Written & Directed by Rosalind Ross Cinematography: Jacques Jouffret Editor: Jeffrey M. Werner
Cast: Mark Wahlberg, Mel Gibson, Jacki Weaver, Malcolm McDowell, Teresa Ruiz, Jack Kehler, Aaron Morten, Cody Fern, Carlos Leal
Follows the life of Father Stuart Long, a boxer-turned-priest who inspired countless people during his journey from self-destruction to redemption. Based on a true story.
The film obviously speaks to the beliefs and sensibilities of the two stars of the film Mark Wahlberg and Mel Gibson. It’s a truly inspirational story that ends up redeeming itself in the end.
The film takes a while to get started and Mark Wahlberg looks a bit old for the leading role, but he does what the role Calls for, staying self-deprecating. yet charismatic and quite funny. Not to mention gets to play an extraordinary human character.
Mel Gibson plays his father in a mode he is becoming quite familiar with. That is usually ex-alcoholic and/or white trash. Here he has a chance at a more dramatic role. Where at times he is thrown into stereotype and at others you truly can feel him as the character.
The romance angle is perfectly handled as it takes its time and by the time he has finally gotten what he wanted. Yet still hasn’t made a complete change a tragedy happens that makes him devote his life to god.
What truly sets the film and story apart is that after that tragedy another tragedy is revealed and while it gives the film a curve from the by-numbers way it seems like it was going. It also adds dramatic depth that the film had already given us an abundance of, but then finally and truly felt.
Truthfully the film that seems lively at first truly doesn’t come alive and exciting until that second act when he is truly trying to strive for bigger and better things. Even throughout the film, his character seems to be searching and trying for something new to fulfill himself and change his life for the better.
Based on a true story you can only do so much, but this film is an uplifting story and a crowd-pleaser. It is hard to knock it, but it is definitely not a film I could imagine watching more than once.
Directed by: Nyla Innuksuk Written By: Nyla Innuksuk & Ryan Cavan Cinematography: Guy Godfree Editor: Simone Smith
Cast: Tasiana Shirley, Nalajoss Ellsworth, Chelsea Proske, Shaun Benson, Kristian Bruun, Alexis Wolfe, Rory Anawak, Frankie Vincent Wolfe, Jackie Maniapik
When Maika and her ragtag friends discover an alien invasion in their tiny arctic hamlet, it’s up to them to save the day. Utilizing their makeshift weapons and horror movie knowledge, the aliens realize you don’t mess with girls from Pang.
This science fiction adventure film is more of a film for young teens. That has hints of horror yet never goes fully in that direction. It feels like the movie THE THING mixed with ATTACK THE BLOCK only nowhere near as violent or nihilistic as either.
Other than some violence the film barely has too much that would be objectionable. As most of all, it offers younger girls of color representation on the big screen in positive and relatable ways.
This is good for Its audience as adults will most likely find it cuter than anything. As there is nothing really revelatory or scary. It’s cuter throughout though at times a bit grizzly for young kids.
Though with the children being in constant peril. You do worry for their safety and dates a bunch of times and hope the film won’t go that far.
You might feel like you are waiting for something bigger to Happen or more to the story, but it stays clean-cut. As there is peril though not too much violence or gore. It has good practical effects for the most part
This film makes a good starting science fiction horror movie on certain terms. That it is engaging with its energy. Definitely, a fun movie that never overstays It’s Welcome. All of the horrors happen during the day which is rare in a horror film.
It almost feels like a movie made by impressive teenagers for kids.
Written & Directed By: Todd Field Cinematography: Florian Hoffmeister Editor: Monika Willi
Cast: Cate Blanchett, Noemie Merlant, Nina Hoss, Sophie Kauer, Mark Strong, Sydney Lemmon, Sylvia Flote, Zachary D. Smith-Gneist
Having achieved an enviable career few could even dream of, renowned conductor/composer Lydia Tár, the first female principal music director of the Berlin Philharmonic, is at the top of her game. As a conductor, Lydia not only orchestrates, she manipulates. As a trailblazer, the passionate virtuoso leads the way in the male-dominated classical music industry. Moreover, Lydia prepares for the release of her memoir while juggling work and family. She is also willing to take up one of her most significant challenges: a live recording of Gustav Mahler’s Symphony No. 5. However, forces that even the imperious maestro can’t control slowly chip away at Lydia’s elaborate facade, revealing the genius’s dirty secrets and the insidious, corrosive nature of power. What if life knocks Lydia off her pedestal?
