spiralstatic
New Member
Maybe you're like Dangermouse: small, but mighty... ? ??!?!?!
Posts: 171
Likes: 69
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Post by spiralstatic on Jan 20, 2020 11:15:02 GMT
Who has seen it? My standout from LFF 2019. That final scene is STILL with me now. Woah impactful for me... some similarities in theme to Joker, but obviously way darker!
Thoughts? I was pretty blown away by it!
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Post by pacinoyes on Sept 9, 2020 11:31:57 GMT
Finally.........
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Post by cheesecake on Sept 27, 2020 18:24:00 GMT
I hope this gets VOD treatment. Been so looking forward to this.
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Post by notacrook on Oct 24, 2020 13:46:31 GMT
Less an outright horror so much as a very dark psychological drama, but man was it one of the most unsettling films I've seen in a long while. In a fantastically assured and confident feature debut, Rose Glass crafts a haunting character-study of a young girl who becomes increasingly lost in her own tormented desires and struggle to find some form of purpose in her life. Morfydd Clark is a true revelation, and Jennifer Ehle gives a lithely volatile supporting turn. The ending, masterfully done, is one of the most shocking I've seen in recent memory - it's burned into my mind. 9
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Post by pacinoyes on Nov 20, 2020 2:13:44 GMT
~8/10A lot of people are going to hate this I bet - it's ambiguous to an almost maddening degree but I kind of loved it and was with it right from the start, even if it's not really what I think of as horror exactly. I guess we can count this as 2020 since most people are seeing it in 2020 right? To me this is the better Breaking The Waves (hate that movie, thanksforasking) and an almost Cronenberg-evoking level of fluids - body fluids, shots in syringes, alcohol, blood, water, lighting fluid representing cleansing, purifying, or maybe just drowning in an spiraling madness. Morfydd Clark is amazing here - for some reason I pictured Katrin Cartlidge in this role even though they don't look alike......I guess because Cartlidge would have been fearless enough to go here and there's not many who would.....at only 84 minutes it packs quite a wallop. Love it or hate it......it's something to see at least......
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Post by Tommen_Saperstein on Nov 20, 2020 3:31:52 GMT
Still waiting
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Post by pacinoyes on Nov 20, 2020 12:27:27 GMT
~8/10A lot of people are going to hate this I bet - it's ambiguous to an almost maddening degree but I kind of loved it and was with it right from the start, even if it's not really what I think of as horror exactly. I guess we can count this as 2020 since most people are seeing it in 2020 right? To me this is the better Breaking The Waves (hate that movie, thanksforasking) and an almost Cronenberg-evoking level of fluids - body fluids, shots in syringes, alcohol, blood, water, lighting fluid representing cleansing, purifying, or maybe just drowning in an spiraling madness. Morfydd Clark is amazing here - for some reason I pictured Katrin Cartlidge in this role even though they don't look alike......I guess because Cartlidge would have been fearless enough to go here and there's not many who would.....at only 84 minutes it packs quite a wallop. Love it or hate it......it's something to see at least...... I also wanted to mention a scene in this film when people eventually see it, that will be missed or passed over that's one of the most heartbreaking and perfectly acted scenes of mental deterioration I've ever seen and the best acted scene I've seen in 2020 (unless I'm forgetting something?): ........it's when Clark is in a bar - crowded and alone - and she smiles/laughs/"interacts" with the table next to her in a desperate attempt not to be alone and to "fit in" or have some kind of human contact at all and then she is crestfallen when she's sort of frozen out of their talk...........and this scene is acted entirely silently on her part too...........an easy scene to miss.......but one specifically to look for.
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Post by Pittsnogle_Goggins on Nov 20, 2020 14:45:03 GMT
Still doesn’t have a theatrical release and they just shut theaters back down here in Illinois so feel free to drop on VOD please.
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Post by stephen on Feb 2, 2021 2:58:16 GMT
The last split-second made me laugh harder than any movie in the last five years.
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Post by notacrook on Feb 2, 2021 12:27:59 GMT
The last split-second made me laugh harder than any movie in the last five years. Man...I was horrified. General thoughts on the film?
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Post by stephen on Feb 2, 2021 13:07:05 GMT
The last split-second made me laugh harder than any movie in the last five years. Man...I was horrified. General thoughts on the film? The imagery is extremely potent and quite confident for a first-time director (Rose Glass's work harkens to Robert Eggers and, if we trace her antecedents a bit further, I see some Ken Russell in her as well), and Morfydd Clark is astonishingly good. But I feel like this is a film that is almost too lean and mean for its own good. I appreciate a film that gets in and gets out quickly, no fuss, no muss, no bother . . . but Saint Maud feels like it skipped a few key beats and couldn't done with a little bit more indulgence. I feel they didn't quite build up Jennifer Ehle's Amanda enough to really earn Maud's dynamic with her, and while we get glimmers of why Maud is the way she is, it feels almost cursory and like a last-minute addition. Case in point: the character of Joy (Lily Knight, who I think is actually the better supporting performance in the film), who it feels is going to be more of a factor in the story than she winds up being. The setpieces are great, the performances captivating, the sound design exquisite . . . but Saint Maud feels like the cinematic equivalent of one of those penitents who go on hunger strikes. The message is clear, but it's tough to sustain itself on the message alone.
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Post by jakesully on Feb 2, 2021 16:47:52 GMT
Definitely need to see this! All your reviews have me very intrigued.
