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Message
re: TulaneLSU's 2023 movies review thread. Oct 26: Killers of the Flower Moon
Posted on 8/12/23 at 7:28 pm to Froman
Posted on 8/12/23 at 7:28 pm to Froman
Gran Turismo
It is rare when a movie’s credits are more entertaining than the movie itself and perhaps that is the only remarkable aspect of Grand Turismo. The director does his best to try to denude the audience of its emotions with predictably impassioned, overly dramatic music throughout but the movie is an utter disgrace. Not even attempts at tapping into age-old themes like the underdog beating the establishment, poverty triumphing over wealth, paternal satisfaction, or overcoming tragedy can cause the heart to flutter when there are such bad actors who have an equally bad script.
Beloved LSU basketball legend Ben Simmons makes his acting debut as the main character, a loser video game player living with his parents in the UK. He spends his days wasting his life on a video game console. At night, he does the same thing. He apparently has a relationship with his parents and brother, but none of these relationships is ever developed in any significant way. His parents are notably absent throughout his training and early racing career, and only reappear in a stultifying, anodyne scene at the end, replete with crocodile tears, awkward laughter, and the use of God’s name in vain.
Simmons efforts translate as well on the silver screen as his play on the hardwood. It is an immature performance lacking emotion and passion. His eyes banal, his affect flat, how on Earth did he land a leading role in a major production? David Harbour, with a U we assume because he wants to be British, may indeed be a Teetotaler in life, but his performance is equally execrable. He and Simmons share no chemistry. The casting was simply awful except for Ginger Spice, who gives us her best performance since 1997’s Spice Girls.
Racing movies usually have engrossing and compelling rivalries. I think particularly of Days of Thunder, Ford v Ferrari, and Rush. But there is no such rivalry here. There are superficial rivalries between the old guard and the “sims” as well as Simmons versus the pampered rich kid, Capa. These rivalries are as thick as a piece of sashimi at a cheap all-you-can-eat sushi buffet. The audience feels no particular animosity or hatred towards the establishment or the antagonist who is wholly undeveloped. What a waste.
The pace of this movie is frantic. We jump from video games to training to race after race after race to Le Mans. Each scene’s glibness underscores a production that tries to cram far too much into a two hour movie. The end result is action that lacks substance, meaning, and drama. No amount of engine noise and vibration, even on IMAX, or saccharine music will save it. 2/10
It is rare when a movie’s credits are more entertaining than the movie itself and perhaps that is the only remarkable aspect of Grand Turismo. The director does his best to try to denude the audience of its emotions with predictably impassioned, overly dramatic music throughout but the movie is an utter disgrace. Not even attempts at tapping into age-old themes like the underdog beating the establishment, poverty triumphing over wealth, paternal satisfaction, or overcoming tragedy can cause the heart to flutter when there are such bad actors who have an equally bad script.
Beloved LSU basketball legend Ben Simmons makes his acting debut as the main character, a loser video game player living with his parents in the UK. He spends his days wasting his life on a video game console. At night, he does the same thing. He apparently has a relationship with his parents and brother, but none of these relationships is ever developed in any significant way. His parents are notably absent throughout his training and early racing career, and only reappear in a stultifying, anodyne scene at the end, replete with crocodile tears, awkward laughter, and the use of God’s name in vain.
Simmons efforts translate as well on the silver screen as his play on the hardwood. It is an immature performance lacking emotion and passion. His eyes banal, his affect flat, how on Earth did he land a leading role in a major production? David Harbour, with a U we assume because he wants to be British, may indeed be a Teetotaler in life, but his performance is equally execrable. He and Simmons share no chemistry. The casting was simply awful except for Ginger Spice, who gives us her best performance since 1997’s Spice Girls.
Racing movies usually have engrossing and compelling rivalries. I think particularly of Days of Thunder, Ford v Ferrari, and Rush. But there is no such rivalry here. There are superficial rivalries between the old guard and the “sims” as well as Simmons versus the pampered rich kid, Capa. These rivalries are as thick as a piece of sashimi at a cheap all-you-can-eat sushi buffet. The audience feels no particular animosity or hatred towards the establishment or the antagonist who is wholly undeveloped. What a waste.
The pace of this movie is frantic. We jump from video games to training to race after race after race to Le Mans. Each scene’s glibness underscores a production that tries to cram far too much into a two hour movie. The end result is action that lacks substance, meaning, and drama. No amount of engine noise and vibration, even on IMAX, or saccharine music will save it. 2/10
This post was edited on 8/13/23 at 11:13 am
5
Posted on 8/12/23 at 7:34 pm to TulaneLSU
quote:
Beloved LSU basketball legend Ben Simmons
Posted on 8/12/23 at 10:29 pm to Hawgnsincebirth55
Friend,
While I am no longer an avid moviegoer, I look forward to my friend,TulaneLSU and his outakes on the broader culture. The beauty of his posts are that you can choose to read them, get a chuckle or simply move beyond the thread and address other issues on this board.
TulaneLSU 's reviews are informative.
He has a long history on this site on a variety of boards. I have warned my intrepid friend about some of the miscreants lurking throughout the various boards. But he has a mission....dare I say, calling.
While I am no longer an avid moviegoer, I look forward to my friend,TulaneLSU and his outakes on the broader culture. The beauty of his posts are that you can choose to read them, get a chuckle or simply move beyond the thread and address other issues on this board.
TulaneLSU 's reviews are informative.
He has a long history on this site on a variety of boards. I have warned my intrepid friend about some of the miscreants lurking throughout the various boards. But he has a mission....dare I say, calling.
Posted on 8/14/23 at 5:39 pm to TulaneLSU
The Last Voyage of the Demeter
Theological education and general theological social intelligence is hitting, let us hope, a nadir. The latest example comes from this oddly shaped movie that comes straight out of the 1990s. It is dark and moves like a ship caught in the doldrums of August. Like a predictable horror story, we start with a core of characters only to watch them picked off one by one. After the second punctured carotid, I was ready to find a crate in which to nap until the main character’s battle with Dracula.
In what is supposed to be the climatic scene, the main character makes his heroic, provocative speech to Dracula: “You want them to believe that you are a god. You and I both know that you're not. You bleed like any of us. You sleep in dirt. You feed. Above all else, you feed. You want us to fear you. Underneath you're afraid! You're afraid of what lies on the other side, as any other living thing.”