This film feels like an epic in its Scope and locations but also really for this one character. Who goes all over the spectrum of emotions and from being high on the horse to l falling so low.
As impressive as the film is, the performance of Cate Blanchett is mesmerizing; it certainly helps that she is constantly on the screen and she is in every scene. This also allows us to notice that we see everything from her point of view.
We see how high her ego is but also how talented she is and can easily back it up. We see her views on certain subjects and life. As well as her behavior in life.
We also see her downfall and never are quite sure if she is guilty or not, but we can see that those around her totally abandon her and now that the mighty have fallen are willing to sell her out. How some might have even conspired In her downfall, getting passed over once gotten what they wanted, has no problem only added to her downfall.
We never really get an answer to her guilt but can see questionable behavior. Such as threatening a little girl who bullies her daughter we might be able to understand that as a parent, but who is to say she doesn’t have that attitude with those older yet under her. Who needs her approval
As she is touchy with younger students but that seems more free-flowing. We never see her victims, only glimpses of emails that her assistant has been keeping and filing.
It becomes a mystery in itself as to who exactly is behind taking her down. Though the film remains subtle. It keeps offering hints of what might be happening behind the scenes. Who might be holding grudges and why. As her attitude is flippant toward those around her.
In its own way, it is a tragedy that is a black comedy. In The second half, the film is systematically her downfall and her reaction to it as it happens and she gets more and more unbalanced. Which is when the true range of Blanchett’s Performance truly shines.
Then in the third act where she tries to get her career back and the lengths she has to go through just to work. All the way to a foreign land where even though she obviously dislikes her surroundings there are hints that she might be guilty of what she has been accused of as far as grooming. Such as when she goes to the massage parlor and runs out and throws up. We suspect that this is after realizing what kind of parlor it is, but also it might be after that she has to resort to paying for this kind of attention.
That is how the film presents her as a double-edged sword of someone who we could admire but also might be repulsive and guilty of her accusations. As even when she sees her brother he is nonchalant about her and his feelings towards her and why in pure and simple language.
That is the magic of the film. Everything is presented plainly but there are so many subtle hints that you never know exactly the truth only how she sees it. Even though the video footage was presented later we know was doctored. As we sat through her class and know her comments have been cut together.
The film’s comedy is very dry and subtle but on second viewing it becomes a little more clear. As the first time, the film jsit feels devastating and the biggest joke of all is the finale. As we see the audience for her
Written & Directed By: Ruben Ostlund Cinematography: Fredrick Wenzel Editor: Mikel Cee Karlsson and Ruben Ostlund
Cast: Harris Dickinson, Charlbi Dean, Dolly De Leon, Woody Harrelson, Zlatko Buric, Iris Betban, Vicki Berlin, Henrik Dorsn
A male model and his girlfriend are caught in an amusingly weird situation while on a cruise with an assortment of around a dozen co-passengers. Things don’t go smoothly at all with a raging storm making things difficult, they get shipwrecked and all now need to make compromises to survive.
This film is more thoroughly enjoyable compared to his previous film THE SQUARE though the filmmaker takes aim at the double bed class again with this film. Like FORCE MAJEURE it feels a bit more down to earth and definitely more entertaining than all his other movies up to this point. As again this film is more about the whole story. Rather than noteworthy scenes that more seem tied together.
The film begins with a couple who are both models. We see the young man in the middle of a modeling casting amongst others and being followed by a host and a camera crew. As it takes a soft jab at these castings.
We watch the young couple and their domestic problems. Where the major problems seem to be about money. As she makes more than him, she also seeks a partner who can take care of her if anything happens. Which has fed into his paranoia and birthed trust issues of always worrying she is going to meet someone better fit for her. Especially as in her career, she is surrounded by them.
That is pretty much the first act, we follow the couple through all the acts and are our anchor, but in the second act as they get aboard a yacht for a cruise the film becomes more of an ensemble. Once the second act begins it becomes about class and privilege. As we see the crew having a motivation meeting to make the most money they can.
We watch the dastardly way some of the passengers make money on shore. The ridiculous requests they make of the crew, including one woman who after telling one of the staff they are all equal. She uses micro-aggressions, to not only make the young woman swim but then demand that all the staff members swim and enjoy themselves whether they want to or not. Leaving no one to do Their actual jobs.
