Hellring

I have to listen. But the previous one had already smashed my reproductive organ.

Every time I listen to "line them all up" I get goosebumps.

Finally seen: I agree with you on not massacring it, perhaps because some recent experiences have made me empathize with Matthew, perhaps because of Matthew's performance and the cinematography. Van Sant remains a master of minimalism, and this film connects to Gerry (depersonalization, the theme of death, doubt about the existence of the other) but reaches different conclusions: in that case, it was the pessimism of post-9/11 America that found form and substance, while here it is the elimination of self-imposed guilt to find the reason to move forward, for which it is truly worth living. Many unrealistic situations (like the scene with the water in the cave that explodes, played really poorly) or the nod to trying for easy tears, but it is a film much deeper than it may seem in its syrupy and paradoxical story. Moreover, it's all Van Sant; it is a film deeply infused with his poetic vision.

In my opinion, the most amazing and realistic TV series ever seen. Of disarming depth, touching on 10,000 themes, unspectacular and extremely true, with a rarely seen pessimistic ending like never before on TV. "Other series are the first day of school romanticized, The Wire is the first day of school as it actually went" (quote).

I have it on my list of things to see as soon as possible.

To me, this Dolan has already gotten on my nerves just for being praised for every film.

I agree with you when you mention the last 10 minutes. Often they get carried away by their delusions of grandeur, and what until that moment had been a great film of suspense, suspicion, and paranoia, shot with precision and without excesses, then becomes a wink to the mainstream audience, which surely would have yawned at the slow pace of the first part. When I see her inside the car dragged by the massive alien, who takes him out with a Molotov cocktail in her mouth, all the rock-solid nature of what comes before largely goes to hell.

A good thriller that gains points for cinematography and tension, but has a blatant desire for self-indulgence in a screenplay that is too artificial. It’s a film that perhaps feels overly constructed, where I didn’t see much “verve” in the presentation, even though the whole discussion on the power of the image, television manipulation (a theme already heavily overused), and the capitalism of appearance were interesting ideas. He’s good, but overall it’s a film that is watchable, though based on what I had heard about it, I expected a different depth.

Ugly enough to scare

I haven't seen anything of his yet, but all this glorification from so many of my friends who watch 3 movies a year has already sent me the message.