Has he, nor the film’s writers, not read the Gospels of the one, true God, Jesus Christ, who bled for us, who did in fact sleep, and who ate with us? One could even argue that this same Jesus shared in fear, for did he not also say, “Take this cup from me,” while in the Garden of Gethsemane?
Ignorance of theology aside, The Last Voyage is a disappointingly plodding, dawdling high seas bore lost in the umbra of night. The plot is embarrassing. The writers stole the basic idea from Stroker, but Stroker's most important description of the ship -- the hand tied to the ship's wheel -- is absent. Stroker is rolling in his grave that this script is loosely associated with him. The claret cruor that drips so slowly might appeal to fans of the gorefest, but the movie is a cinematic borefest. 3/10
Theological education and general theological social intelligence is hitting, let us hope, a nadir. The latest example comes from this oddly shaped movie that comes straight out of the 1990s. It is dark and moves like a ship caught in the doldrums of August. Like a predictable horror story, we start with a core of characters only to watch them picked off one by one. After the second punctured carotid, I was ready to find a crate in which to nap until the main character’s battle with Dracula.
In what is supposed to be the climatic scene, the main character makes his heroic, provocative speech to Dracula: “You want them to believe that you are a god. You and I both know that you're not. You bleed like any of us. You sleep in dirt. You feed. Above all else, you feed. You want us to fear you. Underneath you're afraid! You're afraid of what lies on the other side, as any other living thing.”
Has he, nor the film’s writers, not read the Gospels of the one, true God, Jesus Christ, who bled for us, who did in fact sleep, and who ate with us? One could even argue that this same Jesus shared in fear, for did he not also say, “Take this cup from me,” while in the Garden of Gethsemane?
Ignorance of theology aside, The Last Voyage is a disappointingly plodding, dawdling high seas bore lost in the umbra of night. The plot is embarrassing. The writers stole the basic idea from Stroker, but Stroker's most important description of the ship -- the hand tied to the ship's wheel -- is absent. Stroker is rolling in his grave that this script is loosely associated with him. The claret cruor that drips so slowly might appeal to fans of the gorefest, but the movie is a cinematic borefest. 3/10
This post was edited on 8/14/23 at 5:53 pm
Posted on 8/17/23 at 12:40 pm to TulaneLSU
Talk to Me
The previews during horror movies are often scarier than the movie itself. Earlier this week, I found myself, anything but an eremite, completely alone in the theater. The preview for the new Exorcist movie began playing and by the time the child walked into the church service saying, “The body and the blood,” I could hardly stand it. I screamed in that great cavernous room. There was no echo. I ran out, sweating and panting, and found one of the AMC workers.
“Could you please turn on the cleaning lights for my movie? It is so dark in there and I am alone.”
She laughed a little, but agreed to turn them on. She also said, “But if anyone else shows up, I will have to turn them off.”
“That would be fine. It is just that all alone in the dark is a very scary place to be.”
In the Gospel of Matthew, Jesus talks about to scotos to exoteron, “the outer darkness,” in three of his parables. The first is Matthew 8 where he heals the centurion’s lame servant. The Gentile's great faith and humility are contrasted with those who inherited the promise. Jesus lauds the centurion while warning his tribe that they may tossed into the outer darkness. In Matthew 22, Jesus tells another parable, this one about the wedding banquet where one misguided man failed to dress appropriately. Because the man took no care to prepare for the wedding and dress for it, the host tosses the misarrayed man into the outer darkness. And finally, in Matthew 25, we read Jesus’s parable of the talents. A master gives three servants bags of gold. The one who received five put the gold to work and returned ten bags. The servant given two bags returned four bags. But the lazy servant, out of fear of losing his master’s gold, dug a hole and put it there. When he returned the one bag to his master, his master was enraged that he had been lazy and done nothing with his talent. Jesus again says that such a person, driven by fear, will be tossed, like the misdressed and those who lack the faith of the centurion, into the outer darkness. Notice that in each of the parables there are two groups, those inside and those outside. Gospel contains both judgment and grace.
Ultimately, Talk to Me is a movie about the consequences of sin, which lead to the outer darkness. The denoument, when the corridors of the hospital close and darkness envelopes all, and she is all alone with nothing, not even a flicker of light, this is the outer darkness. The movie is not a fun or hopeful or edifying horror movie – it is a jeremiad about the dangers of reaching out one’s hand to the underworld, the occult, and asking it to speak to us. Ouija boarders, palm readers, astrologists, false prophets who preach wealth and war and security, and those seeking communion with the dead, take heed. The outer darkness awaits you.
But for those who reach out and ask God to talk to us, the same God of life, who defeated death in the Resurrection of our Lord, the light of true life awaits. Communion and communication and relationship with the God who fashioned the cosmos await us. Let us together say to this God, “Talk to me!” God’s hand is always open to us. God shall warmly embrace us, just as the faithful centurion, the invited wedding guests, and the servants who used their talents to build God’s kingdom.
Unlike the parables, though, there is no mercy in this movie. There are no exemplars and thus, it serves only as a lamentation. It gives us the judgment, like the world, but fails to share with us the good news. 4/10
The previews during horror movies are often scarier than the movie itself. Earlier this week, I found myself, anything but an eremite, completely alone in the theater. The preview for the new Exorcist movie began playing and by the time the child walked into the church service saying, “The body and the blood,” I could hardly stand it. I screamed in that great cavernous room. There was no echo. I ran out, sweating and panting, and found one of the AMC workers.
“Could you please turn on the cleaning lights for my movie? It is so dark in there and I am alone.”
She laughed a little, but agreed to turn them on. She also said, “But if anyone else shows up, I will have to turn them off.”
“That would be fine. It is just that all alone in the dark is a very scary place to be.”
In the Gospel of Matthew, Jesus talks about to scotos to exoteron, “the outer darkness,” in three of his parables. The first is Matthew 8 where he heals the centurion’s lame servant. The Gentile's great faith and humility are contrasted with those who inherited the promise. Jesus lauds the centurion while warning his tribe that they may tossed into the outer darkness. In Matthew 22, Jesus tells another parable, this one about the wedding banquet where one misguided man failed to dress appropriately. Because the man took no care to prepare for the wedding and dress for it, the host tosses the misarrayed man into the outer darkness. And finally, in Matthew 25, we read Jesus’s parable of the talents. A master gives three servants bags of gold. The one who received five put the gold to work and returned ten bags. The servant given two bags returned four bags. But the lazy servant, out of fear of losing his master’s gold, dug a hole and put it there. When he returned the one bag to his master, his master was enraged that he had been lazy and done nothing with his talent. Jesus again says that such a person, driven by fear, will be tossed, like the misdressed and those who lack the faith of the centurion, into the outer darkness. Notice that in each of the parables there are two groups, those inside and those outside. Gospel contains both judgment and grace.
