Timmy is going to conquer the world, holy cow.
A Complete Unknown is admittedly a superficial look at Dylan, but I think that’s the point.
The mystery and contradictions that surround him is what makes Bob who he is. And the film makes the case that Bob Dylan is what he does to the world around him, by being such an off-beat, singular figure. It’s an argument that I fully bought into.
EKL #8
Seeing an adult 2D animated movie in the theaters is all I dream about.
EKL #5
An increased exposure to him recently has made me realize that Hoult just doesn’t do it for me.
He’s fine, but he lacks that extra thing (ex. Messina’s general sliminess, Collette’s face, Simmons’ voice) that would make him a more interesting person to watch.
Anyway, the movie is good! I love a good moral quandary, and it’s nice to see Clint try again, he even used a real baby this time! I hope he directs the next film in the Ant-Man franchise.
My neck is gonna hurt for a week from the whiplash that the scene of the modern day parents telling their son what to do if he’s pulled over by a cop gave me. Zemeckis, you’re a madman.
Bob seems to have fallen into this mode directors of his age seem to fall into where telling a story is almost an end to justify the means of playing with new tech. I don’t really like that, though I have to admit this was a surprisingly compelling watch.
I’m not someone who holds the first in an extremely high regard, so I ended up having an awesome time with this.
It’s just a big, bloody movie with an all-timer Denzel performance in it, and some fun palace intrigue. Movies are so good.
This is not a good movie, but it’s bad in much more interesting ways than its predecessor, and there’s a high chance it ruins the first one for all of the Joker bros. Nice job, Todd.
Pearce might give one of my 10 favorite performances of the decade here, but as a whole I just couldn’t get on this movie’s wavelength. Maybe I could have in the 2.5 hour version that’s buried within.
A textbook example of the whole being greater than the sum of its parts. Cat and mouse thrillers are up there as one of my favorite sub genres, and this one ranks up with the best of them thanks to Justin Kurzel's steady hand, rock-solid performances and crisp visuals.
The pacific northwest is having a moment in film! Please keep those tax breaks coming, because I need more rivers, forests and lakes and less deserts at the movies.
If you liked this, give Oliver Stone's Talk Radio a watch!
Loved the cast, attention to detail and how it was filmed, but this is a story about Saturday Night Live when it should be about Lorne Michaels.
It all comes together nicely at the end, but the build up feels narratively scattershot, devoting time to the aura of SNL over telling a compelling story. If you gave Sorkin this script with all its great parts, he would have built a fucking ferrari.
All that being said, Cooper Hoffman is single handedly making me believe in the power of neopetism. Also, we need Robert Wuhl in a hell of a lot more movies.