http://mymovie.medialife.org/ Brian's informal notes on the movies he sees en-us Copyright Brian Miller, even the weird stuff. http://mymovie.medialife.org/?action=movieDetails&movieID=3642 It's hard to believe I saw this movie in 2008. My previous note was a real novel so I'll keep this relatively short. I still liked it quite a bit; it's definitely dumb fun but man is it fun. I think I wasn't aware of who Bob Banas was in 2008 but have since seen his amazing dance to the Nitty Gritty (it's on youtube; fantastic) so it was a cool surprise to see that he choreographed this movie. Watching it right after Thank God It's Friday, this movie cares even less about story. I don't know that I'd even call this a comedy at heart but more of a variety show. Scott Baio has top billing but he's kinda sorta barely in it at all. Any sense of narrative constantly gets put on hold for song performances or dance routines or comedians. Dorothy Stratten's part is basically a bit repeated over and over, the wizard / dj throws lightning bolts from his fingers to cut break continuity in favor of presenting the audience with flashing lights and groovy tunes and people dancing on roller skates. It's phantasmagorical and I'm here for it. http://mymovie.medialife.org/?action=movieDetails&movieID=3642 Mon, 02 Mar 2026 19:42:45 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3641 This disco romp follows disparate people who come to the night club in search of fun, romance, or success and find all of that and more, plus The Commodores.

This is often touted as the "other" disco movie. It obviously came in the wake of Saturday Night Fever's massive success but the book I read claimed this was the better movie because it was actually about disco. Donna Summer has a role in it and performs an original song that would go on to win an Academy Award, Imdb trivia says this is the only film appearance of The Commodores as the band that plays during the dance contest, the soundtrack is comprised by most if not all Motown and Casablanca recording artists (and it's wall to wall music), and it's said to better showcase what the allure of going out dancing in the late 70s was all about. I'd agree with most of that, except being "about" disco doesn't automatically make it a good movie. This is a fun enough experience but there's no pathos or depth to any characters, and no real tension in the story. At their hearts, this is a comedy and Fever's a drama, but I think on multiple levels Fever's the better film.

That said, this was better than I thought it'd be! It very much follows the same format as a couple other generational dance movies Groove and... that other one that was on Netflix. Damn it... how do I even look this up. It's letters... OA? OH? XOXO! As a triple feature, I think you'd clearly see this movie, Groove, and XOXO as the evolution of American dance culture. Plus there are early appearances by Jeff Goldblum (same year as the Body Snatchers remake) as the Don Juan club owner trying to seduce a married woman on a bet with the house DJ, and Debra Winger as the clumsy uptight woman looking for a normal guy not wearing polyester. There's a dude called Leatherman (who wears leather (normal leather, not bondage)) and a spacey dental assistant with all the 70s pills people born when I was born heard about but never saw because red bennies and yellow jackets and luudes were not a thing by the time I was old enough to understand what the hell they were, there's a guy who's whole story arc is getting caught in a stairwell. It's goofy light-hearted fun but I found it to be pleasant rather than lame.

And this note was going to be a little more poetic because I started watching this on Friday night, but I fell asleep and had to finish it Saturday. Tight 89 minutes though, nothing to complain about there, and it put me in a mood to re-watch what I remember being a better disco movie, albeit one on wheels. http://mymovie.medialife.org/?action=movieDetails&movieID=3641 Sun, 01 Mar 2026 21:39:19 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3640 Nefarious businessman Zsa-Zsa Korda designates his nun daughter as his sole heir as he attempts to finalize an ambitious project amidst various saboteurs and frequent assassination attempts. AKA The latest Wes Anderson movie.

I'll say this. To the practiced eye, Anderson's style continues to evolve with every movie. Yes, at a glance it looks exactly like every other Wes Anderson movie and that's been the case since Royal Tenenbaums, but I see sprinkles off Asteroid City-esque exteriors here in the various Phoenician settings along with the various little touches and techniques that have accrued from all his past work. Technically and stylistically I can't fault it except to maybe say Robert Yeoman's input at this point is nil because he didn't shoot this but it looks exactly like every other Wes Anderson movie to me.