Ultimately, Talk to Me is a movie about the consequences of sin, which lead to the outer darkness. The denoument, when the corridors of the hospital close and darkness envelopes all, and she is all alone with nothing, not even a flicker of light, this is the outer darkness. The movie is not a fun or hopeful or edifying horror movie – it is a jeremiad about the dangers of reaching out one’s hand to the underworld, the occult, and asking it to speak to us. Ouija boarders, palm readers, astrologists, false prophets who preach wealth and war and security, and those seeking communion with the dead, take heed. The outer darkness awaits you.
But for those who reach out and ask God to talk to us, the same God of life, who defeated death in the Resurrection of our Lord, the light of true life awaits. Communion and communication and relationship with the God who fashioned the cosmos await us. Let us together say to this God, “Talk to me!” God’s hand is always open to us. God shall warmly embrace us, just as the faithful centurion, the invited wedding guests, and the servants who used their talents to build God’s kingdom.
Unlike the parables, though, there is no mercy in this movie. There are no exemplars and thus, it serves only as a lamentation. It gives us the judgment, like the world, but fails to share with us the good news. 4/10
This post was edited on 8/17/23 at 12:53 pm
Posted on 8/18/23 at 3:34 am to TulaneLSU
Jules
The last movie in which I fell asleep in the theater was Winnie the Pooh back in 2011. That was until last night with Jules. I had debated seeing the new blue bug comic movie on its opening, but because I do not like comic book movies, which are for nerds, I made the mistake to go to what I thought was an arthouse movie. Marc Turtletaub should never direct another movie as punishment for making this outhouse movie.
Ostensibly, the film is supposed to be a treatise on the loneliness and forgotteness of 70 and 80 year olds in America. Such a theme could make for a good movie, but Jules is not it. Its opening, which shows a concerned citizen at a small town hall meeting suggesting a more precise motto for the town and the need for a new crosswalk, was homey and interesting.
And then a blue Asian alien shows up and everything goes wrong. Sloppy writing, uninspired acting, and incoherence follow that opening scene. The majority of the movie shows a man grocery shopping for apples, sitting with an alien that does not talk but can blow off the head of a random criminal, and a search for seven dead cats which convert into a ruby to fuel the space ship. There is never a Eureka moment when all the nonsense is weaved together. Instead, these randoms threads fray and stay in a mess until the very end.
This director has no vision and he and each of the three main characters should each be evaluated for dementia for taking part in this abomination and utter waste. Ben Kingsley’s career is officially over. 1/10
The last movie in which I fell asleep in the theater was Winnie the Pooh back in 2011. That was until last night with Jules. I had debated seeing the new blue bug comic movie on its opening, but because I do not like comic book movies, which are for nerds, I made the mistake to go to what I thought was an arthouse movie. Marc Turtletaub should never direct another movie as punishment for making this outhouse movie.
Ostensibly, the film is supposed to be a treatise on the loneliness and forgotteness of 70 and 80 year olds in America. Such a theme could make for a good movie, but Jules is not it. Its opening, which shows a concerned citizen at a small town hall meeting suggesting a more precise motto for the town and the need for a new crosswalk, was homey and interesting.
And then a blue Asian alien shows up and everything goes wrong. Sloppy writing, uninspired acting, and incoherence follow that opening scene. The majority of the movie shows a man grocery shopping for apples, sitting with an alien that does not talk but can blow off the head of a random criminal, and a search for seven dead cats which convert into a ruby to fuel the space ship. There is never a Eureka moment when all the nonsense is weaved together. Instead, these randoms threads fray and stay in a mess until the very end.
This director has no vision and he and each of the three main characters should each be evaluated for dementia for taking part in this abomination and utter waste. Ben Kingsley’s career is officially over. 1/10
This post was edited on 8/21/23 at 10:00 am
Posted on 8/21/23 at 9:54 am to TulaneLSU
Oppenheimer
The culture of death that pervades America today began on August 8, 1945 with the government sanctioned murder of an entire city’s civilians. Whether or not the oft used justification for this war crime saved more lives than it took in 1945 or 1946 misses the point that the consequences of such a brutal decision have molded the American mind in such a way to nurture a culture that devalues life, and ultimately, over the long run, has cost many more lives than would have an invasion.
Before watching this film, it is imperative that one learn about all of the characters depicted. The film has 65 important characters based on real people. If one does not know the history, the film will be for that viewer little more than loud noise and explosions and a trite, fake scene with Albert Einstein. One may as well watch a mindless movie like Mission Impossible if he is not willing to put in the time and energy to know the characters before the film. I commend to you Brighter than a Thousand Suns by Robert Jungk, which is approachable and more captivating than the movie.
Oppenheimer is really three movies rolled into one. It is first and foremost a witless whodunit mystery and apology for Oppenheimer, painting him a victim of Lewis Strauss’s clandestine conspiracy to discredit and humiliate Oppenheimer, who publicly opposed Strauss’s and Edward Teller’s (Mother called him “the ogre with the big eyebrows”) hydrogen bomb project. It is second a history of the creation of the atomic bomb. And it is third a rather poorly made biopic with several apocryphal stories and an only superficial evaluation of the man’s spirit.
The movie is at its best when it details the building of Los Alamos and the bomb itself. This movie’s climax comes in that 40 seconds of silence between the blast’s fire at Trinity (such blasphemy and mockery to use Christianity’s God as the site of an anti-Christian experiment) and the air blast. During that silence the scientists, and some in the audience, experience the naive awe and pride in what they have created. And then suddenly a great, destructive wind hits them square in the face, ushering a new age, awakening some to their absolute foolishness. I am reminded of Hans Bethe, who is played quite well by Gustaf Skarsgard, who asked if the scientists asked moral and ethical questions when building the bomb. He responded, “I am unhappy to admit that, during the war at least, I did not pay much attention to this. We had a job to do and a very hard one.” Those scientists, so profoundly intelligent in part of their brain, were remarkably stupid and absolutely artless in others.
The piercingly and painfully loud gymnasium scene is another memorable scene revealing mob mentality. Charismatic Oppenheimer plays to the blood-thirsty, enthused crowd the night of the bomb’s denotation. It truly is a horrific display of humanity, and Nolan captures it nearly flawlessly. It brought to mind certain forums on this website, where users play to the baseness of humanity to garner popularity and acceptance. How easy it is, if one has no conscience or scruples, to become popular and liked. Sex and hatred are magnets in a fallen world.
