AREN'T YOU GAY BREH
WOOOOOOOOOOOOOOOOOO
Nicolas Winding Refn's The Neon Demon - GO SEE IT SOON!
- Thread starter TheGodling
- Start date
TheGodling
Los Ingobernables de Sala de Cine
Cannes is home to the most pretentious film snobs in the world, that shyt doesn't surprise me one bit, lol.
AREN'T YOU GAY BREH
WOOOOOOOOOOOOOOOOOO
Only for the Godling and Eric Roberts.:gawdling:
Hyped for this.
Bronson, Drive, and Only God Forgives were
.
Bronson, Drive, and Only God Forgives were
.
Cannibal horror ...urgh did that spoil it?
Getting booed at Canes heavily for the controversial cannabalism and necrophilla. Also Fanning just turned 18 last month so she was doing this film underage.
bordeaux
xxx
im sayin... spoilers motherf_ckers! i regret coming in this thread.
Dr. Narcisse
Veteran
GoddamnyamanProf
Countdown to Armageddon
Sounds like something from Bret Easton Ellis
Box Cutta
Bumbling Sidekick
Sounds like Refn has another classic in the chamber....Getting booed at Canes heavily for the controversial cannabalism and necrophilla. Also Fanning just turned 18 last month so she was doing this film underage.
TheGodling
Los Ingobernables de Sala de Cine
Saw it today, shyt was incredible.
I'll have to first state though that it is a tier below Drive, Bronson and Only God Forgives, and if you thought OGF was disappointing after Drive, you can just stay home, even though I just added "GO SEE IT SOON" to the thread title.
The movie to me felt a lot closer to NWR's Fear X in the way it plays out (little narrative, lots of color-heavy nightmares/dreams/visions), but with the atmosphere of Drive and OGF. And for all its "arthouse" vibes the characters and dialogue are crude as fukk. Subtlety ain't part of the game, although there might actually be a lot of it at the end after the big climax when the consequences aren't made obviously clear, but enough that you can fill in the blanks if the shyt hadn't lost you already midway through.
Also, I'll have to say it, there's a bit of dead space in the first half where things could've been sped up a bit more. Refn likes to take his time and again, with there being as little subtlety as it is, you're sometimes spending a good minute or two watching the obvious. But, and there's a big but (and it isn't Christina Hendricks')...
When the movie decides to get it in, it's getting it in. It's going in, raw, and there's a sequence in the middle of the movie that most people might not make any sense of but it's where I realized Refn did it again because as I sat there too trying to make sense of it I realized I was actually grinning and my entire body was tingling with excitement. When Refn does his thing the man is cinema realized at its full potential.
I also gotta say it, I love the fukking acting in this. Keanu Reeves is fully channeling Nicolas Cage levels of overacting, Alessandro Nivola (don't ask, I had to look him up as well) is fukking incredible as the snobbiest of snobs, then you got the fukking guy from Gaspar Noé's Love in this as well, Quinn from Dexter being intense and cold as hell, and that's just the men. The girls are all great, less character performances than the men so it's not as easy to pinpoint what's so intriguing about their performances, but they all work.
Also, it needs to be said. I know the Coli has a hate/love relationship with skinny white women, but GESUS CHRIST, god-fukking-damn Abbey Lee, that's a real fiiine woman. Tall, slim, those fukking incredible cheek bones.
Seriously, I could stare at that woman's face all day, that's pure beauty and as the movie tells us in its most awesome quote, "Beauty isn't everything, it is the ONLY thing!" and the movie sure is a thing of beauty.
I'm also quite surprised I managed to write all this without spoiling any of the stuff I want to be screaming about, it's so awesome but I'll just leave you all with a song from the soundtrack and the knowledge that Refn now has his own director's logo he prominently puts all over the opening credits, officially reaching Lars von Trier levels of filmsnob. :ducreux:
I'll have to first state though that it is a tier below Drive, Bronson and Only God Forgives, and if you thought OGF was disappointing after Drive, you can just stay home, even though I just added "GO SEE IT SOON" to the thread title.
The movie to me felt a lot closer to NWR's Fear X in the way it plays out (little narrative, lots of color-heavy nightmares/dreams/visions), but with the atmosphere of Drive and OGF. And for all its "arthouse" vibes the characters and dialogue are crude as fukk. Subtlety ain't part of the game, although there might actually be a lot of it at the end after the big climax when the consequences aren't made obviously clear, but enough that you can fill in the blanks if the shyt hadn't lost you already midway through.
Also, I'll have to say it, there's a bit of dead space in the first half where things could've been sped up a bit more. Refn likes to take his time and again, with there being as little subtlety as it is, you're sometimes spending a good minute or two watching the obvious. But, and there's a big but (and it isn't Christina Hendricks')...
When the movie decides to get it in, it's getting it in. It's going in, raw, and there's a sequence in the middle of the movie that most people might not make any sense of but it's where I realized Refn did it again because as I sat there too trying to make sense of it I realized I was actually grinning and my entire body was tingling with excitement. When Refn does his thing the man is cinema realized at its full potential.
