I could only pay attention to the Ben Affleck parts, and I'm not even THAT into Ben Affleck.
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One of my favorite things about this movie is that Jason Segel's character in Freaks and Geeks also really loved Rush.
Favorite (Not Necessarily Best) Four From Every Year Since Birth
"What if we did a manic pixie dream girl movie but she's a teenage porn star?"
The songs are catchy and I like the cast, but the movie loses my interest about halfway through and never gets me back.
Gone Girl captivated me for the first two-thirds. I was fully locked in, buying everything they were selling. Then there's a pretty unexpected action that kicks off the final third that felt a little out of nowhere, upped the stakes, and changed the vibe in a way that lost me a little. Only a little. Overall it's still a great watch.
Kneecap is a pretty fun watch. I needed subtitles to follow everything, and there were a few times I had to rewind because I'd miss something and get confused, so it is definitely more of a full-attention movie than I expected. (Don't come at me for saying there are full-attention and partial-attention movies. There just are.) I also would have never guessed the leads were non-actors.
I remember the Rhinestone Cowboy remix moment being in the trailer, which was definitely on a VHS or DVD that I had and watched a lot as a teen. Other than my very clear memory of the trailer, I don't like this.
Julia Roberts and Mahershala Ali dance to Next "Too Close" on vinyl, and that alone makes it worth a watch.
Leave the World Behind ALMOST works for me, but the payoff never quite lands. I like all of the slow tension building of the first act, and then it sort of trails off. There are large periods where it feels like nothing significant happens, but even removing those sections and shortening the runtime wouldn't really solve it for me.
I love Bill Paxton, and I like when Predator swears. One star for each of those things.
I guess it has been long enough that the casual horror fan may not immediately think of SAW when watching this, but the similarities are unmistakable. Call it an homage if you like.
Jackie Earle Haley may be what helps this one rise above so many other SAW copy-cats. Him and the impressive gore effects. Indie horror can often rise above their limitations in that respect, but this one really looked good.
Back to Haley. His disturbed game show host demeanor is just enough to pull over the line from laughing to squirming a bit uncomfortably. Especially after you learn why he is doing the things he is doing.
The film suffers from the same thing that all films like this suffer from, SAW included, which is that if you scratch the surface of the plot just a little you have to wonder HOW the antagonists are able to pull off the stunts and traps that they do. You have a man who’s life had been ruined, BUT he could buy a warehouse snd line it with elaborate and deadly mechanical equipment and manage to capture everyone and bring them to said warehouse without anyone noticing.
Wow, a 2.7 on Letterboxd?!
I love this cast. There are so many people in it that I love, and everyone gets their moments to shine. The plot is wacky, for sure, but it's just a good time.
I'm on the fence with this one.
There are times when I found it incredibly boring, but mesmerized by certain scenes, and then very interesting, but offering not result. Some have said <A HREF="https://letterboxd.com/cinemacollect/film/descendent-2025/">it's a slow-burn</A> or offered no ending, <A HREF="https://letterboxd.com/liakelly/film/descendent-2025/">like Lia Kelly</A> did, and I am agreeing with both. There was a lot of potential to go somewhere, but it felt repetitive at times, and I felt like I was left hanging and needing closure to this otherwise beautifully shot film.
<B>Setup</b>: When you see who's behind the film, including producers Aaron Moorhead and Justin Benson, you're in for a real visual treat, which is why we used <A HREF="http://letterboxd.com/lgoled">LG OLED's Perfect Black</A> to capture all of the sci-fi weirdness that happened.
