-
Welcome to Smogon! Take a moment to read the Introduction to Smogon for a run-down on everything Smogon, and make sure you take some time to read the global rules.
-
Congrats to the winners of the 2023 Smog Awards!
Media itt: movie/film discussion - Beware Spoilers
- Thread starter Jebus McAzn
- Start date
No Country for Old Men (2007)
I'd like to preface this post by linking the blog that I occasionally write articles on, such as this one. It has vastly better formatting than Smogon allows me to. I'd also love some constructive criticism on my writing.
It's practically a well-written re-hash of the post I made earlier in the thread but I figured I'd post it here anyway. It's cool
I'd like to preface this post by linking the blog that I occasionally write articles on, such as this one. It has vastly better formatting than Smogon allows me to. I'd also love some constructive criticism on my writing.
It's practically a well-written re-hash of the post I made earlier in the thread but I figured I'd post it here anyway. It's cool
The Coen brothers’ 2007 neo-Western masterpiece ‘No Country for Old Men’ has been rightfully catapulted into classic status since its release for its unique structuring and incredible screenwriting. The Coen brothers constantly elude expectations for a film about a drug deal gone awry. Whereas typical action films would introduce the movie with the flashy drug deal, No Country for Old Men follows how innocent Llewelyn Moss gets reeled into this predicament. Its atypical structuring and unpredictable plot beats, particularly in the final act where the heroic main character gets killed off-screen, the antagonist presumably gets away with his deeds, and the film ending on a quiet, vague yet contemplative monologue, set the picture apart from its contemporaries.
This unconventional approach to genre tropes fits No Country for Old Men’s omnipresent futility. One can’t help but feel hopeless when fighting (or escaping) from the embodiment of fate that is Anton Chigurh. His quirk is the coin toss, allowing potential victims a chance to escape death if they call it right. It’s a clever metaphor for death being entirely random. Not just Llewelyn (Josh Brolin), who actively tempts it by stealing the money, but also the gas station owner and even the bird unknowingly meet eye-to-eye with this grim reaper, although the latter two get to live another day.
(Even if you hadn’t seen this film, you could string together what happened based on this frame alone. Brilliant use of the wide lens, lighting & environment to create a frightening shot.)
Anton Chigurh, played by a stunning Javier Bardem, is frightening because of his commitment to fate and his principles. Chigurh fully accepts the brutal injuries he suffers from a car accident and improvises how to make the best of his situation. The ending remains consistent with the rest we see of the scheming Chigurh, who never relinquishes control of any situation.
The brilliance of the entire cast of No Country for Old Men extends beyond its narrative writing. Chigurh’s calculating efforts aren’t verbally explained, but conveyed through visual storytelling. The scene where Chigurh makes a car explode and then steals painkillers from a pharmacy amidst all the chaos contains zero words of direct dialogue.
However, Bardem isn’t the sole outstanding performer here. Tommy Lee Jones is stellar with several dialogue scenes where he subtly conveys a wide range of emotion. Although an anxious cop on the brink of retirement could lead to overacting, Jones feels remarkably human. I have to honorably mention side-characters Woody Harrelson and Kelly Macdonald as well, each of them having defining scenes within a little amount of screentime.
The Coen brothers maximize the potential of each actor by crafting such coherent scenes. Although No Country for Old Men does contain lots of well-written dialogue, the respect the directors have for the viewers intelligence is commendable. For instance, the motel scene uses lots of auditory cues such as footsteps and the tracking device’s beeping. The haunting lack of music builds up the scene slowly, until it erupts into a tense gunfight. Such a scene is paralleled later, when Ed Tom investigates the house Llewelyn gets murdered in. There’s a similar tense, scoreless build-up as Ed Tom imagines Chigurh’s presence in the motel room, but it does not climax into explosions. Ed Tom, feeling outmatched by evil, retires after facing his deepest fears.
The perfect editing and cutting of scenes and shot composition fully convey critical information. The Coens’ canvas is often so richly painted it allows them to supersede dialogue entirely, which in turn grants the talented cast the opportunity to act at their peaks. No Country for Old Men was eye-opening for me; watching it makes me feel like I understand the beauty of cinema, even if the films aesthetic isn’t typically pleasing.
“He’s seen the same things I’ve seen and it certainly made an impression on me.”