I also gotta say it, I love the fukking acting in this. Keanu Reeves is fully channeling Nicolas Cage levels of overacting, Alessandro Nivola (don't ask, I had to look him up as well) is fukking incredible as the snobbiest of snobs, then you got the fukking guy from Gaspar Noé's Love in this as well, Quinn from Dexter being intense and cold as hell, and that's just the men. The girls are all great, less character performances than the men so it's not as easy to pinpoint what's so intriguing about their performances, but they all work.
Also, it needs to be said. I know the Coli has a hate/love relationship with skinny white women, but GESUS CHRIST, god-fukking-damn Abbey Lee, that's a real fiiine woman. Tall, slim, those fukking incredible cheek bones.
Seriously, I could stare at that woman's face all day, that's pure beauty and as the movie tells us in its most awesome quote, "Beauty isn't everything, it is the ONLY thing!" and the movie sure is a thing of beauty.
I'm also quite surprised I managed to write all this without spoiling any of the stuff I want to be screaming about, it's so awesome but I'll just leave you all with a song from the soundtrack and the knowledge that Refn now has his own director's logo he prominently puts all over the opening credits, officially reaching Lars von Trier levels of filmsnob. :ducreux:
Red Shield
Global Domination
Didn't read any of that.. but hopefully it gets a wide release on the 24th 
DrDealgood
Superstar
Fukk up at old-school movie distribution and exhibition, brehs.
Film was mostly piff, but I would waste no breath arguing with anyone who hate it. Refn gives no fukks; you get it or you don't.
Soundtrack ultra-dope.
I really loved parts of it, from his now trademark incredible direction, and the color schemes, which reminded me in spots of Michael Mann in 'Manhunter' (and 70's pics like Suspira) with all the blues and reds set against each other....I also loved Cliff Martinez work on the score, though it's very reminiscent of 'Springbreakers' in more then one point, it's just a audio and visual spectacle, you kind of lose yourself in the thin narrative, thin script, and Refn's tendency to hold his shots and scenes for way too long. The atmosphere is very dark, tense, horror esque, though there is a lot of comedy, then audience I saw it with didn't seem to appreciate. (Your name is BEAN)? (That was one of the movies stronger dialouge related moments, that guy was great)
Keanu Reeves had an amazingly funny/dark performance as the proprietor of a run down hotel, which serves as a transition/exploitation point for runaways and LA dreamers, these places are littered throughout Hollywood and LA's outer suburbs, and it's depicted here in an over the top sleaze, almost parody like. Refn likes the dreamy quality of LA, a sort of eerie mix of gorgeous landscapes and modern homes, the beach, and ultraviolence and blood. The plot isn't much, and as has been said, it's all very unsubtle and telegraphed, which means you just sit back and enjoy when Refn turns the screws a bit, and the atmosphere of dread bleeds into reality.
The earlier sequence with room 212 was great, the bathroom/glass scene (I felt where the movie was strongest as true horror) as were several other set pieces including the Hollywood Hills mansion and the empty pool, as well as the final one, which was the least of them all, imo. It's not to be taken too seriously, and I think Refn has been a bit adrift since 'Drive', or it may be he is writing his own work, as he seems unable to write characters or create situations that one can relate to, or care about their fate. It really drags in the last 15 minutes or so, post pool sequence. And overall, it needed about 15-20 minutes cut. It really washes over you very quickly, and isn't much more then another frenzied, gorgeous fever dream, very similar to 'Only God Forgives', yet a lot easier to watch, less edge.... 'Fear X' is much too slow paced and serious to draw much comparison from me.
*in NYC last week at a meatpacking district hotel, I had an encounter with a producer of this film, who exactly embodies the culture of what the movie is 'parodying' in a bit of an ironic twist.
Keanu Reeves had an amazingly funny/dark performance as the proprietor of a run down hotel, which serves as a transition/exploitation point for runaways and LA dreamers, these places are littered throughout Hollywood and LA's outer suburbs, and it's depicted here in an over the top sleaze, almost parody like. Refn likes the dreamy quality of LA, a sort of eerie mix of gorgeous landscapes and modern homes, the beach, and ultraviolence and blood. The plot isn't much, and as has been said, it's all very unsubtle and telegraphed, which means you just sit back and enjoy when Refn turns the screws a bit, and the atmosphere of dread bleeds into reality.
The earlier sequence with room 212 was great, the bathroom/glass scene (I felt where the movie was strongest as true horror) as were several other set pieces including the Hollywood Hills mansion and the empty pool, as well as the final one, which was the least of them all, imo. It's not to be taken too seriously, and I think Refn has been a bit adrift since 'Drive', or it may be he is writing his own work, as he seems unable to write characters or create situations that one can relate to, or care about their fate. It really drags in the last 15 minutes or so, post pool sequence. And overall, it needed about 15-20 minutes cut. It really washes over you very quickly, and isn't much more then another frenzied, gorgeous fever dream, very similar to 'Only God Forgives', yet a lot easier to watch, less edge.... 'Fear X' is much too slow paced and serious to draw much comparison from me.
*in NYC last week at a meatpacking district hotel, I had an encounter with a producer of this film, who exactly embodies the culture of what the movie is 'parodying' in a bit of an ironic twist.
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