Ultimately, though, Oppenhemier is a treatise on the depravity and sin of humankind. The culmination of centuries of physics and mathematics is a world destroying bomb. The great irony of us is that we were created for good and given so many talents for the good, yet we find a way to deface, distort and disfigure our talents. God entrusts us with five bags of gold and leaves for a while. When he returns, we give him ten bags filled with serpents. If Oppenheimer had stuck primarily to this theme rather than forming the film around a Straussian campaign, the film would be great, in the nine to ten range. But Nolan Ryan instead wants to defend Oppenheimer and make him a tragic hero. In doing so, the movie is only decent to good. 7/10
The culture of death that pervades America today began on August 8, 1945 with the government sanctioned murder of an entire city’s civilians. Whether or not the oft used justification for this war crime saved more lives than it took in 1945 or 1946 misses the point that the consequences of such a brutal decision have molded the American mind in such a way to nurture a culture that devalues life, and ultimately, over the long run, has cost many more lives than would have an invasion.
Before watching this film, it is imperative that one learn about all of the characters depicted. The film has 65 important characters based on real people. If one does not know the history, the film will be for that viewer little more than loud noise and explosions and a trite, fake scene with Albert Einstein. One may as well watch a mindless movie like Mission Impossible if he is not willing to put in the time and energy to know the characters before the film. I commend to you Brighter than a Thousand Suns by Robert Jungk, which is approachable and more captivating than the movie.
Oppenheimer is really three movies rolled into one. It is first and foremost a witless whodunit mystery and apology for Oppenheimer, painting him a victim of Lewis Strauss’s clandestine conspiracy to discredit and humiliate Oppenheimer, who publicly opposed Strauss’s and Edward Teller’s (Mother called him “the ogre with the big eyebrows”) hydrogen bomb project. It is second a history of the creation of the atomic bomb. And it is third a rather poorly made biopic with several apocryphal stories and an only superficial evaluation of the man’s spirit.
The movie is at its best when it details the building of Los Alamos and the bomb itself. This movie’s climax comes in that 40 seconds of silence between the blast’s fire at Trinity (such blasphemy and mockery to use Christianity’s God as the site of an anti-Christian experiment) and the air blast. During that silence the scientists, and some in the audience, experience the naive awe and pride in what they have created. And then suddenly a great, destructive wind hits them square in the face, ushering a new age, awakening some to their absolute foolishness. I am reminded of Hans Bethe, who is played quite well by Gustaf Skarsgard, who asked if the scientists asked moral and ethical questions when building the bomb. He responded, “I am unhappy to admit that, during the war at least, I did not pay much attention to this. We had a job to do and a very hard one.” Those scientists, so profoundly intelligent in part of their brain, were remarkably stupid and absolutely artless in others.
The piercingly and painfully loud gymnasium scene is another memorable scene revealing mob mentality. Charismatic Oppenheimer plays to the blood-thirsty, enthused crowd the night of the bomb’s denotation. It truly is a horrific display of humanity, and Nolan captures it nearly flawlessly. It brought to mind certain forums on this website, where users play to the baseness of humanity to garner popularity and acceptance. How easy it is, if one has no conscience or scruples, to become popular and liked. Sex and hatred are magnets in a fallen world.
Ultimately, though, Oppenhemier is a treatise on the depravity and sin of humankind. The culmination of centuries of physics and mathematics is a world destroying bomb. The great irony of us is that we were created for good and given so many talents for the good, yet we find a way to deface, distort and disfigure our talents. God entrusts us with five bags of gold and leaves for a while. When he returns, we give him ten bags filled with serpents. If Oppenheimer had stuck primarily to this theme rather than forming the film around a Straussian campaign, the film would be great, in the nine to ten range. But Nolan Ryan instead wants to defend Oppenheimer and make him a tragic hero. In doing so, the movie is only decent to good. 7/10
This post was edited on 8/21/23 at 10:02 am
Posted on 8/21/23 at 4:19 pm to TulaneLSU
quote:
who asked if the scientists asked moral and ethical questions when building the bomb. He responded, “I am unhappy to admit that, during the war at least, I did not pay much attention to this. We had a job to do and a very hard one.” Those scientists, so profoundly intelligent in part of their brain, were remarkably stupid and absolutely artless in others.
Yeah...they're scientists. Their job was not to wax poetic.
Did you want Robert Frost to build the bomb?
This post was edited on 8/21/23 at 4:20 pm
Posted on 8/22/23 at 11:06 pm to TulaneLSU
Meg 2
The main character in this film reminds me of a modern day Bruce Willis -- bald, short, very limited acting talent, and cast in action movie after another. Audiences must enjoy his performances. Meg 2 is a summer fun movie. It is not serious and I did not consider analyzing it beyond what it deserves. It has exciting scenes of terror, especially in the beginning. The beach scenes at Fun Beach are more comical than scary. The crowds of extras there are comically uninterested in performing as if there is a camera rolling. Their lackadaisical movements could have been edited, but the producer and editor clearly did not care about the details in this movie.
The movie's drive is showing big sharks, an octopus, and alligator-raptor amphibious creatures which were more terrifying in the second half of the movie than the sharks. They try to write into the plot some plots like illegal drilling for crystals, a capitalist betrayal of a scientific endeavor, and a billionaire trainer's relationship with one of the baby sharks, which is 100 feet long. But these stories are really hollow and do not go anywhere.
But it is good summer movie fun. Not too scary that you will void your pants, but scary enough that it will make you jump a little. 4/10
The main character in this film reminds me of a modern day Bruce Willis -- bald, short, very limited acting talent, and cast in action movie after another. Audiences must enjoy his performances. Meg 2 is a summer fun movie. It is not serious and I did not consider analyzing it beyond what it deserves. It has exciting scenes of terror, especially in the beginning. The beach scenes at Fun Beach are more comical than scary. The crowds of extras there are comically uninterested in performing as if there is a camera rolling. Their lackadaisical movements could have been edited, but the producer and editor clearly did not care about the details in this movie.
The movie's drive is showing big sharks, an octopus, and alligator-raptor amphibious creatures which were more terrifying in the second half of the movie than the sharks. They try to write into the plot some plots like illegal drilling for crystals, a capitalist betrayal of a scientific endeavor, and a billionaire trainer's relationship with one of the baby sharks, which is 100 feet long. But these stories are really hollow and do not go anywhere.
