Melbergs

I felt like this film touched on so many subtle, unsaid things between people: love that's lost because two people don't know how to/don't want to prioritize it, the convenience of being in some relationships, the feeling like you're saying something just because you think it's the right thing to say (especially around the people that you think need to hear it) when deep down it doesn't feel like the truth whatsoever, and going along with something because you've already committed to it instead of doing it because you want to do it. I know that's vague, but I didn't want to spoil anything, but maybe once you've seen it you'll know what I mean. It was all handled so beautifully and had such heartbreakingly sincere human experiences. I think it's safe to say that in the end, we have no effing idea what we are doing and how it will turn out, but we just hope it's the right decision in the moment.

I always love a good Nic Cage movie, but even this one was pushin it. And I mostly blame the composer, Emoi. I never realized how much the music can affect a film so much, but I found myself looking up who was responsible for the soundtrack after the movie ended. Even the IMDB description of this guy was so vastly overblown and overrated, praising his work for things like Honda's Honda Days while comparing it to The Nightmare Before Christmas. Its pretty crazy. But let me get back to the movie. In general, it didnt make sense. I felt like I had more questions than answers. But I will say that I liked to watch Nic Cage beating the crap out of those doll things. Even though they looked less like animatronics and more like people obviously just pretending to walk around like robots.