As displayed above, parallels are a recurring way for No Country for Old Men to show its wit. Both Chigurh and Ed Tom take their place in Llewelyn’s seat, showing us their fates have converged. The former is sharp and methodical in his posture, causing a sense of unease, whereas the latter slumps, takes a sip of the milk, and just relaxes. By blurring the reflection it feels comforting. These postures tell us a lot about the personalities of these characters, but also their relationship to Llewelyn.
No Country for Old Men is in large part a film about the hunter becoming the hunted, and sets an interesting parallel with Chigurh murdering a man on the road, and Llewelyn failing to fatally injure a deer. It showcases Chigurh’s prowess and foreshadows Llewelyn’s inevitable misfortune as he fails to murder his prey, again. Llewelyn’s first actions are literally of him failing, which turns out to be a key character aspect. Good screenwriting characterizes swiftly, often through non-verbal actions, and the first ten minutes excel in doing so.
But what makes me adore the Coens is their masterful shot composition, exploiting every inch of the frame they have for a purposeful and aesthetically pleasing canvas. Their wide lenses are their greatest strength. This, paired with their slow cinematography, let the Coens forsake unnecessary camera movement. Every shot they paint includes some environment to either establish or re-contextualize their respective scenes. They bring their films alive that way.
In a complete juxtaposition with the rest of the claustrophobic, dark, desolate film: here the bright daylight warmly coats the screen, whereas the background mountains and buildings give us a size comparison. The shot is expansive and optimistic, and it culminates in an overwhelming sense of freedom and maybe even a bit of hope. Perhaps our hero, after his epic speech, will return home unscathed after triumphing over the villain!
But he doesn’t. After all, it’s No Country for Old Men, and the film introduces (and thus foreshadows) this character with his failure.
Aside from encapsulating practically the entire film within five minutes, the gas station scene highlights a key Coen brothers strength in making the most of their environment. By littering the setting with trinkets, the place feels real and ‘alive’. By placing the actor here, he too feels more real and alive, making us sympathize with him and giving purpose and tension to its respective scene.
But also, it’s simply admirable to wonder how much effort went into designing and defining the living spaces of each of these characters. It brings entire scenes and characters, otherwise just concepts, alive. No Country for Old Men is much more convincing for it.
My favorite bit of visual storytelling in No Country for Old Men comes at its very end, when Carla Jean gets killed.
Although omitted from the embedded video, the preceding shot is of Carla Jean being at her mother’s funeral, establishing that Carla Jean is the key actress of the scene, so the viewer has an understanding that it’s her when the next shot is of a car entering the driveway. Then we get another establishing shot of her mom’s living room, with Carla Jean herself entering the frame shortly after. The next cut of is of the morose Carla Jean who had been looking at the ground all the time shifting her view up, to see air breeze through the open window, with the implication that Chigurh entered the house. This is confirmed by the next cut where Carla Jean opens the door and sees a menacing Chigurh before she meets her end.
No Country for Old Men deservedly etched itself in film history with Oscar wins for best motion picture and directors as a palpable celebration of the medium. The Coen’s masterful visual storytelling and direction amplify each actor’s skills. Whether it is Tommy Lee Jones’ difficult expressions, Javier Bardem’s off-script choke on a cashew nut, or Woody Harrelson’s anxious flinch at a loud phone interrupting his futile bluff — each scene is essential and a triumphant display of cinema expertise.
This unconventional approach to genre tropes fits No Country for Old Men’s omnipresent futility. One can’t help but feel hopeless when fighting (or escaping) from the embodiment of fate that is Anton Chigurh. His quirk is the coin toss, allowing potential victims a chance to escape death if they call it right. It’s a clever metaphor for death being entirely random. Not just Llewelyn (Josh Brolin), who actively tempts it by stealing the money, but also the gas station owner and even the bird unknowingly meet eye-to-eye with this grim reaper, although the latter two get to live another day.
(Even if you hadn’t seen this film, you could string together what happened based on this frame alone. Brilliant use of the wide lens, lighting & environment to create a frightening shot.)
Anton Chigurh, played by a stunning Javier Bardem, is frightening because of his commitment to fate and his principles. Chigurh fully accepts the brutal injuries he suffers from a car accident and improvises how to make the best of his situation. The ending remains consistent with the rest we see of the scheming Chigurh, who never relinquishes control of any situation.
