While looking at it on letterboxd I came across 1992 movie with Larry Fisburne and Jeff Goldblum with the same name. Watched it and enjoyed it. 8/10Watched Deep Cover, pretty good if a bit generic.
7/10
Yea that is a good watch.While looking at it on letterboxd I came across 1992 movie with Larry Fisburne and Jeff Goldblum with the same name. Watched it and enjoyed it. 8/10
Definitely a film that grows on you the more you watch it imo, I remember the first time I watched thinking it was ok/good 7/10 but after further viewings I would give it a solid 9/10 nowOnce Upon a Time in Hollywood (2019)
Technically I watched it this morning while on a flight. Probably the firth or fifth time of watching now and every time I like Brad Pitt's portrait of Cliff a little more. Hopefully "The Adventures of Cliff Booth" definitely starts filming this year.
9/10
I'd agree with that, I certainly didn't gush over it when I originally watched at the cinema.Definitely a film that grows on you the more you watch it imo, I remember the first time I watched thinking it was ok/good 7/10 but after further viewings I would give it a solid 9/10 now
Once Upon a Time in Hollywood (2019)
Technically I watched it this morning while on a flight. Probably the forth or fifth time of watching now and every time I like Brad Pitt's portrait of Cliff a little more. Hopefully "The Adventures of Cliff Booth" definitely starts filming this year.
9/10
Definitely a film that grows on you the more you watch it imo, I remember the first time I watched thinking it was ok/good 7/10 but after further viewings I would give it a solid 9/10 now
I'd agree with that, I certainly didn't gush over it when I originally watched at the cinema.
Memoir of a snail is absolutely brilliant.
Pop this on letterboxd and I'm confident it will become the top popular reviewDouble Team
Director Tsui Hark orchestrates what can only be described as a frenetic operatic hallucination disguised, daringly, as an action film. Beneath its surface of explosions, inexplicable tiger motifs, and product-placement pyrotechnics, lies a meditation on identity, estrangement, and the absurdity of geopolitical machismo.
Jean-Claude Van Damme’s Jack Quinn is less a character than an avatar of modern existential exile a soldier without a war, estranged from family and self, grappling with both his past and the supermodel-styled consequences of poor decision-making. Enter Dennis Rodman’s Yaz a postmodern trickster figure draped in vinyl and chaos, whose fashion-forward nihilism provides a Brechtian counterpoint to Van Damme’s tragic stoicism. Their chemistry is inexplicable, and perhaps that's the point it represents the incoherence of male intimacy in a hyper-commercialised world.
The film’s mise-en-scène is a fever dream of late-‘90s aesthetics: neon-lit coliseums, cybernetic techno-lairs, and Coke-adjacent explosions. Cinematographer Peter Pau crafts each frame like a pop-art tableau Andy Warhol by way of Michael Bay.
It really does deserve more people viewing it than seems to be the case.I did a search before my post and I saw you were the only person on the forum to have previously mentioned it! Seems to be really under the radar.
Aside from the core story, I absolutely love the attention to detail and focus on life’s little ‘irrelevant’ moments.