But it is good summer movie fun. Not too scary that you will void your pants, but scary enough that it will make you jump a little. 4/10
This post was edited on 8/24/23 at 7:11 am
Posted on 8/23/23 at 11:26 am to Hawgnsincebirth55
quote:Why would someone want a poster to post movie reviews on the OT?
you need to keep it on the OT
quote:2005 was a much better time to be at your peak than 2023 could be. Hell, you can't get everything you need from the grocery store in 2023.
whose best years of life were in 2005.
Posted on 8/24/23 at 7:10 am to TulaneLSU
Teenage Mutant Ninja Turtles: Mutant Mayhem
Seth Rogen is not even six feet tall, yet he has the audacity to make an appearance on the screen before this film starts and thank the audience for allowing him to make movies like this one. I did not mind when Tom Cruise did it because Cruise has actually done something to bring people back to the theaters, as has his ex-wife, Nicole, whose AMC intro through the puddles and up the stairs with her beautiful, artful monologue about why we need to be together for movies, brings me to the verge of tears every time. Rogen, on the other hand, has spent his career making crass, vulgarity-filled, pro-drug films that encourage social isolation and degradation. He is lower than sewer scum in my book, at the same level of depilated dunce Trent Dilfer, both as plain as pikestaff, and his appearance immediately put me in a sour mood.
TMNTMM is, like its writer, bad. The turtles are puny, lacking the muscular bulk that made kids in the 90s want to be them. Michelangelo, for example, looks like he has not hit puberty yet and Raphael looks like an addict of methamphetamine. The look of the film in general is juvenile and dark. I assume the darkness of the movie is to hide the poor quality of the graphics. I made the mistake of seeing it in 3D, which added nothing to the film. Halfway through I tossed the glasses and found no difference other than every minute or two there would be a small portion of the screen that was blurry.
The writing is awful. It is no surprise that the writer is an over-the-hill drug addict. The overall writing is dreadful and when it inserts contemporary slang like rizz it is nothing other than cringeworthy. There is no Shredder, no cortical Crain, and the ultimate battle of the mutants includes Bebop and Rocksteady joining forces with the turtles to defeat a larger mutant, all of which are unfaithful to the franchise.
The only part of the movie I enjoyed was when they ate pizza in the sewer and when the horse fell off the giant mutant’s leg. Other than that, this is a poorly written, ill-favored attempt at relevance for aging, talentless losers who made it in Hollywood because of their willingness to debase themselves. 1/10
Seth Rogen is not even six feet tall, yet he has the audacity to make an appearance on the screen before this film starts and thank the audience for allowing him to make movies like this one. I did not mind when Tom Cruise did it because Cruise has actually done something to bring people back to the theaters, as has his ex-wife, Nicole, whose AMC intro through the puddles and up the stairs with her beautiful, artful monologue about why we need to be together for movies, brings me to the verge of tears every time. Rogen, on the other hand, has spent his career making crass, vulgarity-filled, pro-drug films that encourage social isolation and degradation. He is lower than sewer scum in my book, at the same level of depilated dunce Trent Dilfer, both as plain as pikestaff, and his appearance immediately put me in a sour mood.
TMNTMM is, like its writer, bad. The turtles are puny, lacking the muscular bulk that made kids in the 90s want to be them. Michelangelo, for example, looks like he has not hit puberty yet and Raphael looks like an addict of methamphetamine. The look of the film in general is juvenile and dark. I assume the darkness of the movie is to hide the poor quality of the graphics. I made the mistake of seeing it in 3D, which added nothing to the film. Halfway through I tossed the glasses and found no difference other than every minute or two there would be a small portion of the screen that was blurry.
The writing is awful. It is no surprise that the writer is an over-the-hill drug addict. The overall writing is dreadful and when it inserts contemporary slang like rizz it is nothing other than cringeworthy. There is no Shredder, no cortical Crain, and the ultimate battle of the mutants includes Bebop and Rocksteady joining forces with the turtles to defeat a larger mutant, all of which are unfaithful to the franchise.
The only part of the movie I enjoyed was when they ate pizza in the sewer and when the horse fell off the giant mutant’s leg. Other than that, this is a poorly written, ill-favored attempt at relevance for aging, talentless losers who made it in Hollywood because of their willingness to debase themselves. 1/10
This post was edited on 8/24/23 at 7:22 am
Posted on 8/24/23 at 8:11 am to TulaneLSU
I haven’t seen TNMTMM yet, my kids have. When I saw the trailer it looked like they were going to be young teens vs the older teens we’ve gotten before (the Bay turtles acted older, even, if I remember correctly).
Granted I haven’t seen it yet, but it no cap did set within me an expectation of young teen slang and behavior which I have as of late been exposed to, fr.
Granted I haven’t seen it yet, but it no cap did set within me an expectation of young teen slang and behavior which I have as of late been exposed to, fr.
Posted on 8/24/23 at 9:07 am to TulaneLSU
quote:
Teenage Mutant Ninja Turtles: Mutant Mayhem
Seth Rogen is not even six feet tall, yet he has the audacity to make an appearance on the screen before this film starts and thank the audience for allowing him to make movies like this one. I did not mind when Tom Cruise did it because Cruise has actually done something to bring people back to the theaters, as has his ex-wife, Nicole, whose AMC intro through the puddles and up the stairs with her beautiful, artful monologue about why we need to be together for movies, brings me to the verge of tears every time. Rogen, on the other hand, has spent his career making crass, vulgarity-filled, pro-drug films that encourage social isolation and degradation. He is lower than sewer scum in my book, at the same level of depilated dunce Trent Dilfer, both as plain as pikestaff, and his appearance immediately put me in a sour mood.
TMNTMM is, like its writer, bad. The turtles are puny, lacking the muscular bulk that made kids in the 90s want to be them. Michelangelo, for example, looks like he has not hit puberty yet and Raphael looks like an addict of methamphetamine. The look of the film in general is juvenile and dark. I assume the darkness of the movie is to hide the poor quality of the graphics. I made the mistake of seeing it in 3D, which added nothing to the film. Halfway through I tossed the glasses and found no difference other than every minute or two there would be a small portion of the screen that was blurry.
The writing is awful. It is no surprise that the writer is an over-the-hill drug addict. The overall writing is dreadful and when it inserts contemporary slang like rizz it is nothing other than cringeworthy. There is no Shredder, no cortical Crain, and the ultimate battle of the mutants includes Bebop and Rocksteady joining forces with the turtles to defeat a larger mutant, all of which are unfaithful to the franchise.
