I think in the year 2020 if a film is saccharin as reindeer shit with joyful George Michael tunes, brilliant chemistry between the leads, obtuse writing that leads to a bonkers plot twist that came out of a mid-December fever dream, I should still be able to call it a GOOD movie. Also Patti Lupone has a cameo.
If we are to believe that time is cyclical then the time we spend with an individual is eternal. Time spent with bad memories never ends and time spent with people we don't care about will feel the time. We are suffering while we are joyous, mourning and celebrating. Life meets death in the smallest of moments that we have to analyze ad nauseam. Glancing at paintings in museums of the people we knew and the art we consumed. I'm…
As a monster movie? Absolutely incredible.
As a dated piece of cinema filled with colonialism and racism? Oof...
It's interesting after watching so many Godzilla movies and this after. It's interesting because the American Kaiju film really never takes off and there are no big examples of a successful American film except for this (or ones clearly ripping it off). Especially since this film inspired parts of Godzilla and subsequent Toho films.
Honestly? Not only is it a supereffective horror film, but I think it could be teachable.
- Making a film on fewer resources
- Making a film that is timely but doesn't feel like it'll be outdated within a year
- Making a film that doesn't have to meet a certain length to be an effective feature
I was glad to like this even more while showing a friend who freaked out while watching this. Just so good.
Reasons why Letterboxd should take this film more seriously:
- Ron Howard's best film. Can you think of something better? I can't.
- One of three Oscar noms Jim Carrey was robbed of.
- I'm sorry but the script is funny as hell and makes this trainwreck so pleasing.
- Utter madness on the screen.
- ORIGINAL SONG "WHERE ARE YOU CHRISTMAS" SANG BY THE TALENTED FAITH HILL (and co written by the Queen of Christmas herself, Mariah Carey)