The brilliance of the entire cast of No Country for Old Men extends beyond its narrative writing. Chigurh’s calculating efforts aren’t verbally explained, but conveyed through visual storytelling. The scene where Chigurh makes a car explode and then steals painkillers from a pharmacy amidst all the chaos contains zero words of direct dialogue.
However, Bardem isn’t the sole outstanding performer here. Tommy Lee Jones is stellar with several dialogue scenes where he subtly conveys a wide range of emotion. Although an anxious cop on the brink of retirement could lead to overacting, Jones feels remarkably human. I have to honorably mention side-characters Woody Harrelson and Kelly Macdonald as well, each of them having defining scenes within a little amount of screentime.
The Coen brothers maximize the potential of each actor by crafting such coherent scenes. Although No Country for Old Men does contain lots of well-written dialogue, the respect the directors have for the viewers intelligence is commendable. For instance, the motel scene uses lots of auditory cues such as footsteps and the tracking device’s beeping. The haunting lack of music builds up the scene slowly, until it erupts into a tense gunfight. Such a scene is paralleled later, when Ed Tom investigates the house Llewelyn gets murdered in. There’s a similar tense, scoreless build-up as Ed Tom imagines Chigurh’s presence in the motel room, but it does not climax into explosions. Ed Tom, feeling outmatched by evil, retires after facing his deepest fears.
The perfect editing and cutting of scenes and shot composition fully convey critical information. The Coens’ canvas is often so richly painted it allows them to supersede dialogue entirely, which in turn grants the talented cast the opportunity to act at their peaks. No Country for Old Men was eye-opening for me; watching it makes me feel like I understand the beauty of cinema, even if the films aesthetic isn’t typically pleasing.
“He’s seen the same things I’ve seen and it certainly made an impression on me.”
As displayed above, parallels are a recurring way for No Country for Old Men to show its wit. Both Chigurh and Ed Tom take their place in Llewelyn’s seat, showing us their fates have converged. The former is sharp and methodical in his posture, causing a sense of unease, whereas the latter slumps, takes a sip of the milk, and just relaxes. By blurring the reflection it feels comforting. These postures tell us a lot about the personalities of these characters, but also their relationship to Llewelyn.
No Country for Old Men is in large part a film about the hunter becoming the hunted, and sets an interesting parallel with Chigurh murdering a man on the road, and Llewelyn failing to fatally injure a deer. It showcases Chigurh’s prowess and foreshadows Llewelyn’s inevitable misfortune as he fails to murder his prey, again. Llewelyn’s first actions are literally of him failing, which turns out to be a key character aspect. Good screenwriting characterizes swiftly, often through non-verbal actions, and the first ten minutes excel in doing so.
But what makes me adore the Coens is their masterful shot composition, exploiting every inch of the frame they have for a purposeful and aesthetically pleasing canvas. Their wide lenses are their greatest strength. This, paired with their slow cinematography, let the Coens forsake unnecessary camera movement. Every shot they paint includes some environment to either establish or re-contextualize their respective scenes. They bring their films alive that way.
In a complete juxtaposition with the rest of the claustrophobic, dark, desolate film: here the bright daylight warmly coats the screen, whereas the background mountains and buildings give us a size comparison. The shot is expansive and optimistic, and it culminates in an overwhelming sense of freedom and maybe even a bit of hope. Perhaps our hero, after his epic speech, will return home unscathed after triumphing over the villain!
But he doesn’t. After all, it’s No Country for Old Men, and the film introduces (and thus foreshadows) this character with his failure.
Aside from encapsulating practically the entire film within five minutes, the gas station scene highlights a key Coen brothers strength in making the most of their environment. By littering the setting with trinkets, the place feels real and ‘alive’. By placing the actor here, he too feels more real and alive, making us sympathize with him and giving purpose and tension to its respective scene.
But also, it’s simply admirable to wonder how much effort went into designing and defining the living spaces of each of these characters. It brings entire scenes and characters, otherwise just concepts, alive. No Country for Old Men is much more convincing for it.
My favorite bit of visual storytelling in No Country for Old Men comes at its very end, when Carla Jean gets killed.
Although omitted from the embedded video, the preceding shot is of Carla Jean being at her mother’s funeral, establishing that Carla Jean is the key actress of the scene, so the viewer has an understanding that it’s her when the next shot is of a car entering the driveway. Then we get another establishing shot of her mom’s living room, with Carla Jean herself entering the frame shortly after. The next cut of is of the morose Carla Jean who had been looking at the ground all the time shifting her view up, to see air breeze through the open window, with the implication that Chigurh entered the house. This is confirmed by the next cut where Carla Jean opens the door and sees a menacing Chigurh before she meets her end.
