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Post by Nora on Dec 20, 2018 6:10:29 GMT
what the heck? how is that possible. www.rottentomatoes.com/m/welcome_to_marwencannot believe its that bad. was/ still am so excited to see this movie. cannot belive zemeckis plus carrell plus interesting story can provide for a result THAT bad. |
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Post by President Ackbar™ on Dec 20, 2018 6:24:32 GMT
Looks horrible.
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Post by darkpast on Dec 20, 2018 6:41:42 GMT
trailer is bad, not a surprise, reminded me of downsizing for some reason, being a bad xmas movie
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Post by Nora on Dec 20, 2018 6:48:26 GMT
what about it looks horrible to you? |
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Post by President Ackbar™ on Dec 20, 2018 7:10:46 GMT
what about it looks horrible to you? i dont know, it just looks weird and cheesy ( to me ) |
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Post by Deleted on Dec 20, 2018 13:59:40 GMT
The next Mortal Engines
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Post by hi224 on Dec 20, 2018 18:46:37 GMT
what about it looks horrible to you? Without seeing it yet I sort of wish it was more about his real life interactions, excise all the doll stuff as well. Make it a grounded drama about a man using his dolls as a means of moving on with life. |
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Post by Fox in the Snow on Dec 21, 2018 0:18:01 GMT
reminded me of downsizing for some reason, being a bad xmas movie Does have a bit of that high-concept vibe, but even more Oscar-baity theme wise |
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Post by politicidal on Dec 21, 2018 0:21:41 GMT
reminded me of downsizing for some reason, being a bad xmas movie Does have a bit of that high-concept vibe, but even more Oscar-baity theme wise Well it seems no one took the bait. Despite them using the "based on a true story" hook. |
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Post by Fox in the Snow on Dec 21, 2018 0:26:15 GMT
Does have a bit of that high-concept vibe, but even more Oscar-baity theme wise Well it seems no one took the bait. Despite them using the "based on a true story" hook. I guess the dolls could've gone either way. |
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Post by Fox in the Snow on Dec 21, 2018 11:00:03 GMT
Does have a bit of that high-concept vibe, but even more Oscar-baity theme wise I can only base the appeal of the film based on the trailer, but it just looks so schmaltzy. The title isn't even that appealing. I am sure there will be some layers to the story and themes, but it looks just as plastic as its dolls. Doesn't appeal to me either, schmaltzy sounds about right. |
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Post by politicidal on Dec 21, 2018 15:55:44 GMT
Well I wasn’t really interested in the trailer. I think Darkpast said it right about how this might be 2018’s Downsizing.
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Post by darkpast on Dec 22, 2018 17:26:32 GMT
less than 1 million opening Friday , bigger bomb than Mortal Engines  |
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Post by politicidal on Dec 22, 2018 19:08:13 GMT
less than 1 million opening Friday , bigger bomb than Mortal Engines @poes thoughts? |
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Post by Deleted on Dec 23, 2018 18:24:38 GMT
less than 1 million opening Friday , bigger bomb than Mortal Engines @poes thoughts? Universal dumped this movie. They obviously knew it is a stinker but to appease its director they gave it a wide release. So little marketing was done for this movie. Never a good sign. |
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Post by hi224 on Dec 24, 2018 22:16:20 GMT
still seeing it.
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Post by Deleted on Dec 26, 2018 11:02:13 GMT
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Post by Deleted on Dec 26, 2018 17:40:29 GMT
Just saw the trailer and puked all over my shoes.
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Post by joekiddlouischama on Dec 27, 2018 7:53:51 GMT
I really liked Welcome to Marwen—I consider the film "very good" and perhaps one of the year's ten best. The movie is at once sweet and scary, charming and shuddering, and a meditation on imagination and reinvention as a means of coping with life's traumas and tragedies. It certainly explores the line between fantasy and reality and how one can confuse the former for the latter, a theme that has never been more relevant, both politically and technologically. Welcome to Marwen is sentimental and fits into the holiday season, but it is far from hokum: the film is nuanced and profound, and its association of homophobia (especially homophobic violence) with Nazism reminds viewers of the historical reality that gays (or suspected gays) represented a chief target of Nazi genocide. And visually, the movie proves remarkable, seamlessly blending its toy-oriented fantasies with real-life depictions. Carrell is empathetic and effective, and the casting of Leslie Mann as his chief love interest works perfectly.
My guess is that the negative reviews (and perhaps the terribly low gross) stem from Welcome to Marwen's unconventional nature. As I indicated earlier, the film is a fable, but it is a curious, quirky, somewhat dark and tragic fable that intricately mixes hope and despair, trauma and recovery. Welcome to Marwen is a "holiday season" movie that slyly subverts conventions and expectations, and in today's Tweet-first, think-much-later world, reviewers seem more inclined than ever to review films in a narcissistic and mindless manner. In other words, the tendency to review a movie based on how it fits one's expectations—expectations that have been molded by convention—seems greater than ever. Worse, the Internet encourages a sense of conformity among reviewers, a desire to echo the chorus in order to embrace the most fashionable perspective. Indeed, independence of thought proved easier before the Internet and the social ravages of social media.
Of course, people can thoughtfully and honestly disagree about Welcome to Marwen, but I encourage everyone to give it a viewing and judge for yourselves. The movie just confirms my belief that Robert Zemeckis has become the most underrated director in Hollywood. The Walk constituted a phenomenal achievement, one of two "great" films from 2015 (the other being Steven Spielberg's Bridge of Spies). Allied was "very good," one of the best and most genuinely suspenseful and moving movies from 2016. And now Welcome to Marwen offers another remarkably creative and emotional vision. Like Spielberg, Zemeckis has become more nuanced and visually evocative over time, while today's audiences and reviewers may be more convention-bound than ever before.
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