Not since Billy Wilder's The Lost Weekend has a film so adeptly captured the experience of alcoholism, showing the creative aspects of the substance not as mutually exclusive with its destructive tendencies, and its destructive side not silencing its positive effects. Tactfully constructed, the film shows both sides of the coin. The rise and fall, the illumination and the curse, the divine drunkenness and the deadly hangover. Without judgment but with a narrative that allows us to evaluate all this,…
the only cinematic moment in 2020 that matters is mads mikkelsen dancing and spinning around while celebrating the joy of life. and in this moment you have the feeling no matter what you are going through, he gives you enough energy to pull yourself together and move on. give this man the recognition he freaking deserves for letting one feel so many emotions while watching his performances !!!
(sidenote: director thomas vinterberg and mads mikkelsen attended the screening i went to…
Have wanted to check this out for months after seeing that still of Mads circulating around film Twitter. After already loving pretty much everything about it, the final 5 minutes left me on probably my favorite ending of the year. Ahh! The backbone of this is the chemistry between these four men, who all have unique stories relating to alcohol that feel fully fleshed out by the end. Mads delivers, without a doubt, my favorite performance of the year. As…
This review may contain spoilers. I can handle the truth.
Surprisingly pretty damn good.
Loved the trick camera editing along with the gun fight sequences.
There were a few good laughable moments.
Christian Slater, who by the way never ages, playing a bad guy and adorable as always.
The one scene that made me cringe was kind of at the beginning there and well Scott's character pissing on a shirt then wrapping around his head. Now, I know it wasn't the real piss but still the image alone was..EWWWW (shiver me timbers)
"I was thinking I could be made into a leather jacket."
succeeds in embodying a collective dread better than a lot of out-and-out horror movies of the last few years. i really appreciate how the apparent last day of the characters, but most notably Amy, is focused on these wordless goodbyes to the human senses. touching, tasting, smelling every last bit of surroundings, running fingers across the plywood flooring, listening to Mozart etc. it adds a dimension of personal tragedy to an already terrifying premise that is aided by the ritualistic visuals that i absolutely ate up. take a bow amy seimetz.
fuck "narrative". I want formless anxiety, nihilism, and a craving of death bathed in neon lights and a healthy sense of dread
also wouldn't complain about a tour of Amy Seimetz's house, Kate Lyn Sheil just doing wherever the hell she does, Chris Messina just... there? some quality reasons to go to therapy for a long long time, experimental filmmaker James Benning planning on making the girls of mumblecore into leather jackets, some hell dimension Mozart, that picture of Amy Seimetz directing this in a Rihanna shirt, and a bloody Jane Adams on a pool float
but seriously, fuck narrative. I want my brain FRIEEEEED BABYYYYY
I remember thinking this was a lot of fun the first time I watched it. It is a lot of fun. It’s basically a SyFy Channel flick with slightly better special effects (sometimes the CGI looks pretty crummy, though the scene where the guy becomes a spider is impressive) and much, much better acting. And better writing. You care about these characters and that goes a long way in a dumb movie like this. Also it’s got a nice goofy sense of humor.
"Prepare for global swarming!"
The Office meets The Mist. There's even a guy that looks like Stanley!
Actually, it's a really fun giant bug apocalypse movie. The CGI bugs look realistic, and the spider/human hybrids look even more cool. The ending leaves it wide open, for a sequel that appears not to ever be coming. Now that bugs me! (insert traditional rim shot sound effect here)
The main thought that kept going through my mind (beyond the obvious pandemic parallels, with the "contagion" of sorts and the general atmosphere of isolation and helplessness) was that this could have been so different. A movie about a group of people, a group which starts incredibly contained and slowly spirals outwards as it grows larger, being one-by-one gripped by the knowledge that they are going to die tomorrow could have been different. To make an entire movie concerning the…
Joins the ranks of Ringu and Pontypool as works of horror that capture the horror of "going viral" without risking the immediately dated lameness of actually using the internet. Seimetz's use of negative space not as a means of setting up jump scares but of emphasizing isolation and terror emanating off of characters recalls the carefully composed, simultaneously huge and cramped shots of Rosemary's Baby, and the actors wonderfully capture the pressures of being the unpaid therapists of loved ones…
One of the most uniquely disquieting cinematic experiences I’ve ever had. Psychological art house horror blended to perfection with just the right touch of dark humor. Unsettling to say the least, but also visually beautiful, oddly funny, and disturbing all at the same time, this film is all the proof I needed to know Amy Seimetz is one of the most overlooked and undervalued filmmakers out there today.
I won’t lie, I hadn’t even heard about this film before I was…
A lot of fun. Feels like an unearthed 80s flick with its blend of 50s nostalgia and sci-fi, yet shows impressive restraint, and balances its mystery and paranoia really well; it’s all just about tangible enough, but also pretty farfetched when you sit down and think about it. And yet. Also very well shot and edited. Like the random fades to black even though they don’t really exist for any discernible reason, but they add to the ominous aura pretty…