No Country for Old Men deservedly etched itself in film history with Oscar wins for best motion picture and directors as a palpable celebration of the medium. The Coen’s masterful visual storytelling and direction amplify each actor’s skills. Whether it is Tommy Lee Jones’ difficult expressions, Javier Bardem’s off-script choke on a cashew nut, or Woody Harrelson’s anxious flinch at a loud phone interrupting his futile bluff — each scene is essential and a triumphant display of cinema expertise.
TheValkyries
proudly reppin' 2 superbowl wins since DEFLATEGATE
Cats sounds as much of a hellish fever dream as the original stage play was so that's exciting.
Just helped my roommate host a high tea and viewing party of the Downton Abbey movie. While most of the plot points are predictable, they're executed well and packaged with the snappy editing and grandiose shots and set pieces afforded by a larger budget. While it doesn't punch nearly as hard as Serenity did (and why would you expect a PBS period piece to punch that hard), I would say it was rather like the Serenity of period pieces and definitely something Downton Abbey fans can enjoy.
Can I request that all future Nicholas Cage posts be put in marked spoilers so I can appropriately ignore them? Thank you.
Also I watched Bone Tomahawk with some friends last week. I'm not really sure how I feel about it. It feels like a western horror written by someone who doesn't like westerns or horror flicks. Pointlessly gory and with a plot as thin as tinfoil, I feel like the only reason this movie wasn't completely awful was because the actors were actually really good. Kurt Russell's performance in particular carried it (yet more proof that Russell is the most underrated actor ever). Would give it a solid 6/10 on that basis alone.
Also I watched Bone Tomahawk with some friends last week. I'm not really sure how I feel about it. It feels like a western horror written by someone who doesn't like westerns or horror flicks. Pointlessly gory and with a plot as thin as tinfoil, I feel like the only reason this movie wasn't completely awful was because the actors were actually really good. Kurt Russell's performance in particular carried it (yet more proof that Russell is the most underrated actor ever). Would give it a solid 6/10 on that basis alone.
Now I've seen every movie Nicolas Cage has been in, but there's much more to come, and the future right now looks very interesting. Let's dig into it!
Color Out of Space
Based on the Lovecraft story, this one has already premiered at film festivals and critics really liked it! 41 critics make up an 85% rating on RT. It will come to theaters in January, and I'm very excited. Check out the trailer:
Jiu Jitsu
This is a martial arts Sci-Fi film from the director of the Kickboxer series, which seem lesser known to me but have some critical acclaim. I can't really see 55 year old Cage as a protagonist in this kind of movie, but I don't know much about the plot so we'll have to see what sort of role he fills.
Prisoners of the Ghostland
Directed by Sion Sono, a very well regarded experimental Japanese director. Nicolas Cage himself called this his wildest movie ever, which is a high fucking bar. It's about a criminal rescuing Imogen Poots from a curse. Everyone is really psyched about this movie and I count myself as psyched as well.
The Croods 2
Croods 2 has been in development for a hell of a long time, even facing cancellation, but with Cage on the upturn we've got a new release date next year and there's a trailer. Not gonna be an exciting movie but probably won't be trash either and may make some money.
Wally's Wonderland
Cage is tricked into becoming a janitor at a condemned theme park where the animatronics come to life and try to murder him. So it's Five Nights at Freddy's, but a knockoff starring Nic Cage, so hell yeah I'm on board.
Some films don't have posters or trailers yet. Pig is a movie where Cage plays a truffle hunter who has to find his kidnapped pig. I'm maybe getting some Joe vibes here, but maybe it could like John Wick but with a pig and Nic Cage?
But easily the most exciting movie is one that was very recently announced, The Unbearable Weight of Massive Talent. In this movie Nicolas Cage stars as Nicolas Cage, a down on his luck actor desperately trying to get a part in a Quentin Tarantino movie, all the while having to deal with his imaginary overbearing 90s persona (also played by Cage). It feels like god has specifically gifted this movie to me after bearing the cross of watching shit like Left Behind and Dog eat Dog.
