Reminded me so much of high school it hurt to watch. The irrational over-the-top meanness, the suffocation of staying with the same ten people day after day, all of whom probably think they're perfectly good people, finally walking out more bitter than you'd ever thought you could get. If there is any town this world would be better without, this is it.
So much to love in this, but Amirpour spends the entire movie setting us up for a (gorgeous) story, and takes it NOWHERE.
It’s difficult to see whether this movie is making fun of itself or it genuinely believes in the stark black and white, disappointingly cartoonish people of Bad City.
And the ending. It’s one thing to leave a few loose ends when you close, quite another to finish a movie just as the plot is coming into focus.…
The phone rings in the dead of the night. Gives way to dead silence, slow and deep. Cats themselves may or may not exist, though the food disappears and the litter boxes are full. Writers are never seen writing. Girls fall into wells that no one remembers. Greenhouses burn down without a trace. People vanish into thin air. Mothers come and go.
What’s constant- what stays- is the hunger. Great hungers and little hungers. Hungers of the flesh. Hungers of…
Whiplash sings like it's dying. Scene so pure and sharp it hurts. The first beat. The first time you see Andrew, the way he apologises, twice. I'm sorry, I'm sorry. No, stay.
The first time you see Fletcher. No, stay. The slam of the door when he leaves. Fletcher saying oopsie daisy. The way you stop breathing when Fletcher walked in, and then every time he makes a fist. The look on Andrew's face when Elmer Fudd is getting kicked…