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Post by Nora on Jan 27, 2024 18:15:39 GMT
What an amazingly unique and intense movie. Andrew Scott was totally robbed of an Oscar nom
This and the Holdovers should win all the awards.
And remind people what a) humanity and b) movie making is about.
I also wish people who look down on/ judge gay people would go and see it. You can close your eyes during the erotic scenes if you wish, but keep them open for the scenes with the parents.
I dont believe a living soul can come out of this movie with the same beliefs and feelings towards the LGBTS community they held before, should those be negative.
And no, its not preachy, its not pushing any agenda, its not anything like that. Its just beautifuly human and focusing on the human experience so much that you simply MUST start to understand more, if you didnt in the begining.
I wish all movies were made with this kind of sensitivity, soul and focus on storytelling.
10/10 from me.
PS - anybody here who read the Japanese novel it was based on?
PS2: best to go into the movie without reading the summary or watching the trailer once again they spoil too much.
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Post by Nora on Feb 2, 2024 14:29:03 GMT
went to see it again.
still 10/10.
Will probably see it once more at the cinemas before it goes away. Its simply incredible.
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Post by joekiddlouischama on Feb 3, 2024 6:31:07 GMT
I found All of Us Strangers to be "good." Its narrative structure is creative, and the film is stylized while also maintaining a sense of existential naturalism—and the acting, led by Andrew Scott, succeeds in that mold. Certainly, All of Us Strangers suggests the potential for emotional transcendence when confronting grievous trauma, the prospect of deeply-felt imagination serving as a coping mechanism and a means of catharsis. Indeed, the idea of losing both of one's parents as a child is virtually unimaginable, and were one to suffer such a tragedy, one might certainly try to mentally recreate a reunion as an adult, wondering what they would think of you—especially if, as in this case, one turned out to be gay. In other words, the film's core material is quite potent, and the realization of it is different, something off-beat—an allegory that works well. Visually, the film does not offer much in the way of composition, but there is some nice framing to the imagery. In a related vein, the visual coverage is fairly tight, but that style is fitting for such an intimate, surrealistic movie, and there are also some atmospheric long shots spliced in along the way, providing just enough balance to the cinematography. All of Us Strangers definitely offers some poignancy, although the ending leans into sentimentality in a way that is effective yet makes the denouement less haunting that it might have otherwise been. But the conclusion's use of the song "The Power of Love," by Frankie Goes to Hollywood (a group that I had never heard of), and specifically its citation of the lyric "I'll protect you from the hooded claw/Keep the vampires from your door" is memorable. An example of the film's attention to detail and inner passion can be found during one of the imaginative passages, where the protagonist's mother (played by Claire Foy) is wearing red fingernail polish in one scene but has no nail polish in the next, even though virtually no time has elapsed between the two scenes. The disjunction seems like a curious and baffling lack of continuity—until one reflects and absorbs the movie's context. Given that the film fluidly interweaves realistic dream scenes, such a discrepancy makes perfect sense: after all, it reflects the addled, striving psyche of the protagonist, Adam (played by Scott). All of Us Strangers is not exactly Point Blank (John Boorman, 1967), but there is a certain stylistic lineage that one could draw to that epochal, unforgettable film. |
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Post by Nora on Feb 3, 2024 23:42:47 GMT
I found All of Us Strangers to be "good." Its narrative structure is creative, and the film is stylized while also maintaining a sense of existential naturalism—and the acting, led by Andrew Scott, succeeds in that mold. Certainly, All of Us Strangers suggests the potential for emotional transcendence when confronting grievous trauma, the prospect of deeply-felt imagination serving as a coping mechanism and a means of catharsis. Indeed, the idea of losing both of one's parents as a child is virtually unimaginable, and were one to suffer such a tragedy, one might certainly try to mentally recreate a reunion as an adult, wondering what they would think of you—especially if, as in this case, one turned out to be gay. In other words, the film's core material is quite potent, and the realization of it is different, something off-beat—an allegory that works well. Visually, the film does not offer much in the way of composition, but there is some nice framing to the imagery. In a related vein, the visual coverage is fairly tight, but that style is fitting for such an intimate, surrealistic movie, and there are also some atmospheric long shots spliced in along the way, providing just enough balance to the cinematography. All of Us