Yo this was so sick what the hell. Dennis Hopper went crazy. The seesaw jumpy cuts--very jarring, very weird. The whole acid in the cemetary scene, jesus fucking christ. Jack Nicholson's character was not what i expected from the one clip I saw and I loved him and he was perfect. Nobody does it like young Jack. Wicked ending. Rly great movie!

I finished watching this and was like hm, yeah *contented face." There's a moment when the main character says that Aurora's story is probably more interesting than his and like, yeah, I think it probably was. Not that his flirtations with younger girls weren't interesting. Laura in particular was a fantastic character. Aurora was just so show-stealingly great, all of her musings on writing and story and character, her confidence and intelligence and willingness to talk about her craft. A queen! Loved it when he touched Claire's knee tho. Great stuff. This was morality tale 5 of 6, perhaps I should watch the others?

Idk why I thought this would be a horror movie going in, and maybe that it wasn't is what made it feel a little boring to me. Or, I'm just not compelled by grotesque mommy-son sexual object caregiver underappreciated servant relationships? There didn't feel like anywhere to land, any character I could trust or completely understand. But, what I did rly like was the way the beginning came back around differently, and then again the surreal dancing at the end. Something about that was really doin it for me, the in-world revision happening in real time or or or I don't know how to describe it. It was cool.

Lol, a perfect primer in second wave feminism. So much goofy shit. I laughed out loud several times, like not when I was supposed to. The confusion between women scorning and wanting sex, this nebulous idea of "self esteem" that comes up weakly and could be fleshed out so much more. All the men are little baby boys, even the good one. The mommy daughter stuff felt good in the beginning but idk I don't think I was compelled by where it ended up. And yet, I liked a lot of it! The final image of her carrying the giant painting down the street, lmfao. A bulky, impractical (and beautiful-I did actually like his work) token of his love. What does that mean?? Or, what does the movie want it to mean? Interesting moment.

I am not the same after watching this!! It made my little heart pound. The unimaginable beauty of the art and the cave itself, the awesomeness of time. All it has to do is pass--all it can do is pass (!)-- and beauty builds, meaning builds, story builds. We are so small and so big. Making art is inherent to our being. Hunting, gathering, fucking, reproducing, believing, remembering, memorializing, appreciating... that's all we rly need to be doing. Jeez louise. Side note it's classic me to sleep on Herzog because so many ppl like him and now that I've watched this I want to do a deep dive. Got here at the right time for me!

Have rly had fun with all the early Almodóvar I've seen so far. This one, even though it has a smaller cast and sparser plot than Volver and Women on the Verge etc, still felt bustling and crowded and noisy, in a charming way. Maybe it's all the red. So much red and so much stuff everywhere! The neighbor's apartment in this was so dope. Antonio Banderas was such a good little baby. The sex scene was actually incredible and I do want to rewatch at some point, the seismic shift the movie takes when that happens, the hotness and weirdness and specificity of it, the way their roles reverse for a second, the faces they both make. Wowee. Also, the second movie I've watched in recent times that ends with a character driving and silently crying, though here it feels a whole lot less ambiguous than in Perfect Days.

Love weird Yorgie! Love to feel a director's relationships with his cast. He likes these people. I don't know why cuz I don't know them! But I like to imagine that they have a productive creative relationship. Was thinking a lot about the creative process while watching this, imagining it as a series of potential "no"s that he forged ahead as "yes"es instead. Hm, I have three ideas for movies, but none are long enough for a feature. No? Yes, just make a movie of three things. Hm, I want to have arecurring character who's only in the background and doesn't matter. Hm, I want to use the same actors for each one but have them be different characters with no explanation. All of these are choices, and sites of a potential no, or a potential giving up, or potential destruction of the purity of the idea. But I feel like he's at a place in his career and skill where maybe there are just fewer "no"s. I'm projecting a lot, I realize this. This review is not about the movie at all lol.

Cannot believe I slept on Malick for so long oh my god this was fantastic. Maybe my fave movie I've seen in quite some time. What is it about it? Even as I was watching I was making a mental list of couple-on-the-run with a violent man and a kind of along for the ride woman (Wanda, Wild at Heart, I forget the rest I was high but there are certainly others oh well). It's not the plot. It's the character and the incredibly, deftly subtle numinous weirdness. Charlie Sheen's character in particular was just so fantastic. So many shots I'd want to use for a Frames bit if I were still writing that, which... hmmmm. And I just rly love looking at Sissy Spacek's face. She was also fantastic. So many deadpan lines of dialogue: "Did it go how it's supposed to?" "Yup." "That's all there is to it?" "Mmhmm." "Well, god, what was everybody talking about??" "Don't ask me." Ah! So good! But it was these two moments that kinda made my jaw drop: the gasping catfish on Charlie Sheen's nightstand, and the buck just sitting on the ground as Sissy Spacek walks past, not even glancing at it. I need to think about this more.

Gave me a similar anxiety dread tummyache reaction as Melancholia did. I just do not feel comfortable with the idea of giant celestial objects destryong the earth, ok?! Had my doubts about this and many of the jokes and much of the writing was undoubtedly not so good, like Jonah Hill's entire character, but there were some good running gags. Particularly the getting charged for free snacks thing, that cracked me up. Solid if obvious pathos and plot structure, not a masterpiece but can't complain.

Lil cutie. Formulaic and fairly shallow, but still gave me some chuckles and feelings and thoughts on aging.

Do I even need to say that I loved it? Kelly Reichardt, this cast, based on Maile Meloy stories whom I never have actually read but know I will love them I do. Actually this is exactly the kind of media I'm supposed to be avoiding right now cuz of cross contamination/influence on my own shit but sometimes I get a little treat. Can't help myself!

This was a film school film just like the original story is a story school story. I'm trying to figure out what I mean by that, because neither was created with that intention--it just is that way. It's doing a lot of things and their effects are fairly obvious: blurring and stretching the passage of time with grainy, boque, branchy, leafy transitions between pools so that we don't see the actual movement but rather arrive places after a dreamy interlude. Making Burt Lancaster get chillier and chillier as the movie goes on. Giving us contradictory information, like about his daughters and his relationship with his wife and his neighbors. It's all very effective! It's a fun movie to watch also, in large part cuz the acting is so campy and silly. And you get to see Burt Lancaster's butt which probably drove moms mad at the time.