The vomit scene seems there to make a point and take the rich down a peg. Making them practically bathed in their own sickness and shit.
Right the scene also allows the audience to be introduced to the captain Played by Woody Harrelson whose character is a drunk and a Marxist. Unfortunately, he is only in the film briefly but adds some spice and is the only recognizable actor for the audience that reminds us this is not only a film more or less, but also a comedy.
In this act, we also see the boyfriend’s jealousy. As one act dominoes into him making a complaint. Only to have the man fired while feeling guilty instead of trying to clear it up. At that moment he decides to buy a luxury item instead. As we get a feeling this is the beginning of his entry into this privileged world. Especially as he seems to network with other passengers he is at tables with and has drinks with.
Once we get to the third act. We still have the central couple plus some characters we were introduced to in the previous act. As literal survivors of the boat sinking.
This is where the film becomes not only non- Romantic but also a harsh version of the film SWEPT AWAY with more characters. As the male of the couple finally ends up becoming more the source of saving them. As his looks end up saving the day and helping them to get charity. Once one of the older female workers from the ship gets to be in charge as she is the only one who knows how to hunt, fish, and cook.
She is wildly attracted to him and trades intimacy for more rations. Showing that beauty is a powerful commodity and that power can corrupt and the lengths that people will go to. Or only to have power and influence but how hard they Will fight to keep it. No matter what the background and history.
This all leads to an ambiguous ending that feels a little more ironic and out of a writer/director M. Night Shamalayan film only not as thrilling. Nor such a big deal when it comes to revelations.
This is more a film to study and watch rather than just the latter. It’s an interesting class struggle. How freewheeling the rich are with their money and values, but never really consider the second half or how their actions affect them.
The film does offer a few shocks, but strangely never resorts to being in and taste and lets you come away with your own interpretations. Though while keeping it classy, it also feels like it never goes as far as it could.
He complains About footing the bill as he seems more to worry if this relationship is worth what he is spending his money and emotions on, seeming less romantic and more like a business deal
Act 3 should be a kind of karma made justice but as with all power structures it becomes corrupted to a degree
Most of a farce at times than anything. Especially when you have the Captain and a Russian billionaire trading Ronald Reagan and Marxist quotes while drinking shots and going through bad weather. Though there always seems to be calm no matter what. So that when Pirates enter the picture it doesn’t seem too far off.
Written & Directed By: Charlotte Wells Cinematography: Gregory Oke Editor: Blair McClendon
Cast: Paul Mescal, Frankie Corio, Celia Rowlson-Hall, Sally Messham
Sophie reflects on the shared joy and private melancholy of a holiday she took with her father twenty years earlier. Memories real and imagined fill the gaps between them as she tries to reconcile the father she knew with the man she didn’t…
This is a movie that presents a happy picture but hints at dismay and other things going on, on the sideline but they are never explained.
So throughout we get hints of something dismaying, but also it’s never quite explained to us. Which allows the audience to feed into or put whatever they feel into the story and make it more personal.
As the film stays what it presents itself as. A look at a father and daughter spending a holiday together at a resort. They bond and have a loving relationship. Except towards the end, they get into a bit of an argument and separate.
Where this will lead we aren’t quite sure but in the end seeing them together again we know they are alright.
In the film, we are never quite sure what happened after the horrific kiss. as we see the future somewhat and it appears we are looking back at memories and videos. We never quite are sure why she is watching these videos or what she is looking for or exactly what happened.
So Essentially it feels like we are watching moments and how they affect us though we have no idea where they are going so it is a bit abstract for us to make up the past and the future. As we watch all we know is that present.
Almost a snapshot, but it is a beautiful film with inventive shots at times. Such as instead of focusing on the actors focusing on their reflections on various objects. Ultimately the film is heartbreaking. It also fills you with a kind of joy.
Remembering when you loved it you loved your kids and everything was innocent and kind of perfect while the outside world looms. It’s one problem that you will have to deal with and encounter. For the time being you are in your own little world with your family and loved ones and that is all that matters
They are mistaken for being siblings rather than father and child. Though that does show how young he is to be a father and the pressures that might present with little disappointments lien the resort not being as grand as advertised
The film revels in these ambiguities and it’s another film that benefits from it is mostly taken from a child’s Point of view not fully but in pieces. This helps to explain that some of the camera work and angles are a bit obscured.