Benicio del Toro also gives an incredible performance. He had a small role in French Dispatch but he carries this movie with no trouble at all. I feel like every actor Anderson ever works with continues to pop up in smaller and smaller roles in all future projects, necessitating a literal army of very small supporting characters just to fit all his friends in, but Benicio's the star of this one and I think what makes it good. Yes, everything's delivered in that formal symmetrical tidy framed Wes Anderson way, but he works well in that stricture and you can still see mischief in his eyes.

Where this movie falls short for me, as is often the case with Wes Anderson, is actually caring about what I'm looking at. It's al so pretty and perfect but it often feels more like a rube goldberg device unfurling rather than actors portraying a story. I think the last one that actually made me feel something was Grand Budapest? Oh, maybe Isle of Dogs. The last few have felt kind of like stylistic implosion, approaching Wes Anderson singularity, like I think he's most susceptible to AI mimicry at this point. It'll be that SNL sketch, Midnight Coterie of Sinister intruders, over and over again.

I did like this more than Asteroid City though, and love seeing people like Tom Hanks and Bryan Cranston pop up. Again, they get like five minutes of screen time because there's so many damn people in the cast, but it's still cool that so many people show up for these movies. Bill Murray, similarly just a few frames of footage but a great role for him and great hair and make-up. Michael Cera also very good, notably good I'd say. Like I said, this one had a lot going for it, it just didn't quite connect with any kind of emotion for me.

I'm still a fan, and I find even though my reaction to each trailer is like "sigh, ok more of that," when I sit down to watch these I have some kind of fun. And at this point, a dozen of these films with no obvious stinkers (I say thinking to myself Darjeeling Limited deserves another watch before I condemn it), that's a career all of a sudden. I mean Criterion put out a 10-movie box set that already doesn't include his two latest. How Anderson has managed to consistently come up with these projects and execute them obviously true to his vision is a feat. I hope there are many more to come. http://mymovie.medialife.org/?action=movieDetails&movieID=3640 Mon, 02 Feb 2026 08:03:05 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3639 Wagner Moura plays... a guy in 1977 Brazil who returns to his hometown... and stuff happens. I didn't know a lot about this other than it's supposed to be good and the trailer more or less sold it as Moura's a secret agent or undercover or something of that ilk. The first act of the movie also hints at that so I feel like it's spoilers to mention to much more although just saying that tips you off that it's not what you think which is a spoiler unto itself so...



SPOILERS







He's not a secret agent. At least not that I understand. To be honest there's still a lot about this movie that I don't completely comprehend, but as I understand it the day after watching (because it's two hours forty minutes like every movie these days and I didn't want to write this note as the sun came up), he's like a political refugee because he upset the wrong person so he had to go into hiding? So he uses a fake name but... he also comes back to his hometown? where the father of his deceased wife is taking care of his son. So if he's out and about with his father in law it feels like he's not exactly Anne Frank. But that's sort of beside the point. I think mostly this movie is a commentary of living life under some sort of authoritarian regime. There are titles at the beginning which say this takes place in 1977 which was a time of much mischief (or something to that effect) and I don't really know anything about Brazilian history so I suspect there's many layers to this film that I missed because off that. But it's pretty clear that all the cops and ex military figures basically get to do whatever they want and Moura finds himself amongst other refugees and a network of resistance or at least sympathetic figures who help him. He also has contact with someone in the government? and has a recorded conversation with someone in that network? presumably?

Oh, and then it cuts to modern day and we learn that we're experiencing the story as this girl listens and digitizes old tapes as part of her job. So it's like a little Assassin's Creed type structure that explains fragments of narrative and jumps in time.

It also sets up the largest anti-climax in recent memory. This is really deep spoilers now so if you thought I was kidding and kept reading, i'm serious now. Stop here if you haven't seen this movie and want to. It's a good movie. I know I haven't gotten to the part of my note where I say how good it is but it's a good movie. If you like Wagner Moura or 70s Brazilian music or want to see some interesting Brazilian faces and a boob or two stop reading.

