DreamTinder
Joined Oct 2011
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Ratings2.9K
DreamTinder's rating
Reviews47
DreamTinder's rating
Fascinating story with many layers, intelligently told. It deals with many heavy topics - conformity, dysfunction, motherhood, rebellion, class, race, sexuality, and privilege - but never in a preachy way. The viewers are always free to decide for themselves who's right and who's wrong in any given storyline, and it's often hard to decide. I changed my standpoint several time over the eight episodes, as more layers were revealed. I love that kind of complexity in a movie or series. The show definitely takes you on a rollercoaster ride of conflicting emotions.
The only character that I found impossibly difficult to sympathize with was Mia (Kerry Washington), which made me wonder if either the casting or the direction was off. I feel like the way the character Mia is written makes her really likeable, but the Mia we get on screen has such a terrible attitude and demeanor that she doesn't deserve any of the help she is offered. Heavy baggage or not, you can still be polite and smile once in a while.
Most actors did a great job, though. Even the young ones.
This series made me want to read the book it's based on, which says something about the quality of the storytelling.
The only character that I found impossibly difficult to sympathize with was Mia (Kerry Washington), which made me wonder if either the casting or the direction was off. I feel like the way the character Mia is written makes her really likeable, but the Mia we get on screen has such a terrible attitude and demeanor that she doesn't deserve any of the help she is offered. Heavy baggage or not, you can still be polite and smile once in a while.
Most actors did a great job, though. Even the young ones.
This series made me want to read the book it's based on, which says something about the quality of the storytelling.
This is exactly my kind of film, so I went into The Brutalist with high expectations. I was genuinely excited to finally see it, but what a colossal disappointment. I know it's not a popular opinion, but I think time will show how incredibly overrated this film is, when ten years from now everyone will ask themselves why it was even considered a good movie, let alone a great one.
It starts off promising enough, but it quickly spirals into a directionless mess. The film is overloaded with heavy themes, seemingly to compensate for its lack of coherent structure, yet it never digs deep into any of them. It's so desperate to feel profound that it forgets to be engaging or even remotely entertaining. What we're left with is a flimsy narrative propped up by random bouts of trauma porn, masquerading as something meaningful.
At a grueling 3 hours and 34 minutes, the movie feels like a test of endurance, daring you to care even for a second. I had to force myself to sit through it, enduring some of the most gratuitous and awkward sex scenes I've ever seen, alongside dialogue that clings to false profundity like a lifeline.
If it were based on a true story, there might have been at least some emotional anchor, but since it's entirely fictional, I'm left wondering what the point of it all is-other than obvious Oscar bait.
That said, there are two redeeming qualities: Alessandro Nivola's sensitive performance, and the solid cinematography.
It starts off promising enough, but it quickly spirals into a directionless mess. The film is overloaded with heavy themes, seemingly to compensate for its lack of coherent structure, yet it never digs deep into any of them. It's so desperate to feel profound that it forgets to be engaging or even remotely entertaining. What we're left with is a flimsy narrative propped up by random bouts of trauma porn, masquerading as something meaningful.
At a grueling 3 hours and 34 minutes, the movie feels like a test of endurance, daring you to care even for a second. I had to force myself to sit through it, enduring some of the most gratuitous and awkward sex scenes I've ever seen, alongside dialogue that clings to false profundity like a lifeline.
If it were based on a true story, there might have been at least some emotional anchor, but since it's entirely fictional, I'm left wondering what the point of it all is-other than obvious Oscar bait.
That said, there are two redeeming qualities: Alessandro Nivola's sensitive performance, and the solid cinematography.
Anora stands as one of the most authentic and incisive American films of the decade, a searing exploration of when oligarchy meets democracy.
At its heart is the exotic dancer Anora, powerfully portrayed by Mikey Madison, who embodies the fractured soul of contemporary America. She is a symbol of democratic ideals under siege, fighting not just for her own freedom but for the very principles that define a free society.
Anora's journey is a microcosm of America's broader struggle against the encroaching forces of oligarchy and authoritarianism. Her story mirrors the nation's own naive flirtation with these dangerous ideologies - a seduction that begins with the promise of renewal but ultimately ends in the erosion of freedom and justice if we don't fight back hard enough. She is a woman let down first by systemic failures, and then by wealthy people who treat her as a toy. But she refuses to be defeated and is determined to put on a fight as a free individual against some of the wealthiest people in the world.
The film's brilliance lies in its unflinching honesty. It refuses to shy away from both the most intimate and the most uncomfortable moments. Mikey Madison delivers a great performance, and the supporting cast is equally believable, each character serving as a convincing reflection of the various forces - both internal and external - that shape our world (not least American politics) today.
The cinematography captures the stark contrasts of modern America, from the crumbling edges of forgotten communities to the glittering facades of wealth, power and corruption.
Anora is a wake-up call. It challenges viewers to confront the uncomfortable realities of our time and to question the choices that have led us here. It is a testament to the resilience of the human spirit and a reminder that the fight for democracy is never truly over.
At its heart is the exotic dancer Anora, powerfully portrayed by Mikey Madison, who embodies the fractured soul of contemporary America. She is a symbol of democratic ideals under siege, fighting not just for her own freedom but for the very principles that define a free society.
Anora's journey is a microcosm of America's broader struggle against the encroaching forces of oligarchy and authoritarianism. Her story mirrors the nation's own naive flirtation with these dangerous ideologies - a seduction that begins with the promise of renewal but ultimately ends in the erosion of freedom and justice if we don't fight back hard enough. She is a woman let down first by systemic failures, and then by wealthy people who treat her as a toy. But she refuses to be defeated and is determined to put on a fight as a free individual against some of the wealthiest people in the world.
The film's brilliance lies in its unflinching honesty. It refuses to shy away from both the most intimate and the most uncomfortable moments. Mikey Madison delivers a great performance, and the supporting cast is equally believable, each character serving as a convincing reflection of the various forces - both internal and external - that shape our world (not least American politics) today.
The cinematography captures the stark contrasts of modern America, from the crumbling edges of forgotten communities to the glittering facades of wealth, power and corruption.
Anora is a wake-up call. It challenges viewers to confront the uncomfortable realities of our time and to question the choices that have led us here. It is a testament to the resilience of the human spirit and a reminder that the fight for democracy is never truly over.