The only part of the movie I enjoyed was when they ate pizza in the sewer and when the horse fell off the giant mutant’s leg. Other than that, this is a poorly written, ill-favored attempt at relevance for aging, talentless losers who made it in Hollywood because of their willingness to debase themselves. 1/10
Ouch... that's a biting review... I'll watch it when it hits Plex, but I won't hesitate to turn it off if it is as bad as you say.
Posted on 8/24/23 at 5:49 pm to TulaneLSU
Strays
The first words I heard when watching previews before this movie were, “My **** is ******* massive.” I should have, before this movie even began, walked out of the theater immediately. I did not because I am willing to subject myself to walking in mire if it would benefit or protect even one poster on the Arts Board.
Strays is one of those movies that makes you wonder if America’s dissolution is imminent. The script from Dan Perrault is ineffectual and inept, perhaps the worst script ever to be produced by a major studio. It is as though an untalented thirteen year old struggling through puberty, confused by male and female and animal genitalia, with thoughts of beastiality, and fascinated with defecating and urinating on others, found a willing taker for the worst script in Hollywood history with producer Josh Greenbaum, who should never touch another film again.
The architects behind this squalor attempt to package all the degeneracy with a pretty bow of a profligate dog, Will Farfell's voice, self-realizing that he is a victim of Stockholm Syndrome. He is taught the ways of the street by the rakehell, played by Jamie Fox's voice, who prefers couches to dogs. Their relationship is that of Satan and the fallen. The sophomoric sentimentality is directed at whom exactly? No self-respecting movie-goer, other than the sacrificial lamb, would sit through this drug-fueled, sex-deranged, potty-mouth rubbish. Strays is the worst movie I have ever seen in a theater. And it is not close. Movies with one point are, mathematically and realistically, infinitely better. I have never before given a movie a negative rating, so congratulations, Strays. (Other movies receiving 0 points include Jack Black's Gulliver's Travels, Love, Wedding, Marriage, Smurfs 3D, Twilight: Breaking Dawn, and Winnie the Pooh). If you enjoy this movie, even a little, it is time to inspect and evaluate your life and where it went wrong. -1/10
The first words I heard when watching previews before this movie were, “My **** is ******* massive.” I should have, before this movie even began, walked out of the theater immediately. I did not because I am willing to subject myself to walking in mire if it would benefit or protect even one poster on the Arts Board.
Strays is one of those movies that makes you wonder if America’s dissolution is imminent. The script from Dan Perrault is ineffectual and inept, perhaps the worst script ever to be produced by a major studio. It is as though an untalented thirteen year old struggling through puberty, confused by male and female and animal genitalia, with thoughts of beastiality, and fascinated with defecating and urinating on others, found a willing taker for the worst script in Hollywood history with producer Josh Greenbaum, who should never touch another film again.
The architects behind this squalor attempt to package all the degeneracy with a pretty bow of a profligate dog, Will Farfell's voice, self-realizing that he is a victim of Stockholm Syndrome. He is taught the ways of the street by the rakehell, played by Jamie Fox's voice, who prefers couches to dogs. Their relationship is that of Satan and the fallen. The sophomoric sentimentality is directed at whom exactly? No self-respecting movie-goer, other than the sacrificial lamb, would sit through this drug-fueled, sex-deranged, potty-mouth rubbish. Strays is the worst movie I have ever seen in a theater. And it is not close. Movies with one point are, mathematically and realistically, infinitely better. I have never before given a movie a negative rating, so congratulations, Strays. (Other movies receiving 0 points include Jack Black's Gulliver's Travels, Love, Wedding, Marriage, Smurfs 3D, Twilight: Breaking Dawn, and Winnie the Pooh). If you enjoy this movie, even a little, it is time to inspect and evaluate your life and where it went wrong. -1/10
This post was edited on 8/24/23 at 6:00 pm
Posted on 8/24/23 at 9:53 pm to TulaneLSU
quote:
Strays is the worst movie I have ever seen in a theater
The commercial showed me that this would be true. Can’t imagine sitting though that dumb shite.
Posted on 8/25/23 at 3:54 am to TulaneLSU
quote:
TulaneLSU
Looking forward to your review of Landscape with Invisible Hand.
Posted on 8/25/23 at 1:03 pm to TulaneLSU
Golda
How will Jewish Americans and Muslim Americans interact in the coming generation? This is one of those questions of which I am to see the outcome, as second generation Muslim Americans compete for professional jobs with other more established groups including Jewish Americans. Will ancient rivalries continue or will the patriotism of this land smooth those historic hostilities?
Golda is a dramatic retelling of the relatively recent Yom Kippur War of 1973 when Egypt attacked from the west and Syria attacked from the north the newly formed country of Israel. I knew very little about the short 19 day conflict that the movie portrays as a part of the Cold War.
The film is unlike many other war movies, which nowadays think a three hour run time is a minimum requirement for gravitas. Its 90 minute run time is a breath of fresh air, just enough time to introduce us to the important elements. The subtitles at times, however, run off the screen far too quickly and I noted two spelling errors in the subtitles. How does that happen? Overall, the film is a good synopsis of that war, told from the Israeli point of view. I think it would be quite fascinating to see the same movie told from the perspective of the Egyptians. The Syrians in the movie are hardly mentioned.
The movie is by no means a great movie, and Helen Mirren’s portrayal, solid and acceptable as is her ceiling, does not have the makings of an award performance. Liev Schreiber does an admirable job with Henry Kissinger’s role, short as it is.
Not only is the film a reasonable length, it also spares us of the gore and blood of battle scenes that seem today to be the focus of so many war films. Screams and desperate pleas for help replace visible blood and firefights. While many viewers who are addicted to visual depictions of merciless violence will find it a drawback, I for one enjoyed not watching someone die violently in a war movie. Say no to drugs, and that includes tobacco. 6/10
How will Jewish Americans and Muslim Americans interact in the coming generation? This is one of those questions of which I am to see the outcome, as second generation Muslim Americans compete for professional jobs with other more established groups including Jewish Americans. Will ancient rivalries continue or will the patriotism of this land smooth those historic hostilities?
Golda is a dramatic retelling of the relatively recent Yom Kippur War of 1973 when Egypt attacked from the west and Syria attacked from the north the newly formed country of Israel. I knew very little about the short 19 day conflict that the movie portrays as a part of the Cold War.