This also allows us later on or after for us to realize that it’s impossible to totally reconstruct a memory perfectly. And that the daughter here can’t ever fully come into focus
And it offers the universal wonder of looking back at certain moments in our lives and re-evaluating them. We’re what we remembered, better or worse we’re their clues other things were going on.
Written & Directed By: David O. Russell Cinematography: Emmanuel Lubezki Editor: Jay Cassidy
Cast: Christian Bale, Margot Robbie, John David Washington, Chris Rock, Zoe Saldana, Robert DeNiro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Anya Taylor Joy, Alessandro Nivola, Andrea Riseborough, Matthias Schoenaerts, Taylor Swift, Max Perlich, Ed Begley Jr, Colleen Camp
In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.
This film had so much promise, an all-star cast, and a period-piece comedy. Somehow it all went so wrong.
As it is big everything about it is big, but limits the places it can go and at least acknowledges that people have other elements to their lives other than the main plot as a focus.
Director David O. Russell always likes to keep his films somewhat unpredictable and lovely as the camerawork is usually styled yet fluid and there are so many characters floating around who play important roles. That you never quite know who is going to drop in and out. He seems to like organized chaos so that by the end that is when you really notice the style or the plan. As it comes to light.
He also usually gets actors to play parts in his films as the roles are usually off the wall or quirky enough. That it allows the actors more to play than to necessarily act.
When it comes to this film though everything seems off. Not in his usual way though. As the film wants to say something about modern society and politics. As well as race and class relations to a degree, but also wants to mix in comedic elements that feel slapstick yet the laughs never come and nor the comedy exactly.
Here half the minor roles are played by recognizable actors who you wonder why they are even in the film. Though one of those big names Taylor Swift provides the only noteworthy and truly funny jaw-dropping scene. That someone who is not a fan of hers might enjoy it a little too much.
It doesn’t help that you have a love story among friends and colleagues. Yet no one has any chemistry and they say the lines so blankly that there is no emotion at all and no real reason to truly care about the characters. Even as the situations get zanier and a conspiracy forms. The film stays steady and slow. Where the only actor who seems like they could be interesting is Christian Bale who seems stranded in this movie. His romance with Zoe Saldana is cute and her character is short-changed. As this is the most appealing she has been on screen in quite some time. As the film seems desperate for his character to have a love story as it keeps shining a light on Washinton.s and Robie.s
As even the film tries to paint a love triangle but it is more of a love story between the two and he is just close to them. If the film had incorporated more of the triangle of the two characters both in love with the woman or them all in love with one another. That would have kept the dynamic more interesting.
The characters all seem like they deserve their own film. Even though they aren’t playing passionately. They have backstories that would certainly fit a better film or be better used in one.
By the end, this film is about a conspiracy and is played by a caper. Feels like it was much ado about nothing. By the end, only two characters falling in love is the only true change throughout. So that by the end you feel like you went through an endurance test. A well-meaning one but still a chore
It’s focused as it wants to be a lot of things all at once. It wants to be angry but also soft. As it is paced at times like a screwball comedy but intended to stick and not just go by. It just feels very unfocused. Yet wants to include a lot of details
Directed by: Anthony Fabian Written By: Anthony Fabian, Carroll Cartwright, Keith Thompson and Olivia Hetreed Based On The Novel Written By: Paul Gallico Cinematography: Felix Wiedemann Editor: Barney Pilling
Cast: Lesley Manville, Isabelle Huppert, Lambert Wilson, Alba Baptista, Jason Issacs, Lucas Bravo, Ellen Thomas, Rose Williams, Anna Chancellor, Christian McKay
A widowed cleaning lady in 1950s London falls madly in love with a couture Dior dress and decides that she must have one of her own.
I can’t say what made me want to see this film. As I will admit I was smitten as soon as I saw the poster and the trailer. I am glad that neither lets you down. As they pretty much preview the spirit of the film.
This is a good comfort movie. What I would call a perfect Sunday film. It’s entirely predictable and charming. Leaving the audience with a smile and managing to stay inoffensive throughout.
This is the type of movie you go to in theaters to come out smiling or the ones you would wait to see at the discount theaters at least.
This film even starts or predicts attitudes changing in the past that only started to happen recently.