So it seems like every movie that Cage has incoming involve accomplished directors or involve ideas that are very interesting, and at least Croods will probably be good for his career. Unfortunately I can't be optimistic about 10 Double Zero, which sounds like the kind of generic police crap he really should be avoiding at this point. But 7/8 ain't bad.
Also Rise of Skywalker (aka Newlo: A Paycheck Story) is the worst fucking star wars movie don't @ me
Color Out of Space
Based on the Lovecraft story, this one has already premiered at film festivals and critics really liked it! 41 critics make up an 85% rating on RT. It will come to theaters in January, and I'm very excited. Check out the trailer:
Jiu Jitsu
This is a martial arts Sci-Fi film from the director of the Kickboxer series, which seem lesser known to me but have some critical acclaim. I can't really see 55 year old Cage as a protagonist in this kind of movie, but I don't know much about the plot so we'll have to see what sort of role he fills.
Prisoners of the Ghostland
Directed by Sion Sono, a very well regarded experimental Japanese director. Nicolas Cage himself called this his wildest movie ever, which is a high fucking bar. It's about a criminal rescuing Imogen Poots from a curse. Everyone is really psyched about this movie and I count myself as psyched as well.
The Croods 2
Croods 2 has been in development for a hell of a long time, even facing cancellation, but with Cage on the upturn we've got a new release date next year and there's a trailer. Not gonna be an exciting movie but probably won't be trash either and may make some money.
Wally's Wonderland
Cage is tricked into becoming a janitor at a condemned theme park where the animatronics come to life and try to murder him. So it's Five Nights at Freddy's, but a knockoff starring Nic Cage, so hell yeah I'm on board.
Some films don't have posters or trailers yet. Pig is a movie where Cage plays a truffle hunter who has to find his kidnapped pig. I'm maybe getting some Joe vibes here, but maybe it could like John Wick but with a pig and Nic Cage?
But easily the most exciting movie is one that was very recently announced, The Unbearable Weight of Massive Talent. In this movie Nicolas Cage stars as Nicolas Cage, a down on his luck actor desperately trying to get a part in a Quentin Tarantino movie, all the while having to deal with his imaginary overbearing 90s persona (also played by Cage). It feels like god has specifically gifted this movie to me after bearing the cross of watching shit like Left Behind and Dog eat Dog.
So it seems like every movie that Cage has incoming involve accomplished directors or involve ideas that are very interesting, and at least Croods will probably be good for his career. Unfortunately I can't be optimistic about 10 Double Zero, which sounds like the kind of generic police crap he really should be avoiding at this point. But 7/8 ain't bad.
Also Rise of Skywalker (aka Newlo: A Paycheck Story) is the worst fucking star wars movie don't @ me
Last edited:
Arizona Dream
Excellent realization of Emir Kusturica. He offers us magnificent images, truculent scenes and fantastic sequences. In his very particular universe, the Serbian director delivers us a colourful dramatic comedy which speaks to us about love and dreams. The soundtrack is grandiose and the actors' performance is delightful, with a special fondness for Faye Dunaway. In the supporting characters, Lili Taylor as Grace and Vincent Gallo as Paul are also excellent. A superb film to see or see again; it hasn't aged at all.
bro the poster literally says guinea pigs, not hamsters34. G-Force (2009) 22%
In G-Force, a film about a team of spy hamsters
I DON'T CARE! I AIN'T NO FREAKIN' MONUMENT TO RODENTS!bro the poster literally says guinea pigs, not hamsters
EV
Banned deucer.
I watched a mini docu recently that explained the decline in comedy as a genre film as an effect of global branding and the rise of exporting Hollywood to China. Essentially, comedy is difficult to translate.
The author of this docu (I can't remember what it's called, sorry) pointed to comedy becoming a subgenre as a means of survival. Rather than an entire film hinging on a comedic conceit, comedy can just be wallpapered onto Sci-Fi or Action or whatever. I think Deadpool is a nice example of this pivot.
As for solidly funny movies that stand alone, I'd say Bridesmaids is up there for the decade. If you're counting from 2010 forward, that just misses the Hangover (2009). 21 Jump Street and The Nice Guys might be comedies before their other genre (buddy cop), just because the laughs keep coming.
And if you're feeling feisty, Cats (2019).
The author of this docu (I can't remember what it's called, sorry) pointed to comedy becoming a subgenre as a means of survival. Rather than an entire film hinging on a comedic conceit, comedy can just be wallpapered onto Sci-Fi or Action or whatever. I think Deadpool is a nice example of this pivot.
