Reviews written by registered user
|3 reviews in total|
About a quarter way into this movie, I was hooked, won over by the
cleverness of the script and its execution. The increasingly tense
story of a husband whose wife suddenly disappears is skilfully intercut
with scenes of the couple's relationship, from the first throes of
love, to the falterings that hint at something darker. The acting and
direction promised to deliver a polished thriller, with deeper social
commentary on the media and its corruption of the judicial process.
This looked like big-budget, star-laden Hollywood storytelling at its best, so well executed you could almost overlook the slightly ludicrous proposition that police would immediately launch a manhunt and press conference for what looked like a routine missing person report. This was clumsily explained with 'there has been a lot of crime lately', a lame plot contrivance among many that would increasingly litter the movie.
Gone Girl never lived up to its promise and quickly descended from smart thriller to predictable whodunit, with a twist, of course, because all clichéd whodunits have to have a twist. This movie, however, did the old twist on a twist, with another twist or two. I gave up counting, gave up on this complete inanity after it became more and more ridiculous, less and less believable, with a host of silly plot flaws that destroyed the suspense and degenerated to a laughable conclusion.
All of that money, all of those people who worked on this movie, and they couldn't put together a decent believable story? Kind of sums up the dysfunction of studio formula: all show no substance, all artifice no art. Just another star vehicle with a lame story.
So I'm giving it one star. Those who can suspend all disbelief and like slick-looking cliché may think me harsh, but flawed rubbish like this is a waste of millions that could have been spent so much better elsewhere. And someone has to counter all those fake 10/10 reviews and massive studio promotion budgets that pump up trite fluff like this.
What were they thinking making this piece of trash? Not only does the
juvenile humor fail dismally but it is just plain offensive. It's full
of sexist, racist, boner, fart jokes, pointless blood splatter and
profanity that these dimwits think is edgy and funny. On a laugh scale
of 1-10 it rates 0, with barely a few snickers along the way. This is
not a silly comedy, as George Clooney has said in defending its right
to oxygen, but a predictable offensive propaganda piece. The Interview
trots out every anti-North Korea cliché, and why would the makers think
it is acceptable to promote the assassination of a foreign leader, even
if it is Kim Jong-un? Would they think it funny to make a movie about,
say, a stalker who sets out to kill the arrogant, over-indulged,
unfunny Seth Rogan?
The filmmakers thought they were so powerful they could slight a whole country and get away with it, though I wouldn't be surprised if Sony Pictures hacked themselves as an excuse to pull the plug on this awful movie.
This is nominated for best picture? You got to be kidding me. Where are the sweeping themes, the original ideas, the unique contribution to cinema? This is just a remake of a spaghetti western/blaxploitation movie, with the same old funky soundtrack, the same old movie homages, plot tricks, blood splatter, etc. It was fresh and original in Pulp Fiction, but half a dozen movies later, it is becoming formula. But, wait, I forgot, this is a savage indictment of slavery. Hahahaha. This is movie nerd Tarantino stealing other directors' ideas and painting the world in ludicrously simplistic black-and-white, in Technicolor, so that the bad guys are so detestable you'll cheer graphic violence and mass murder. This time it was slavers, last time it was Nazis, what cliché bad guys will be next? Terrorists? Vampires? In a musical homage? How long can this juvenile director keep spinning the same old blood-spattered revenge theme in a genre remake? This is not cutting edge cinema, folks. Using the N-word does not make you a daring film genius. Now if Quentin spent his multi-million budgets on a movie about, say, a father whose daughter was gunned down in a mass shooting, and goes on a killing spree at the NRA headquarters or a Hollywood studio, I'd be just as disgusted but at least I'd call him original. Well, no, it would be just more twisted cliché, like all Tarantino movies these days.