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Post by Mattsby on Feb 2, 2021 20:13:42 GMT
Very impressive debuts for writer director Rose Glass and the composer, the cinematographer. Keep an eye on those three. I knew almost nothing about this going in - didn't see the trailer either - but I did see people tagging The Exorcist to it even though it felt to me more in line with Polanski's works Repulsion and The Tenant (remember the scene, "It's my round for chrissakes, drinks for everyone....everyone except him"). That everyone-but-you feeling is in the bar scene with Maud....whose whole self conflict, the sexuality and spiritual mania and sad dissociation, is so richly twisted there's room for more of it....the movie only runs 78m.
Having said that, Morfydd Clark doesn't lose a moment of it and she's terrific, how her own thinking and behavior disgusts (the bar) or surprises (the lover threat) or turns on her (the bench nurse). As sensitive and fearful and lost as she is, there's a wicked impulse to her. Like the outstanding party scene, w/ Jennifer Ehle.... masterful in its cutting, use of shadow, detail (who doesn't light the candles) and taunted behavior...looking to escape before erupting.
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Post by Mattsby on Feb 2, 2021 20:33:02 GMT
More! Before making a connection to Taxi Driver, I wanted to check who if anyone else got that too - in its themes, trajectory, and (wonderfully crisp) voiceover - “Seems such a waste. I was ready and open and alive and this is my reward… Unemployable, unoccupied.” Seems other have definitely made the connection but.... I justttt found this interview with the director which mentions the reference (below) and something else about the movie I wasn't sure if I was alone on: that it's darkly kinda funny. www.cineworld.co.uk/static/en/uk/blog/saint-maud-director-rose-glass-exclusive-interview
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Post by pacinoyes on Feb 2, 2021 20:59:55 GMT
More! Before making a connection to Taxi Driver, I wanted to check who if anyone else got that too - in its themes, trajectory, and (wonderfully crisp) voiceover - “Seems such a waste. I was ready and open and alive and this is my reward… Unemployable, unoccupied.” It's very much a Taxi Driver if Iris had rejected Travis as her savior - basically I saw the whole movie that way.........the scene where Ehle lashes out at her at the party is brilliant because what she does there is reveal Maud not merely to herself but also to make her revelation public which is the source of her Maud's loneliness/madness - if others "don't know" she can not be judged, therefore she's outside their power. So not only is it between Clark & Ehle, it's between EVERYONE now which is what Maud desperately avoids in every way - everything with her is ONLY personal, once it becomes public everything tilts out of balance. That scene wouldn't have made sense if Ehle said it to her privately - like when Clark talks to her lover etc. Every relationship in the movie is balanced between what she knows or "believes" or wants to believe - about herself, her madness, her interpretations of signs, her overall faith, her sexuality/guilt and what others have come to believe (or know) - and know and then project on to her. It's so great........
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Post by cheesecake on Feb 3, 2021 18:08:51 GMT
Yeah, this was my shit. 2020 was such an incredible year for horror from women.
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Pasquale
Full Member
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Post by Pasquale on Feb 6, 2021 19:21:13 GMT
Manifestations of a masterpiece.
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Post by JangoB on Feb 14, 2021 1:44:12 GMT
I'ma make myself a rule to avoid 'auteur' horror movies with close-to-80-and-up Metacritic ratings. So similar to each other, so obvious in their tricks, so stagnant and so dull. Nothing of interest here except for Morfydd Clark's decent performance.
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Post by stinkybritches on Feb 14, 2021 2:43:26 GMT
The lead actress was quite good but overall I thought this was a low point for “A24 horror.” A disappointment for sure. And an especially silly last 20 minutes or so.
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Deleted
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Post by Deleted on Apr 16, 2021 22:57:52 GMT
I'll consider this a 2021 release for my personal awards. Just in case you were wondering.
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Post by Johnny_Hellzapoppin on Apr 16, 2021 23:05:46 GMT
Best 2020 film I've seen so far. It's a life long horror fans dream. It's the quality I hope for from the genre everytime I sit down for the latest in the litany I've watched down the years. Those hopes are typically dashed, which makes this kind of winner all the more important.
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Post by Ryan_MYeah on Apr 4, 2022 7:41:37 GMT
I really loved this. Gets under your skin in a sickly fashion, brimming with thoughtful meditations on dark devotion and it’s psychological scars, while playing gruesome enough to have its pulpy cake and eat it too. Enough good can’t be said about Clark’s deceivingly innocent and sinister performance.
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Post by Martin Stett on Dec 4, 2022 20:00:18 GMT
SM has one fundamental flaw: MAUD IS CUCKOO FOR COCOA PUFFS! There is no reason to care, because Maud is batshit from the get-go. We have an alienating protagonist... which would be fine if the movie really dove in and tried to observe her from an objective point of view. But no, this is entirely subjective, inside her head.
I praised Joker for doing much the same thing (that whole movie is just a psychodrama in which everyone else fulfills the roles Arthur wants them to fill), but Joker wasn't relying on the standard A24 playbook - Arthur's sadness and loneliness are far more real, because we get actual dialogue and speaking and we get to see him look like a normal person before things go to shit.
Saint Maud is about someone seeing sin everywhere and looking to eradicate it. It is Taxi Driver except Travis has been replaced with a crazy church lady that is so over-the-top from the start that there's nothing to involve us in the story. Typical A24 garbage.
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