It manages to set up what looks to be a whirlwind romance for a character that eventually fails, yet brings the character and movie down to earth. So that it isn’t a complete fantasy. Though later rewards the characters with something much more stable, sweet, and stronger. Luckily It’s not the main focus of the film.
Amazed by the character actress Lesley Manville who usually plays villains, especially you love to hate. Here she is so sweet and winning.
It’s a film full of lessons that eventually are taught, shown, or learned. Where food usually prevails. Mean characters are shown to have other sides.
The film never quite feels like something special. Though constantly puts you in a good mood. Good movie to watch with family.
Almost like a children’s Fantasy film made for adults only without the fantasy, but keeps the mood.
It’s one of those films where a sensible nice person upsets the jet set but then makes them realize the errors of their ways and reminds them that there are regular and pure people in the world.
As usual, the film seems Like everything is going to go along dreamily for the lead character except for some challenges laid her way. Though the film does at turns keep you second guessing and makes the lead truly have to either work to get to her happy ending or has it taken away and the hanks to her strength of character get it rectified or helped along the way by others.
This comes from her learning lessons about her nice nature at times and that those who you try to care for and protect Don’t always feel the same way it have the same intent in their hearts.
Written & Directed by: John Hamburg Cinematography: Kris Kachikis Editor: Melissa Bretherton
Cast: Kevin Hart, Mark Wahlberg, Regina Hall, Tahj Mowry, Diane Delano, Andrew Santino, John Amos, Anna Maria Horsford, Jimmy O. Yang, Shira Gross, Ilia Isorelys Paulino, Seal, Luis Gerardo Mendez
Follows a dad who finds time for himself for the first time in years while his wife and kids are away. He reconnects with a friend for a wild weekend.
This is another buddy comedy or big star team-up for Netflix
A meeting of the minds of two superstars. Mark Wahlberg and Kevin hart. Who seems to have lately made a career in these types of movies.
Unfortunately, he is Usually in subpar comedies that barely Pass being believable and this film is no exception. In fact, it plays like a lighter and safer version of VACATION FRIENDS with Lil rel Howery and John Cena. Though this film is racy itself.
The film’s Humor is more on the shocking side, but only because you have not seen the performers be so open to this type of humor before.
While I would never say this film is a game Changer or offers something the audience hasn’t seen before. I have to admit I liked it purely as a guilty Pleasure.
The film Made me laugh plenty of times. Yeah, the jokes were stupid but the film Feels fun and it is one of the few times recently where it actually feels like Kevin Hart is putting in an effort and trying.
The film tries to humanize the characters more by presenting a married man in a rut. Flirting with having a more carefree lifestyle like his friend and his friend having to learn to take responsibility. While as life king friends allowing them to bond and get into misadventures.
Maybe it’s the bigger name cast or the feeling that they are having as much fun making the film. As one might have watched the film.
Even though Mark Wahlberg Seems A Little lost when it comes to his character. He shows that he is fake for whatever the film or the scenes throw at him And gets in with full gusto. Even though most of the situations make no sense. They at least seem to be somewhat inspired.
Ilia Isorelys Paulino steals all Of her scenes and helps enliven the movie whenever she is on screens
This is a nice time waster as long as you don’t think Too hard. As it might be that I have gotten used to Hart’s films like this. Don’t know if it is any better or worse than his usual. It could be that we are so used to the quality now that we accept it and just go with it or maybe this one does try a little more. As at least this film’s cast is more recognizable.
Written & Directed by veteran screenwriter John Hamburg, who in the past has written and co-written scripts for Ben Stiller in particular. Maybe he helped up the standards of the material.
Written & Directed By: Jean Luc Herbulot Story By: Jean Luc Herbulot & Pamela Diop Cinematography: Gregory Corandi Editor: Nicolas Desmaison, Alasdair McCulloch and Sebastien Prangere
In 2003, a trio of mercenaries escaping a coup in Guinea-Bissau take refuge in a hidden region on the Saloum river of Senegal. But something from beyond the grave awaits them there.
The film starts off stark already and gets more captivating as it goes along. As more is revealed. As at first it seems more political and then seems to be a story of criminals on the run.
At first, it seems like a crime story with political aspirations. That becomes a revenge tale after a crime story in the first half. The second half has the characters more or less facing their personal demons.
The film is many things and touches on quite a few genres, but mainly sticks to African folklore by the third act.
This is one of those films that is continuously inventive with beautiful imagery and stylish and downright cool to a certain extent.
