The great debate

The great debate.

Neon demon not even close

>Great debate

What did they mean by this?

only god forgives is my favorite movie of all time how pleb am i?

shitty, plot, acting, and scope.
almost on scale with marvel fans.

...

Neon Demon.

there is also this if you want to include the Cred Forums movie buffs

>muh expository plots are a necessity in a visual medium
kill yourself plebian filth
>shitty scope
lol what? you really must be a dumbfuck

>failing to understand Refn's unique cinematic language
>plot
>scope
>acting

That's like asking for more sugar in a fine wine.

>Fear x
contrarians
>normal people
Drive
>patricians
Only god forgives

The Neon Demon is his most perfect film so far

That doesn't mean OGF is for plebs. Plebs love Drive, not OGF.

How anyone didn't walk out when the mom started talking in ogf is beyond me

t. pleb

ITT: WTF Did I just watch?

Great argument you got there pal

Nonsense which is so inorganic to any sense of globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism that it just feels derivative. That Kubrickian scene in Drive of dead-eyed strippers watching an assault gets extended here in a more elaborate whorehouse sequence where catatonic hookers bear mute witness to instances of police corruption. Refn’s tableau of organdy-gowned call-girls listening to pop while watching violence in a bouquet-bedecked whorehouse is the ultimate David Lynch parody.

Gosling and Refn have art ambitions–a strange sense of fun. But how can film culture progress with fantasies like this? There’s no shock or outrage left. Refn relies upon a level of menace (unerotic, non-provocative) that precludes caring about or responding to violence, vulnerability, mortality. This is cinema for unsophisticated viewers who don’t already know Bunuel’s eye-slashing, Altman’s Coke bottle assault or Shakespeare/Julie Taymor’s Titus. Children of Kubrick, Friedkin, Lynch and Tarantino, they remain infantile about movies.

Drive>Valhalla Rising>The Neon Demon>>>>>>>horse shit>>>>>>>>>>>>>>>>>Only God Forgives

Al right, rate me.

TOP TIER
>Only God Forgives
>Bleeder
>Pusher II

>GOOD TIER
>Drive
>Bronson
>Pusher

SHIT TIER
>Valhallah Rising
>the Neon Demon
>Pusher III

>

Pleb that started with Drive and then most likely watched Bronson after his favorite capeshit movie got a sequel/10

>I'm trying to sound smart but I'm not actually saying anything: the post

Ok you fucking cuck. Lets dive in

>Nonsense which is so inorganic to any sense of globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism that it just feels derivative.

What the fuck does this even mean? Why are referencing colonialism? Are you implying Refn had any intention to battle these themes?

>But how can film culture progress with fantasies like this?

Why does it need to progress? How could it possibly progress beyond people expressing themselves though images and sound? That's all film is at the end of the day.

>Refn relies upon a level of menace (unerotic, non-provocative)

The Neon Demon was very erotic

this

>scope
thanks for letting me know I can ignore your opinion completely,

OGF > Fear X > Neon Demon

>globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism
what the fuck are you talking about?