It's like the least pretentious artsy film and is the closest Hollywood has come to making kino in a long time. The cinematography is great (for hollywood), the characters memorable and overall an enjoyable watch. It doesnt try hard to do anything in particular, and the color palette is a nice change from the usual blue & yellow
Whiplash was more indie than hollywood though, if it didnt succeed at sundance it would have never really gotten off the ground. It was even initially given a limited theatrical release.
The film tries desperately hard to be the ultimate in postmodern cool, but it completely falls flat on every level. The wildly overrated director Nicolas Winding Refn uses endless stylistic excess and pseudo-existential dread to mask the fact that this film is really nothing more than a mindless action flick mixed with a tedious romantic soap opera (but it doesn't even succeed on those terms either). The performances are universally terrible, with Ryan Gosling wooden and robotic and Albert Brooks unintentionally funny. On top of that, the film's "plot" (what little there is of it) is lifted directly from The Driver (1978), which wasn't very good to begin with, but at least wasn't cloaked in endless layers of hipster ostentation. Film Comment Magazine said it best: "While you could lean back and nod along to Refn's posturing, the film plays more like an exercise in turn-of-the-Eighties nostalgia, a movie-length strong-silent swagger inspired by the art on a VHS box."
this film is really nothing more than a mindless action flick mixed with a tedious romantic soap opera
the film plays more like an exercise in turn-of-the-Eighties nostalgia, a movie-length strong-silent swagger inspired by the art on a VHS box.
I don't disagree with these statements at all, but this is exactly why I like the movie. It's form over substance, it's a complete nothingburger but it's got a good vibe
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It was pretentious nonsense in 2011 and it is still pretentious nonsense in 2024.
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@SexyFartMan69
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It's like the least pretentious artsy film and is the closest Hollywood has come to making kino in a long time. The cinematography is great (for hollywood), the characters memorable and overall an enjoyable watch. It doesnt try hard to do anything in particular, and the color palette is a nice change from the usual blue & yellow
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It's the one time Stoic badass hero actually flopped over into literal autism
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Wrong, whiplash mogs
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Whiplash was more indie than hollywood though, if it didnt succeed at sundance it would have never really gotten off the ground. It was even initially given a limited theatrical release.
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Yeah their star studded cast is so indie
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Much indie, very unknown
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LOL lmao even
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Yeah thats how it works
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You're talking about drive like it's a top 20 movie of the 2000s and thats hilarious
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It's culturally significant
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For r-slurs
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yeah exactly
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The film tries desperately hard to be the ultimate in postmodern cool, but it completely falls flat on every level. The wildly overrated director Nicolas Winding Refn uses endless stylistic excess and pseudo-existential dread to mask the fact that this film is really nothing more than a mindless action flick mixed with a tedious romantic soap opera (but it doesn't even succeed on those terms either). The performances are universally terrible, with Ryan Gosling wooden and robotic and Albert Brooks unintentionally funny. On top of that, the film's "plot" (what little there is of it) is lifted directly from The Driver (1978), which wasn't very good to begin with, but at least wasn't cloaked in endless layers of hipster ostentation. Film Comment Magazine said it best: "While you could lean back and nod along to Refn's posturing, the film plays more like an exercise in turn-of-the-Eighties nostalgia, a movie-length strong-silent swagger inspired by the art on a VHS box."
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I don't disagree with these statements at all, but this is exactly why I like the movie. It's form over substance, it's a complete nothingburger but it's got a good vibe
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@LadybugStardust
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