The film is unlike many other war movies, which nowadays think a three hour run time is a minimum requirement for gravitas. Its 90 minute run time is a breath of fresh air, just enough time to introduce us to the important elements. The subtitles at times, however, run off the screen far too quickly and I noted two spelling errors in the subtitles. How does that happen? Overall, the film is a good synopsis of that war, told from the Israeli point of view. I think it would be quite fascinating to see the same movie told from the perspective of the Egyptians. The Syrians in the movie are hardly mentioned.
The movie is by no means a great movie, and Helen Mirren’s portrayal, solid and acceptable as is her ceiling, does not have the makings of an award performance. Liev Schreiber does an admirable job with Henry Kissinger’s role, short as it is.
Not only is the film a reasonable length, it also spares us of the gore and blood of battle scenes that seem today to be the focus of so many war films. Screams and desperate pleas for help replace visible blood and firefights. While many viewers who are addicted to visual depictions of merciless violence will find it a drawback, I for one enjoyed not watching someone die violently in a war movie. Say no to drugs, and that includes tobacco. 6/10
This post was edited on 8/25/23 at 1:13 pm
Posted on 9/12/23 at 10:39 am to TulaneLSU
My Big Fat Greek Wedding 3
Mother saved in her memory box an essay I wrote in fifth grade on Dwight Eisenhower. The teacher required that it was two pages long, hand-written, and had at least three sources in the bibliography that were not an encyclopedia. It was apparent after reading that essay recently that I either waited until the last minute to finish the task or I was reticent and fearful of writing anything substantial or controversial or insightful. My lines contained between two and five words each, the spacing of each filling more space than the words. How my teacher did not make me rewrite a two page paper that had 125 words total is inexplicable and she deserved a demerit for allowing shirking.
The third installment of My Big Fat Greek Wedding is a bit like that paper. Despite having a run time of just 90 minutes, the talentless actress/director, Nia Vardalos, whose only recognizable work is this series, is desperately trying with all her might to fill those 90 minutes. We see filler again and again, the same scenes replayed, like a ferry floating across the screen or an banner advertising a reunion party no less than four times each. The film likewise floats away with disjointed and inane scenes, such as the nude beach scene, which add nothing to the story.
There was a man in the theater, I can only presume he was either Greek and connected deeply to this shallow film or is the world's biggest MBFGW fan, who laughed at every single scene, even when there was not a sliver of comic value, intended or implied. I found his laughter to be far more entertaining than this film filled with actors whose most impressive role was in the 90s show, "Northern Exposure." John Corbett sleepwalks through the entire film with a smile that says, "She paid me $2 million to show up to Greece and film some scenes. I'm in."
This film is entirely lacking. There is no wedding (wait, there is -- between two characters we never get to know). There is no joy. There is no heart. There is no connection to a single character. At least the original could say it had all these things. 3 is simply a money grab that is not good enough to be called made-for-TV quality. Oops. 1/10
Mother saved in her memory box an essay I wrote in fifth grade on Dwight Eisenhower. The teacher required that it was two pages long, hand-written, and had at least three sources in the bibliography that were not an encyclopedia. It was apparent after reading that essay recently that I either waited until the last minute to finish the task or I was reticent and fearful of writing anything substantial or controversial or insightful. My lines contained between two and five words each, the spacing of each filling more space than the words. How my teacher did not make me rewrite a two page paper that had 125 words total is inexplicable and she deserved a demerit for allowing shirking.
The third installment of My Big Fat Greek Wedding is a bit like that paper. Despite having a run time of just 90 minutes, the talentless actress/director, Nia Vardalos, whose only recognizable work is this series, is desperately trying with all her might to fill those 90 minutes. We see filler again and again, the same scenes replayed, like a ferry floating across the screen or an banner advertising a reunion party no less than four times each. The film likewise floats away with disjointed and inane scenes, such as the nude beach scene, which add nothing to the story.
There was a man in the theater, I can only presume he was either Greek and connected deeply to this shallow film or is the world's biggest MBFGW fan, who laughed at every single scene, even when there was not a sliver of comic value, intended or implied. I found his laughter to be far more entertaining than this film filled with actors whose most impressive role was in the 90s show, "Northern Exposure." John Corbett sleepwalks through the entire film with a smile that says, "She paid me $2 million to show up to Greece and film some scenes. I'm in."
This film is entirely lacking. There is no wedding (wait, there is -- between two characters we never get to know). There is no joy. There is no heart. There is no connection to a single character. At least the original could say it had all these things. 3 is simply a money grab that is not good enough to be called made-for-TV quality. Oops. 1/10
This post was edited on 9/12/23 at 11:08 am
Posted on 9/13/23 at 10:31 pm to TulaneLSU
Dumb Money
I like the movie. Four years ago this week a poster on Wall Street Bets, DFV, aka Roaring Kitty, posted his first analysis on Gamestop (GME). The company was at the time a fledgling retailer against which large hedge funds had bet. Wall Street saw it as another Sears and Kmart. Initially mocked by the nerds on WSB, Roaring Kitty started a tidal wave, a movement.
The wave arrived on TD’s Money Board in December of 2020 when oklahogjr posted about it. He caught just a little flack until the Money Board genius, Upperdecker, our brother in Christ, wrote out a detailed analysis on why he liked the stock. The Money Board was never the same. The frenzy was on in January of ‘21 when the stonk went to the moon. Diamond hands were HODLing; tendies were aplenty; apes together strong; YOLO.
It was an exciting time to be a retail, to be a part of the dumb money. I remember not checking my day trading account for a few days and then logging in to see that it had increased by more than 60K in one week. The raging fire of meme stocks spread to companies like AMC (I love AMC and am a proud A-List member and recommend you become one because sitting at home for movies is a barbaric thing to do. Movies are made to be watched together in a theater.), Nokia, Blackberry (which provided profits for me I sent to a church needing an entire overhaul of their century-old organ), and BBB. Even Dillards, of which I have a long position and is growing strong today, became a meme stock.
Dumb Money is a brilliant retelling of this rollercoaster two or three months that was just 2.5 years ago. Its pace is fast. Its acting is solid. Its writing is crisp, though at times as vulgar as WSB. It might not be as good as The Social Network, but it is in the ballpark. It is hard not to think of TSN when watching this because they tell similar David versus Goliath tech stories that shaped our world, and they are written before the lens of history has time to inspect. That instant movie telling makes for a fascinating story, although its accuracy over the long term is in question.