Ok, so we follow Moura's character for almost two and a half hours, and the narrative just stops because the tape stops I guess? Then there's a short scene where the girl listening to the tapes talks with her co-worker about looking up what happened to these people and she finds a scanned newspaper and there's an article saying Moura died with a picture of him laying bloody and shot on the street. Just a still in the newspaper, and that's it! Then the girl goes to talk to Moura's son (who's also played by Moura) and we learn that he never knew anything, that she probably knows more about his family's life than he does, and that's it! Ooph!

Now, this might sound like a total kick in the balls non-ending, but I think it just serves to reinforce that the theme of this movie is about more than Moura's character. He's just the conduit to visit how life in general was back in those days. So the brutal way in which is story is finished - both for him as a character and for us as viewers - just serves to show how dark those days were. Compare that to a movie like House of Dynamite (or whatever it was called) and to me it's totally different. This movie still delivers a satisfying ending, it's just not the ending you expect or necessarily want.

It's not since No Country for Old Men that I've felt such a narrative gut punch. Seriously affecting.

But the whole movie makes some interesting choices in what it shows us. That extra 70 minutes goes to airy scenes I think were meant to evoke some sense of living back then. Some scenes reminded me of Roma (Cuaron's not Fellini's) in their specificity. It's a pretty odd watch where I didn't really know what was going on for the first thirty or forty minutes.

All that said, I liked it a lot. I thought all the performances were amazing, I loved the look of the film, Once I got to the end and kind of realized what the movie was I can look back at the beginning and put some pieces together. I do still think there's a lot I didn't get but that's ok. It felt like a real glimpse of Brazilian culture, not just the Rio / Carnival / glitz or the City of God / Favella crime. There is a bit of glitz, there is a bit of crime (with some nicely effective use of gore). There's also a weird relationship with the movie Jaws happening and Udo Kier pops up somewhat randomly but he adds very nice flavor. Again, you kinda think of a German living in Brazil in the 70s and think maybe he's a nazi (which the dirty cops also assume) but quickly learn he's Jewish and has to suffer indignities all the way over on this continent just the same as he did in his homeland.

I think with how some parts of the world are going (USA most directly since that's where I live), the parallels and clear signs that we're entering a new phase in direct opposition to what our previous generations fought against is pretty clear so the messaging of a lot of recent shows and movies have also been pretty clear. This is a movie I don't think any redhats would understand but perhaps in Brazil the message is just as clear as a show like The Boys is here in America. It probably is now that I think about it, which makes this paragraph moot. I was about to say I liked how it was subtle, almost a bait and switch. You put the movie on thinking it's a spy thriller and find a very humanistic portrayal of life under corrupt authoritarian regime instead.

Good stuff. http://mymovie.medialife.org/?action=movieDetails&movieID=3639 Mon, 02 Feb 2026 01:06:45 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3638 The marketing worked on me for this movie. Damon and Affleck in a Joe Carnahan movie seemed worth watching. I didn't like Air much but keep meaning to watch The Last Duel and generally like Affleck and Damon. Carnahan can make a good movie. Why not?

This was decent.



SPOILERS





The premise of the movie is that a group of cops find 20 million dollars of cartel cash in a house and for some reason have to count it on-site before they take it in. Shit gets real when sketchy ass patrol cops show up and the cartel finds out they're there. But really the movie is about the temptation to steal the money and the cops turning on each other as they start to lose trust in one another.

Ok, so these types of movies wind up with a reveal of who the dirty cop or cops are and whether they win or not. This movie definitely has that but it also has a trick on the audience in order to set it up (which is certainly a spoiler so I hope you stopped reading if you haven't seen it and want to). I am not typically a huge fan of this since it often involves the characters acting a certain way just for the audience and it makes no sense in their lives, but this script is solid enough that I think it covered its bases and even though we have to see flashbacks during the reveal to follow the six paragraphs of monologue Damon has to deliver, I think everything generally fit together, at least right now after viewing it does.

I'm still a little hazy why the bad guys had to kill the cop lady to begin with and whether the whole thing was just a ploy for the girl in the house to get paid or I guess get out from the cartel's reach? But like, if the bad guys went after rips to begin with then... why kill her? Maybe they explain it in the very beginning of the movie and I didn't catch it. But Affleck calls Coach before Damon talked to him right? So it was just coincidence that the only other notable character in the movie was a bad guy? That falls into the casting trap there... And I guess Steven Yuen texted Coach about 150k but didn't text him an updated number after he found out there was more even though he was texting him constantly? And what would've happened if they didn't call and mention 150k ? Why did they even call? Were they trying to scare everyone away to take the money? And why did the cops show up if they already got texted?

