twelvepoint wrote: Wed Jan 14, 2026 12:52 pm Ok Jonny Greenwood score, we get it

hahaha

my sense re overall immediate relevance is that it was probably sculpted in editing to maximize it, but much of it was just kind of kismet

we've been fucked into compulsory militarism for quite a while, so it was already gonna be a sign of the times (like the last 45yrs at least)

I like most of his takes but he’s getting roasted on the comments

https://www.instagram.com/reel/DS5Ao_xE ... diMG90amZs

Saw it again today, this time I could enjoy the movie without checking off the Vineland comparisons, and holy shit it was emotional. Every bit of it down to the family stuff just had me shook. It’s a masterpiece.

I think OBAA (America as fourth reich/imperial fascist war machine) and Eddington (neoliberalism/tech companies/culture war NOT centrism, which is not a good reading of the film) are perfect at explaining a certain feeling in America today.

Even to the point of overcoming the Mark Fisher critique where recent movies and music started to lack qualities of the decades they are released in at some point. I’m sure they would appear to be dystopian fiction to anyone with rocks between their fuckin’ ears but both movies manage to come off as more real than anything the fucking media has been reporting lately (ie, their reporting not the events themselves).

Both movies are also heavy on revisionist western cues, which is an important feature given this country’s existence is forever contaminated by the single biggest genocide the world has ever seen, which both movies either address outright or build upon thematically. It’s one of the lenses through which all modern events must be viewed, and the movies are better for doing so.

The kids they got for this SNL bit were paticularlly great:

https://www.youtube.com/watch?v=X5J5AbdaprU

tallchris wrote: Fri Jan 30, 2026 3:33 pm The kids they got for this SNL bit were paticularlly great:

https://www.youtube.com/watch?v=X5J5AbdaprU

Damn I want this to be real.

Finally watched it tonight. A lot to take in. Just magnificent acting through and through, and I normally don't really regard "acting" all that highly.

I have a couple of replies to random things as I re-read the whole thread.

I didn't see anyone mention Chase Infiniti - she stole the movie for me. Spoiler - the scene where she's just shot that racist bounty hunter and had her sights set on Bob was as tense as I've felt since the Anton Chigur scene with the coin in No country...I was on the edge of my seat.

Yes, the Comrade Josh scene was fucking hilarious. I was dying.

I thought the first part was super valuable in setting up the second and third acts. The overt sexuality of everything then settling into a more mundane, less fervent, and somehow even more violent life seemed natural to me as a consequence of aging and family obligations. IOW, once the first part relaxed into the rest of the film, I was able to sit back and realize how much the first 1/3 was setting up the last 2/3 - at least that's how I see it now.

I love how - someone mentioned this - the little mannerisms give up the ghost on the character. When Lockjaw licked his comb, that was 10 pages of backstory in that 5 second sequence. That's just one example, there were many others, Del Toro told his story without saying a lot.

Seemed to me to be equal parts commentary, comedy, grotesque peek into the minds of deeply flawed people in wild situations.