bondscammer
Joined Apr 2016
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges2
To learn how to earn badges, go to the badges help page.
Reviews21
bondscammer's rating
'The Brutalist' stands as a monumental testament to the resilience of the human spirit, sculpted through the raw medium of cinema. The film's architecture-both literal and narrative-mirrors the unyielding essence of Brutalism, presenting a story as unadorned and powerful as the concrete structures it draws inspiration from.
Adrien Brody's portrayal of László Tóth, a Hungarian Jewish architect and Holocaust survivor, is nothing short of transformative. His mastery of the American-Hungarian accent adds an authentic layer to a performance that navigates the complexities of displacement, ambition, and artistic integrity. Brody's embodiment of Tóth captures the architect's evolution from a war-torn survivor to a visionary creator, steadfast in his pursuit of purpose through design.
Felicity Jones, as Erzsébet, László's wife, offers a poignant counterbalance to his stoicism. Her portrayal delves into the emotional toll of their shared past and the challenges of assimilation in a new world. The interplay between Jones and Brody paints a vivid picture of a couple bound by history yet striving for renewal.
Guy Pearce's Harrison Lee Van Buren embodies the antithesis of Tóth's ideals-a capitalist magnate whose obsession with ownership and dominance underscores the film's critique of art under capitalism. The tension between Harrison's desire to control and László's unwavering vision creates a dynamic exploration of jealousy, power, and the commodification of creativity.
The film's production design serves as a character in its own right, with Judy Becker crafting spaces that reflect the internal and external struggles of the protagonists. The use of concrete and light draws parallels to Tadao Ando's works, symbolizing the transformation of trauma into tangible forms. The community center, central to the narrative, stands as a monolith of hope and defiance, its stark exterior belying the warmth within-a metaphor for Tóth's journey from the shadows of his past to the light of artistic expression.
The culmination of Tóth's vision-a design inspired by his incarceration-serves as a poignant reminder of architecture's power to encapsulate memory and resilience. This final creation not only honors those lost but also stands as a testament to the enduring human spirit, transforming spaces of despair into sanctuaries of reflection and hope.
The film's epilogue, set against the backdrop of the Venice Architecture Biennale, signifies a full-circle moment for Tóth. Here, his once-rejected designs are celebrated, marking a reconciliation between his brutalist vision and societal acceptance. The concluding line, "it's about the destination, not the journey," encapsulates the narrative's essence-emphasizing the importance of enduring vision and the spaces we create, over the often tumultuous paths we traverse to realize them.
'The Brutalist' is a cinematic edifice, unyielding in its portrayal of art, memory, and the relentless pursuit of authenticity amidst the forces of conformity and commodification.
Adrien Brody's portrayal of László Tóth, a Hungarian Jewish architect and Holocaust survivor, is nothing short of transformative. His mastery of the American-Hungarian accent adds an authentic layer to a performance that navigates the complexities of displacement, ambition, and artistic integrity. Brody's embodiment of Tóth captures the architect's evolution from a war-torn survivor to a visionary creator, steadfast in his pursuit of purpose through design.
Felicity Jones, as Erzsébet, László's wife, offers a poignant counterbalance to his stoicism. Her portrayal delves into the emotional toll of their shared past and the challenges of assimilation in a new world. The interplay between Jones and Brody paints a vivid picture of a couple bound by history yet striving for renewal.
Guy Pearce's Harrison Lee Van Buren embodies the antithesis of Tóth's ideals-a capitalist magnate whose obsession with ownership and dominance underscores the film's critique of art under capitalism. The tension between Harrison's desire to control and László's unwavering vision creates a dynamic exploration of jealousy, power, and the commodification of creativity.
The film's production design serves as a character in its own right, with Judy Becker crafting spaces that reflect the internal and external struggles of the protagonists. The use of concrete and light draws parallels to Tadao Ando's works, symbolizing the transformation of trauma into tangible forms. The community center, central to the narrative, stands as a monolith of hope and defiance, its stark exterior belying the warmth within-a metaphor for Tóth's journey from the shadows of his past to the light of artistic expression.
The culmination of Tóth's vision-a design inspired by his incarceration-serves as a poignant reminder of architecture's power to encapsulate memory and resilience. This final creation not only honors those lost but also stands as a testament to the enduring human spirit, transforming spaces of despair into sanctuaries of reflection and hope.