Well... it's either late and I'm not thinking straight or you're watching the plot unravel in my mind as I write. Now I feel like it wasn't as good because I can't figure out what the hell the bad guys' plan was. And the text that Steven Yuen seems like he only mentioned thinking they were dirty to mislead the audience. He's certainly been on that squad a while right? We're meant to think he's snitching for internal affairs or something but if he was really texting Kyle Chandler then... who cares if they're dirty? Like, "hurry up i think they're dirty and trying to take the money before you get here?" Except the cops were already there? Oh, maybe they weren't. maybe that's why the black and white shows up. No I think it was reversed because everyone already had their vests on. So why did he even send texts if the cop car had already rolled by? What the fuck... shit.

Well, I guess I didn't like it as much as I did at the beginning of this note. Truly an example of Hitchcock's refrigerator test... liked it well enough while watching but it fell apart afterward. I guess just part of it doesn't make sense. I did still have a nice enough time watching it unfold but writing this note will probably be more memorable than the film itself. Time for bed. http://mymovie.medialife.org/?action=movieDetails&movieID=3638 Sun, 18 Jan 2026 11:25:43 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3637 I don't really know why I watched this. I suppose it was to see what fancy photography they managed in the F1 car similar to the fighter jets in Top Gun: Maverick. Those shots were pretty cool and I like Kerry Condon and seeing the glitz and money involved in the track locations is dazzling. The shots with fireworks going off and reflecting and bouncing off the cars was probably the coolest part of the movie for me. Everything else I didn't like. The story's every tired bullshit trope jammed together. Brad Pitt's also looking... kinda old in this, for the first time ever. He's still got his shirt off and everything and he's supposed to be playing an older has-been taking his second chance but I didn't really feel his performance here, or anyone else's for that matter. And it's weird using the brand in the title and they clearly leveraged that support into access and I guess cameos from real drivers or whatever but they also have to throw in these complimentary lines and stuff that makes the whole movie feel more like a commercial than the Lego movie did.

Granted, I'm not into F1. I don't watch the netflix show or know anyone or anything about it except names like Hamilton and Verstappen, whoever's been on Hot Ones. I'm sure Brad Pitt had fun driving the cars and the cameras show that he is, or at least the little smushed section of his face is in the helmet. So maybe this is for somebody just not me. I did like the first hour more than the second or the last half hour. Nice use of Led Zeppelin right at the beginning. I can give it that. http://mymovie.medialife.org/?action=movieDetails&movieID=3637 Mon, 12 Jan 2026 04:39:20 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3636 My holiday break is just about over. It's been a fun couple weeks and choosing movies over video games has resulted in a nice reminder of how much I love them. I've mostly watched new stuff or stuff that's been on my hd a while though and I wanted to end on a movie I knew was good. Something that's not Zodiac or Heat which I feel like I watch all the time. But when I got to thinking about what movie I wanted to see, it took a while. Like, what's a movie you know is good but haven't seen in a while?

I thought of this. Le Cercle Rouge (or "The Red Circle") is the movie that sticks in my memory as what tipped me over into being a Jean-Pierre Melville fan. I saw it about twenty years ago and my note was sparse (they mostly were back then) but I said I found myself liking it by the end. Since then, it's grown fonder in my memory as an example of a deliberately-paced movie that's sure of itself and knows it has your attention and pays off by the end. I made practice back then of renting criterion discs through netflix if I hadn't seen them before or wasn't sure I wanted to own them. If I liked them enough, I'd buy them afterward. This is one of the few that I did that with (I wish I'd done that more to be honest). But I haven't seen it since then. I've seen eight other Melville movies but not this one.