It is even a ghost story of sorts that involves mercenaries, rebellion, and some philosophy. Either way, it leaves the film soulful and haunted.
Most of the excitement of the Film is in the discovery’s definitely best to go In with as little knowledge as possible. Just enjoy the ride and take notice of the beauty and style.
Directed By: Luca Guadagnino Written By: David Kajganich Based on the Novel By: Camille DeAngelis Cinematography: Arsani Khachaturen Editor: Margo Costa
Cast: Taylor Russell, Timothee Chalamet, Mark Rylance, Michael Stuhlberg, Andre Holland, Jessica Harper, Chloe Sevigny, Sean Bridgers, David Gordon Green, Ellie Parker,
A story of first love between Maren, a young woman learning how to survive on the margins of society, and Lee, an intense and disenfranchised drifter, as they meet and join together for a thousand-mile odyssey that takes them through the back roads, hidden passages and trap doors of Ronald Reagan’s America. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness.
This is a film where you can watch and read into what you believe. As that seems to be its purpose.
As it shows what can be the life of an addict. As the characters aren’t exactly junkies as they can go through periods of time without feeding but they know sooner or later they will have to feed to an extent and can’t quit and it can’t go away. So you can look at it as a story of addiction to a degree.
This would explain why most are drifters and look trashy.
Though it is also a story of loneliness as they can detect one another and seem to need or desire to be around one another. Though the can’t completely trust one another. Though for little excursions they aren’t completely monsters or even vampires because at least as a vampire you have an epic weakness but it comes with supernatural powers. A kind of trade-off and a slice of life.
Though also as a predator and getting closer to their victims they have to play roles and have to invent and invest themselves in their lives. So that they get a glimpse into other’s lives as do we in the audience and have something to take away from it all, but also living a certain life and adventures for a while.
It’s no surprise the film is based on a young adult novel. At heart, it is a coming-of-age story of a girl who is 17 and is introduced to a world she has no training in and has to survive for herself through. Discovering the world is only a different one than most of us are used to. She also meets her first love and for a chunk of the film, we see their romance. Where they need one another to survive and she learns from him how to manage that life
It’s another film for director Luca Guadagnino to present a forbidden love story or an unorthodox one here.
It doesn’t eroticize violence or even sex. While there are both in the film. There isn’t an abundance of either. There are plenty of emotions and plenty of stand-alone scenes of suspense. As this film works in that way. There are some great scenes and the rest of the film is what you have to go through to get to them and inform them more.
The whole cast is superb and as always Mark Rylance Steals the movie. As the closest to a villain, the film has thought he comes across more as disturbed, sad and lonely. Though a one-scene cameo from Michael Schulberg is also a show stopper.
Though at times it does feel less random when it comes to the supporting cast and more like scenes that have been designated for guest stars that are important for the overall story, but still a little glad standing or too planned and it
The two leads Taylor Russell and Timothee Chalamet impress as a kind of 1980’s lovers on the run in the Midwest that might remind some of BADLANDS for all the landscapes and relationships. Only they aren’t that vicious. As the first half of the film at least gives some direction as she searches for information about her mother. Though after that the film isn’t aimless but focuses more on trying to figure out a future.
It’s a film of a certain time period but not about the time period. As it explores some of the cultures of the time without it being dependent purely on pop culture or exploring the events of the time period when it takes place
I can’t say I loved the film, but it is a film That challenges an audience not necessarily with shocks or endurance, but by not giving them what they want or stowaway. Not what they expect and offering a different point of view rather than the popular or most obvious one
Which one tends to be a fan of as sometimes you feel like you are in on it. If you know what to expect or an experience that you know will challenge or upset others around you. Only they have no ideas what they are in for
How we all long to make connections and how when we do it feels so special and one of a kind as we have the same afflictions, passions, and desires that no one else can understand.
The way it is presented finds a kind of beauty in a type of the ordinary and mundane of middle America. How something. So ordinary has extraordinary Bart things about it be it sights, land, mentality
This is a film That if you pay close attention you will be able to find some kind of meaning for yourself and what the director is trying to present. Like the film purposely Challenges the audience It’s not cookie-cutter and is daring in It’s own right
I give director Luca Guadagnino credit for trying to find beauty and substance throughout instead of making a typical or stylish horror film which it could have easily been.
Cut To The Chase 