As for solidly funny movies that stand alone, I'd say Bridesmaids is up there for the decade. If you're counting from 2010 forward, that just misses the Hangover (2009). 21 Jump Street and The Nice Guys might be comedies before their other genre (buddy cop), just because the laughs keep coming.
And if you're feeling feisty, Cats (2019).
imo the tone of modern comedy shifted away from slapstick to a darker and dryer place (more british?). the characteristics of how we place films in the comedy genre also seems to have changed; stuff like Ladybird, The Big Sick, and The Nice Guys are all billed as comedies but feel a lot more like dramas with some light moments and the occasional joke. I almost think there's an argument to be made that the traditional comedy as a theater-filler has been replaced by Marvel-style blockbusters; maybe someone else wants to explore that further.
That said, I still think good funny movies are being made. Seth Rogen, Will Ferrell, and Sacha Baron Cohen all still put out consistent, on-brand films, even if they might not be as groundbreaking/influential as earlier works (ie Pineapple Express, Anchorman, and Borat, respectively).
Taika Waititi has made some quality films over the last 10 years, especially What We Do in the Shadows, Thor: Ragnarok, and Hunt for the Wilderpeople.
21 Jump Street is a great reboot with quality acting and plot; I loved this film to death when I was in high school and I believe it's still good 5 years later.
Tucker & Dale vs Evil is great for some gory, subversive fun, especially with a couple of friends.
Wes Anderson and the Coen Brothers still excel at making serious-yet-quirky films with just enough weirdness to get a few laughs over the course of their run.
Game night
Grand budapest
Isle of dogs
Lego movies
Err...deadpool?
Every pixar/dreamworks movie is a "comedy". Baby driver is technically a comedy but if you consider it one, do you consider tarantino to be comedies? He had plenty of releases. Comedy has been absorbed into other genres. Every action movie is Funny now.
Gekijouban Tantei Opera Milky Holmes: Gyakushuu no Milky Holmes.
this is why no one takes you seriously, von.
TheValkyries
proudly reppin' 2 superbowl wins since DEFLATEGATE
22 jump street is the best comedy movie of all time so idk bout this "dire decade for the comedy movie talk". Honestly I'd say every decade is a dire decade for the comedy movie because comedy movies suck ass 99.9% of the time, and only the truly transcendent ones age well.
Also: The Rise of Skywalker was a phenomenally outstanding atrocity, and a pillar of abysmal storytelling.
Also: The Rise of Skywalker was a phenomenally outstanding atrocity, and a pillar of abysmal storytelling.
This whole post reads a bit oxymoronic (that or you're running on too many levels of irony for me)
Last edited:
Watched I Am Mother on a flight and was stunned how good it was. It’s on Netflix so I’d highly recommend if you’re bored post-Christmas.
Don’t wanna spoil anything about the plot but it is more thriller and way less horror than the trailer would imply. It’s not super scary more tense and thrilling throughout. The ending is also very thought-provoking. Surprised I hadn’t heard about it previously.
Don’t wanna spoil anything about the plot but it is more thriller and way less horror than the trailer would imply. It’s not super scary more tense and thrilling throughout. The ending is also very thought-provoking. Surprised I hadn’t heard about it previously.
woah buddy, save your criticism for AFTER you've seen the movie.
Seconding Tucker & Dale vs Evil as a great comedy that has been slept on too much. And The Grand Budapest Hotel, but I consider that one more of a epic than a comedy.
Also, might I suggest Hail, Caesar! and The World's End?
Note to self: I've gone too long without seeing Birdman.
Also, might I suggest Hail, Caesar! and The World's End?
Note to self: I've gone too long without seeing Birdman.
In other news, I saw the live action How The Grinch Stole Christmas over the holidays and I think I understand now why execs decided The Cat in the Hat was a good pitch. Grinch is Jim Carrey in all his Mask-y hammy goodness and the additional motif of acceptance and rejection reads as a natural and relevant extension to the original plot.
Sorry if I missed discussion on this already but, I just watched 'The Lobster' directed by Yorgos Lanthimos. It has not what I anticipated it being but I still really enjoyed it. There were some parts that made so stressed out that I thought about stopping mid-way through, though that's what I loved about it. Anyone have this same reaction? Thoughts on the movie?
