I watched the movie twice last year, read the book over the summer, finished the audiobook a couple weeks ago, finished the TV show today, and now here’s rewatch #7 or something.
Man, this movie just delivers. It’s something I never knew I wanted until I saw it. I just wish I had gone to see it in the theaters when it first came out. Would have been a transcendent experience I’m sure.
Before I watched this, I read that in post production, Alfredson had a tough time cutting this down from 3 and 1/2 hours down to the 2ish it ended up being.
With that in mind, I noticed a half dozen or so weird editing moments, mostly when it came to dialogue. Random lines layered over transition shots like “Did you get the keys to Control’s flat?” that hint at a more robust runtime.
As it is, Tinker…
By sleeping on this, y’all are missing out on one of the best movies of the decade and (in all seriousness) the most intellectually and emotionally compelling mystery ever put to film.
I’ve been eager to revisit this after Killers of the Flower Moon. Being only a few minutes longer, it’s interesting to see how Marty utilizes each film’s length and to what purpose.
Killers spends every available minute immersing you into a time and place that’s been both overlooked and underserved before now, using its final minutes to reckon with its own role in the tragedy-to-entertainment cycle. Irishman puts a character’s glory days and shopping of their own casket 50 years later…
Criterion Collection.
Now that it’s out on Criterion, I’ll take a break from this. I want to really build the anticipation before I watch it again in a few years, since I can already recite some scenes from memory lol.
Any clumsiness you can attribute to the first couple thirds, whether it be youthifying, the actors playing younger than they are, whatever, is overshadowed by that last hour.
That last damn hour. Good lord. I love it as your basic,…
“Holy Mary, Mother of God, pray for us sinners.”
Michael Corleone pulls the world down around him. No one is safe from his rage.
The Godfather Part II walked so Mamma Mia: Here We Go Again could run.
P.S. The flashbacks rule. I’m just an idiot.
Losing my goddamn mind waiting to see The Irishman again next week. With this, Scorsese tells the beginning and some of the middle of a life in the mob.
The Irishman finishes up that story with the ending many deserve but don’t get.
Been feeling the pull of this movie for quite some time, and I finally gave in. Glad I did. V for Vendetta is even better than I remember it being, which is no small feat because the last time I saw it, the movie jumped up several spots on my favorites list.
While the visual style could have been a little more dramatic, that’s the only part of this I would ever dream of critiquing. Every minute of this is…
Watched as a lead up to Coppola’s new cut of III (which @mods should be on LB) and damn, what a picture.
I’ve said it before and I’ll say it again: absolutely nothing beats a death montage.