The film captures the mood of America in that first Covid winter perfectly, perhaps hitting the culture of Covid better than any other henceforth made movie. Masks everywhere (note how the movie depicts the wealthy seldom following masking recommendations), physical isolation, coldness, the strongest connection many people had during this time was online. Gone were the connective cords of work and church and going to the theaters. Replacing them were memes, internet vernacular, often absurd and ridiculous, figuring how not to mute yourself on Zoom meetings.
Paul Dano, who has arguably the weakest chin of any actor in Hollywood, has not been this good since the hilarious but touching Swiss Army Man. Pete Davidson and Seth Rogen, two men whose works I despise, are even decent in their roles as two morons. Shailene Woodley is spectacular.
I was not keen on how Dumb Money portrayed Kenneth Griffin, founder of Citadel, who is painted as the bad guy. I have sat in the same pew with Mr. Griffin several times at Fourth Presbyterian in Chicago, and shared kind words with him in the fellowship hall across the way after church. While there are many people in that fellowship hall for refreshments after church, men who are multimillionaires, there are always also many people who are homeless. I saw on more than one occasion Mr. Griffin talk with these other men in kind ways and I know he helped many of them. He might not be a John Templeton, but Kenneth Griffin is a sincere and generous man who does help the poor. If you are looking for a bad guy in this story, look at no one other than Vladimir Tenev, one of the founders of Robinhood. At least the movie gets his person right.
On the way home with Mother, I thought about movies about banking and the stock market. Is it not interesting that they are usually robust and intriguing? Boiler Room, Margin Call, The Big Short, Wolf of Wall Street (minus the vulgar language, nudity, and gratuitous drug use), Mary Poppins, Too Big To Fail, Weekend at Bernie’s, and the epoch making Wall Street and its underappreciated sequel, Money Never Sleeps are all solid, educational, and entertaining. It is rare that money movies do poorly and I am not sure why that is. Like baseball movies, money movies are more often than not compelling and quite interesting. So seldom are movies in those genres flops, but of course, you may point out Ed, The Scout, and the grossly overrated Glengarry Glen Ross as exceptions to the general rule that movies about money or baseball play well on the silver screen.
I really like Dumb Money. For those who lived through the meme stock war of 2021, refresh the mind of that exciting time. So invigorating and heart pounding, it will give you that feeling you shared with the message boards when your account value tripled overnight. 7/10
I like the movie. Four years ago this week a poster on Wall Street Bets, DFV, aka Roaring Kitty, posted his first analysis on Gamestop (GME). The company was at the time a fledgling retailer against which large hedge funds had bet. Wall Street saw it as another Sears and Kmart. Initially mocked by the nerds on WSB, Roaring Kitty started a tidal wave, a movement.
The wave arrived on TD’s Money Board in December of 2020 when oklahogjr posted about it. He caught just a little flack until the Money Board genius, Upperdecker, our brother in Christ, wrote out a detailed analysis on why he liked the stock. The Money Board was never the same. The frenzy was on in January of ‘21 when the stonk went to the moon. Diamond hands were HODLing; tendies were aplenty; apes together strong; YOLO.
It was an exciting time to be a retail, to be a part of the dumb money. I remember not checking my day trading account for a few days and then logging in to see that it had increased by more than 60K in one week. The raging fire of meme stocks spread to companies like AMC (I love AMC and am a proud A-List member and recommend you become one because sitting at home for movies is a barbaric thing to do. Movies are made to be watched together in a theater.), Nokia, Blackberry (which provided profits for me I sent to a church needing an entire overhaul of their century-old organ), and BBB. Even Dillards, of which I have a long position and is growing strong today, became a meme stock.
Dumb Money is a brilliant retelling of this rollercoaster two or three months that was just 2.5 years ago. Its pace is fast. Its acting is solid. Its writing is crisp, though at times as vulgar as WSB. It might not be as good as The Social Network, but it is in the ballpark. It is hard not to think of TSN when watching this because they tell similar David versus Goliath tech stories that shaped our world, and they are written before the lens of history has time to inspect. That instant movie telling makes for a fascinating story, although its accuracy over the long term is in question.
The film captures the mood of America in that first Covid winter perfectly, perhaps hitting the culture of Covid better than any other henceforth made movie. Masks everywhere (note how the movie depicts the wealthy seldom following masking recommendations), physical isolation, coldness, the strongest connection many people had during this time was online. Gone were the connective cords of work and church and going to the theaters. Replacing them were memes, internet vernacular, often absurd and ridiculous, figuring how not to mute yourself on Zoom meetings.
Paul Dano, who has arguably the weakest chin of any actor in Hollywood, has not been this good since the hilarious but touching Swiss Army Man. Pete Davidson and Seth Rogen, two men whose works I despise, are even decent in their roles as two morons. Shailene Woodley is spectacular.
I was not keen on how Dumb Money portrayed Kenneth Griffin, founder of Citadel, who is painted as the bad guy. I have sat in the same pew with Mr. Griffin several times at Fourth Presbyterian in Chicago, and shared kind words with him in the fellowship hall across the way after church. While there are many people in that fellowship hall for refreshments after church, men who are multimillionaires, there are always also many people who are homeless. I saw on more than one occasion Mr. Griffin talk with these other men in kind ways and I know he helped many of them. He might not be a John Templeton, but Kenneth Griffin is a sincere and generous man who does help the poor. If you are looking for a bad guy in this story, look at no one other than Vladimir Tenev, one of the founders of Robinhood. At least the movie gets his person right.
On the way home with Mother, I thought about movies about banking and the stock market. Is it not interesting that they are usually robust and intriguing? Boiler Room, Margin Call, The Big Short, Wolf of Wall Street (minus the vulgar language, nudity, and gratuitous drug use), Mary Poppins, Too Big To Fail, Weekend at Bernie’s, and the epoch making Wall Street and its underappreciated sequel, Money Never Sleeps are all solid, educational, and entertaining. It is rare that money movies do poorly and I am not sure why that is. Like baseball movies, money movies are more often than not compelling and quite interesting. So seldom are movies in those genres flops, but of course, you may point out Ed, The Scout, and the grossly overrated Glengarry Glen Ross as exceptions to the general rule that movies about money or baseball play well on the silver screen.
I really like Dumb Money. For those who lived through the meme stock war of 2021, refresh the mind of that exciting time. So invigorating and heart pounding, it will give you that feeling you shared with the message boards when your account value tripled overnight. 7/10
This post was edited on 9/13/23 at 10:37 pm
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