulous, and as a result this scene just compounds the end of the story and tries to create suspense where none has been set up (I'd assumed the guy was innocent, since the whole story had been pointing very blatantly towards him being guilty, which you'd expect to be subverted somehow because that's what muder mysteries always do). Plus the guy takes so long walking lethargically towards James Stewarts character, making it look like a fight between drunk, tired and wholly apathetic sloths.

This is probably one of his weakest films, I spent half the movie thinking "What? No real person would act that way" but I imagine he got a lot of praise for the gimmick of filming the whole thing on a single set/scene/location.
 
I'm baffled at how bad The Circle was. Expected a subtle, fresh commentary on the perils of modern technology.
Instead you get the usual dilemma between privacy vs. transparency, and in the most clumsy, pretentious way possible.
Especially the Ty character is almost a deus ex machina character brought in to make the plot come together.
 
I took the decision, freely and of my own volition, to spend half the afternoon watching The Room. What the **** is wrong with me?
 
HoJu said:
I took the decision, freely and of my own volition, to spend half the afternoon watching The Room. What the **** is wrong with me?
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I mean, it's arguably the best bad movie of all time, so nothing?
 
Spotlight 2: Electric Boogaloo is more of the same pretentious garbage, a flimsy excuse for big-name actors to act with gravitas miming out some of the most ultimately insignificant historical events to try and impart a message to its audience that everyone will conveniently forget after the coming awards season.
 
Calradianın Bilgesi said:
Why is Rear Window considered as a masterpiece? I can understand the limitations of that year, Psycho could make me feel suspense and anxiety despite being from the same period, but this scene for example, is just funny(i mean the first half of it where it's not supposed to be so):
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I couldn't give you any analysis of why it is considered good, but I was mightily impressed with it when I saw it years ago, and really enjoyed it. I don't think I saw the twist coming in the innocence of the presumed murderer, at least not perhaps until quite late on (I can't remember really, it's a long time ago), but in any case, despite Jacob rightly saying it is a time worn trope of mysteries, it didn't spoil my enjoyment. Any hamminess in seens of violence doesn't bother me in these old films either, simply because I expect and accept it.

I think what I enjoyed about it was (apart from being impressed with it being filmed in one room, which I think is hard to do while making the film watchable; it's not merely a gimmick in my view, though a few films have tried it since I think mainly for the status of having attempted something hard, but not necessarily making it work well or being necessary to the story being told) the silent actions unfolding in the rooms James Stewart was observing. I also rather like James Stewart and a lot of movies from the 50s, which helps.
 
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