The film's epilogue, set against the backdrop of the Venice Architecture Biennale, signifies a full-circle moment for Tóth. Here, his once-rejected designs are celebrated, marking a reconciliation between his brutalist vision and societal acceptance. The concluding line, "it's about the destination, not the journey," encapsulates the narrative's essence-emphasizing the importance of enduring vision and the spaces we create, over the often tumultuous paths we traverse to realize them.
'The Brutalist' is a cinematic edifice, unyielding in its portrayal of art, memory, and the relentless pursuit of authenticity amidst the forces of conformity and commodification.
The Blitz is on the viewing audience: A surprise attack of boredom and disinterest.
I've never seen Saoirse Ronan so disinterested in a role as here! Maybe accepting she was hired for an Apple movie which was Steve McQueen's project and she was just the actress needed to add an air of familiarity and authenticity to this project otherwise with a cast of unknowns?
She's listless and unconvincing in this role in a film more untested in messaging than creation of a place in time in history was quite unique - and missing here.
The CGI is there - and shows that without convincing context is empty of power and meaning.
Watching this listless film made me almost wish the Nazis won.
I've never seen Saoirse Ronan so disinterested in a role as here! Maybe accepting she was hired for an Apple movie which was Steve McQueen's project and she was just the actress needed to add an air of familiarity and authenticity to this project otherwise with a cast of unknowns?
She's listless and unconvincing in this role in a film more untested in messaging than creation of a place in time in history was quite unique - and missing here.
The CGI is there - and shows that without convincing context is empty of power and meaning.
Watching this listless film made me almost wish the Nazis won.
WTF was this about, even? A paper thin 'faux-documentary'? Where nothing happens until the end?
Who allowed Jodie Comer to use that horrific, unauthentic accent?? So wrong, so annoying and no one else spoke with such advanced affectation tho all from the same area? Strange!
WTF was Michael Shannon doing in this? A fantasy part for him maybe? Did he do this small part as a favor for the director who also made 'Take Shelter' with him several years ago? Strange!
Was Tom Hardy using a Marlon Brando - ish accent? Did he watch 'The Wild One' before filming this, or is this an audition for upcoming Marlon Brando biography film? Strange!
Austin Butler has learned how to pose from his model girlfriend, Kaia Gerber, obviously after seeing this mess, but it would have been better if she showed him how to ACT! 'Elvis', this ain't! Strange!
Did Tom Hardy's character 'Johnny' want to kiss Austin Butler's character 'Benny' in the party scene near the end? Why intimate this as such but not do it? Strange!
'Johnny' is the Vandals Bike Club President but says over and over he doesn't want to be and no one else wants to be? Strange!
If judging this by aesthetics such as the clothing and art direction I supposed this was 'ok', but as a story about a motorcycle club when they are rarely riding or in short clips only beyond 'Benny's' chase scene that ends literally with a sputter is the best metaphor for this film? Strange!
Watch this on Netflix or on a plane ride where you can safely pretend to ride a chopper in your mind before falling into a peaceful nap and not care. This ride is OVER!
Who allowed Jodie Comer to use that horrific, unauthentic accent?? So wrong, so annoying and no one else spoke with such advanced affectation tho all from the same area? Strange!
WTF was Michael Shannon doing in this? A fantasy part for him maybe? Did he do this small part as a favor for the director who also made 'Take Shelter' with him several years ago? Strange!
Was Tom Hardy using a Marlon Brando - ish accent? Did he watch 'The Wild One' before filming this, or is this an audition for upcoming Marlon Brando biography film? Strange!
Austin Butler has learned how to pose from his model girlfriend, Kaia Gerber, obviously after seeing this mess, but it would have been better if she showed him how to ACT! 'Elvis', this ain't! Strange!
Did Tom Hardy's character 'Johnny' want to kiss Austin Butler's character 'Benny' in the party scene near the end? Why intimate this as such but not do it? Strange!
'Johnny' is the Vandals Bike Club President but says over and over he doesn't want to be and no one else wants to be? Strange!
If judging this by aesthetics such as the clothing and art direction I supposed this was 'ok', but as a story about a motorcycle club when they are rarely riding or in short clips only beyond 'Benny's' chase scene that ends literally with a sputter is the best metaphor for this film? Strange!
Watch this on Netflix or on a plane ride where you can safely pretend to ride a chopper in your mind before falling into a peaceful nap and not care. This ride is OVER!
Recently taken polls
1 total poll taken
