akoaytao1234
Joined Mar 2012
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Ratings1.9K
akoaytao1234's rating
Reviews432
akoaytao1234's rating
Didn't like it.
This tells the story of a woman - Julie, in her early twenties until her thirties. As she goes by and try to be the person she wants to be, from a young free-wheeling student to her complicated relationship with Aksel, a super-indie comic writer and her fling Elvind.
Structurally, this reminds me of bad romcoms of the early 2000s but inverse. Shockingly, it also did not correct the problems of those films. Julie is manic pixie here. She is an enigma and she is defined by the men around her. I actually found her to a good example of Men-Writing-Women. She has no friends (only in "dialogue") and most of her definition is through her sexual conquest.
I even find some section condescendingly base against women (especially the bleeding moment). Even how she is defined is every which way. Girly is ALONE yet is never depicted as lonely. Pathetic but is somehow confidently gliding. Shy but never meek. There is a disjunct with what is shown with how she is defined. And like a Manic Pixie Story, it focuses in the Pixie's emptiness. Lol.
One of the saddest underwritten uncurrent in the film, is where does Julie's feeling of smallness is coming from. The writers were more focused in showing her sexual fightbacks rather than a full descriptive aspect of her personality that causes it. She is lost because there are expectation to her as noted initially but her history was never really told. It is kind of underwritten. We just have to look towards how she presents with the men around her. We still do not know her other than her own misgivings in the present.
Not my cup of tea.
This tells the story of a woman - Julie, in her early twenties until her thirties. As she goes by and try to be the person she wants to be, from a young free-wheeling student to her complicated relationship with Aksel, a super-indie comic writer and her fling Elvind.
Structurally, this reminds me of bad romcoms of the early 2000s but inverse. Shockingly, it also did not correct the problems of those films. Julie is manic pixie here. She is an enigma and she is defined by the men around her. I actually found her to a good example of Men-Writing-Women. She has no friends (only in "dialogue") and most of her definition is through her sexual conquest.
I even find some section condescendingly base against women (especially the bleeding moment). Even how she is defined is every which way. Girly is ALONE yet is never depicted as lonely. Pathetic but is somehow confidently gliding. Shy but never meek. There is a disjunct with what is shown with how she is defined. And like a Manic Pixie Story, it focuses in the Pixie's emptiness. Lol.
One of the saddest underwritten uncurrent in the film, is where does Julie's feeling of smallness is coming from. The writers were more focused in showing her sexual fightbacks rather than a full descriptive aspect of her personality that causes it. She is lost because there are expectation to her as noted initially but her history was never really told. It is kind of underwritten. We just have to look towards how she presents with the men around her. We still do not know her other than her own misgivings in the present.
Not my cup of tea.
Luca's Queer is a love story, that is a bit lost with all the shenanigans that his lead goes into. A literal travelogue of self-discovery, this should have been trimmed and definitely had better presentation with its surreal elements.
I felt that Starkey got eaten alive by the role. There is a lot of things unspoken in that role that requires a lot of definition through those little acting ticks AND he did not make those. It made the experience really less than desired. Craig has his moments but ultimately it is the bloated script that killed his and Starkey's performance. It is oddly too concerned with the journey and shockingly is surface-level with the relationship. It does not help that Luca's aesthetic driven eyes focused more on fetishizing rather than grounding the relationship. Oddly, this reminds me of how Luca made Call me By Your Name.
They never really made it about them and its where you could feel this bloated up. The adventure is just a weird excuse for the surreal and insanity.
Sad to see that Good visuals go to waste. The final film comes off so dense yet still empty.
Not my cup of tea.
I felt that Starkey got eaten alive by the role. There is a lot of things unspoken in that role that requires a lot of definition through those little acting ticks AND he did not make those. It made the experience really less than desired. Craig has his moments but ultimately it is the bloated script that killed his and Starkey's performance. It is oddly too concerned with the journey and shockingly is surface-level with the relationship. It does not help that Luca's aesthetic driven eyes focused more on fetishizing rather than grounding the relationship. Oddly, this reminds me of how Luca made Call me By Your Name.
They never really made it about them and its where you could feel this bloated up. The adventure is just a weird excuse for the surreal and insanity.
Sad to see that Good visuals go to waste. The final film comes off so dense yet still empty.
Not my cup of tea.
«Every day I feel used. I feel abused. I work all day at home and I am tied to my baby during the day. And at night, I tend to my husband's needs. That's his turn to use me. I don't even have time for myself anymore. I want to write again but he doesn't want me to. I feel like I've lost my personality. I've become a machine.»
This (translated) quote is from Abaya's Moral. In this film, a similar quote will define and starts Nightb*tch. A new mom who is lost in the world of motherhood. But unlike in Moral, Nightb*tch is alone and is struggling with all her internal turmoil.
In the end, the drama of it all in Nightbitch is motherhood AND finding a footing for yourself, your kid and your husband. It's shown as a constant battle to be considered not just a instinct but a valid story in context especially from her existing group of friends and her husband.
As she loses it, and became the nightbitch of it all.
Ultimately, I personally is quite mixed of Heller's Nightbitch.
Having watched some of her earlier works - she tends to shine best with straight laced dramas with such a dry comedic tone. Sadly, there is an inherent raucous comedy within this film that I think she is not yet well equipped to handle. She just grounds up the film far too much and (which I think is based off the book) clumsily fills the void with internal monologue. This ultimately kinda distracts it from the overall tone of the film.
Its serio-comic AND her trying to straightlaced it all made it quite confounding to watch at times. While her new friends were much rounded as characters even being so open to her quirks and problems, I did not like the depiction of the old friends and the husbands. It borders one-dimensional AND given how serious her tone is - she made them quite dense to watch. I think she was not able to really use the inherent tonal shifts of the material to full effect and create this the Substance(2024) effect in storytelling. It needs insanity and flamboyance to make those characters work. It is sad that the capital A performance from Amy Addams is wasted by the writing and direction in this film.
Ultimately, Heller's drama in Nightb*tch is great but her balancing act for the Night bitch of it all is sadly missing the raucous energy the material calls for.
This (translated) quote is from Abaya's Moral. In this film, a similar quote will define and starts Nightb*tch. A new mom who is lost in the world of motherhood. But unlike in Moral, Nightb*tch is alone and is struggling with all her internal turmoil.
In the end, the drama of it all in Nightbitch is motherhood AND finding a footing for yourself, your kid and your husband. It's shown as a constant battle to be considered not just a instinct but a valid story in context especially from her existing group of friends and her husband.
As she loses it, and became the nightbitch of it all.
Ultimately, I personally is quite mixed of Heller's Nightbitch.
Having watched some of her earlier works - she tends to shine best with straight laced dramas with such a dry comedic tone. Sadly, there is an inherent raucous comedy within this film that I think she is not yet well equipped to handle. She just grounds up the film far too much and (which I think is based off the book) clumsily fills the void with internal monologue. This ultimately kinda distracts it from the overall tone of the film.
Its serio-comic AND her trying to straightlaced it all made it quite confounding to watch at times. While her new friends were much rounded as characters even being so open to her quirks and problems, I did not like the depiction of the old friends and the husbands. It borders one-dimensional AND given how serious her tone is - she made them quite dense to watch. I think she was not able to really use the inherent tonal shifts of the material to full effect and create this the Substance(2024) effect in storytelling. It needs insanity and flamboyance to make those characters work. It is sad that the capital A performance from Amy Addams is wasted by the writing and direction in this film.
Ultimately, Heller's drama in Nightb*tch is great but her balancing act for the Night bitch of it all is sadly missing the raucous energy the material calls for.