Strangers definitely offers some poignancy, although the ending leans into sentimentality in a way that is effective yet makes the denouement less haunting that it might have otherwise been. But the conclusion's use of the song "The Power of Love," by Frankie Goes to Hollywood (a group that I had never heard of), and specifically its citation of the lyric "I'll protect you from the hooded claw/Keep the vampires from your door" is memorable. An example of the film's attention to detail and inner passion can be found during one of the imaginative passages, where the protagonist's mother (played by Claire Foy) is wearing red fingernail polish in one scene but has no nail polish in the next, even though virtually no time has elapsed between the two scenes. The disjunction seems like a curious and baffling lack of continuity—until one reflects and absorbs the movie's context. Given that the film fluidly interweaves realistic dream scenes, such a discrepancy makes perfect sense: after all, it reflects the addled, striving psyche of the protagonist, Adam (played by Scott). All of Us Strangers is not exactly Point Blank (John Boorman, 1967), but there is a certain stylistic lineage that one could draw to that epochal, unforgettable film. as always, I enjoy reading your thoughts even though I dont always agree with all of it. thanks for sharing your thoughts on this movie with us. Any chance you saw the original thats closer to the novel? The Discarnates? |
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Post by Nora on Apr 9, 2024 3:37:53 GMT
its on Hulu now… enjoy.
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Post by CrepedCrusader on Apr 9, 2024 13:51:28 GMT
Wasn't too keen on it. The best bits were of the main dude and his parents. I especially liked the part where he realizes his dad could hear him crying in his bedroom because of bullying, but the dad never did or said anything to comfort him. overall, 7/10 |
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Post by Nora on Apr 13, 2024 1:53:50 GMT
Wasn't too keen on it. The best bits were of the main dude and he parents. I especially liked the part where he realizes his dad could hear him crying in his bedroom because of bullying, but the dad never did or said anything to comfort him. overall, 7/10 i loved those bits the best as well ❤️ |
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Post by joekiddlouischama on Apr 23, 2024 7:32:51 GMT
I found All of Us Strangers to be "good." Its narrative structure is creative, and the film is stylized while also maintaining a sense of existential naturalism—and the acting, led by Andrew Scott, succeeds in that mold. Certainly, All of Us Strangers suggests the potential for emotional transcendence when confronting grievous trauma, the prospect of deeply-felt imagination serving as a coping mechanism and a means of catharsis. Indeed, the idea of losing both of one's parents as a child is virtually unimaginable, and were one to suffer such a tragedy, one might certainly try to mentally recreate a reunion as an adult, wondering what they would think of you—especially if, as in this case, one turned out to be gay. In other words, the film's core material is quite potent, and the realization of it is different, something off-beat—an allegory that works well. Visually, the film does not offer much in the way of composition, but there is some nice framing to the imagery. In a related vein, the visual coverage is fairly tight, but that style is fitting for such an intimate, surrealistic movie, and there are also some atmospheric long shots spliced in along the way, providing just enough balance to the cinematography. All of Us Strangers definitely offers some poignancy, although the ending leans into sentimentality in a way that is effective yet makes the denouement less haunting that it might have otherwise been. But the conclusion's use of the song "The Power of Love," by Frankie Goes to Hollywood (a group that I had never heard of), and specifically its citation of the lyric "I'll protect you from the hooded claw/Keep the vampires from your door" is memorable. An example of the film's attention to detail and inner passion can be found during one of the imaginative passages, where the protagonist's mother (played by Claire Foy) is wearing red fingernail polish in one scene but has no nail polish in the next, even though virtually no time has elapsed between the two scenes. The disjunction seems like a curious and baffling lack of continuity—until one reflects and absorbs the movie's context. Given that the film fluidly interweaves realistic dream scenes, such a discrepancy makes perfect sense: after all, it reflects the addled, striving psyche of the protagonist, Adam (played by Scott). All of Us Strangers is not exactly Point Blank (John Boorman, 1967), but there is a certain stylistic lineage that one could draw to that epochal, unforgettable film. as always, I enjoy reading your thoughts even though I dont always agree with all of it. thanks for sharing your thoughts on this movie with us. Any chance you saw the original thats closer to the novel? The Discarnates?... never heard of it, Nora, but if you've seen it, please tell me more. And thanks again for the kind words. |
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