I still like it a lot. Seeing it now, I don't find it slow so much as methodical, borderline procedural in places. Just like other movies I like a lot, we spend a lot of time in this movie watching people do stuff without talking. We follow along with what's happening no problem, but there's no reason for the character to be talking so he doesn't. There's also not much score which I think accentuates the silence. Add on a soundtrack which sounds completely assembled in post and you have some moments which are literally silent because they didn't Foley anything and had no location sound. But that's the charm. You're with these guys, you're one of the crew, you're in the red circle with them.

I hate to say this, but this movie is sort of like a early 70s French Heat. I didn't remember following the police inspector as much as we do, seeing how his world works and his plans to catch this escaped prisoner who hooks up with Alain Delon by happenstance and winds up doing a job with him. It's not exactly 50/50 like Heat but it's close, and it also share a comprehensive nature of their worlds, not to mention a standout heist scene. Did I just watch Heat again?

One thing I'm not sure of is where the sits in the context of French cinema. It doesn't seem like this deliberate detail-oriented take on the criminal underworld was in vogue in 1970? Maybe it was? Looking at his filmography it makes sense but were noirs still a think in the mid-60s when he made Le deuxieme souffle? Was he out of touch or did audiences eat this up? I'm not sure, but it took 20-some years for America to catch up... with Heat. http://mymovie.medialife.org/?action=movieDetails&movieID=3636 Sun, 04 Jan 2026 11:08:34 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3635 Capping off 2025 is this horror movie that's been on my HD since 2018. A group of British buds go hiking in Sweden and make the terrible decision to leave the path and hike through the woods.

I thought this was really good. The woods are spooky, don't go in the woods, spooky shit lives in the woods. These are some particularly spooky woods as well (imdb says they are Romanian woods instead of Swedish) and shot very well. Good sound design, great creature design, and solid performances make this stand out. Just what the doctor ordered if he ordered a solid horror movie set in the woods.

I hesitate to say more about the story but there's some nice stuff in here, particularly the third act. The first two are kinda on autopilot but still executed well. The dudes make a series of terrible choices in order for there to be a movie but the last act elevates it in my opinion. http://mymovie.medialife.org/?action=movieDetails&movieID=3635 Thu, 01 Jan 2026 10:30:29 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3634 The early 80s Hollywood remake of the seminal Godard film, this one starring Richard Gere at his height and french model/actress Valerie Kaprisky. I put this on late and couldn't finish it until the next day. Perhaps for that reason, perhaps for other reasons, I really didn't like the first half of this movie but the second half kind of grew on me.

I think I can't go any further before talking about Richard Gere. I've never enjoyed Richard Gere on screen. I'm sure he's a nice guy in real life and not trying to convince anyone who likes him that he sucks, but I hate him in movies. I hate looking at him, I hate listening to him, I hate his face, I hate his nose, I hate his earlobes. So a movie starring him already has two strikes against it in my book. This movie feels like an erotic drama built around him. He's bare-chested through most of the film, gets naked multiple times (yes, you do see his dick), wears loud retro outfits that fit him exceedingly well ("what are you trying to do, disguise yourself as an asshole?"), there are many many shots of him doing his thing. Even though his character is all over the place and unsympathetic in many ways, I think we're supposed to like him and I think the filmmakers rely on Gere's charisma to accomplish that. Since I'm impervious to his charms, much of this movie was lost on me.

Now, to be fair, I think the female lead was cast because she's hot and young and French and she takes her top off multiple times and you see her full-frontal for a moment and she's in sun dresses and swimsuits that show off her figure for the whole movie and I think the filmmakers also rely on her sex appeal making up for her wooden English-as-second-language performance. This worked on me more than Gere but I still saw what was going on.

For someone who likes but doesn't love the original, how this even wound up on my hard drive was due to glowing praise in Tarantino's book. Now that I've seen it, this makes sense. The movie's very stylish, there are old cars and Gere's retro costumes match a very Tarantino-esque swagger. Link Wray's on the soundtrack, Gere reads Silver Surfer comics, style and "cool" are heavily prioritized here in a way that most other 1983 movies were probably not doing. I think this is the first time I've recognized Tarantino source material without being told about it first like Taking of Pelham One Two Three or City on Fire or They Call Her One Eye or whatever.

I also understand that Gere largely represented the rise of eroticism in 80s cinema. American Gigolo's also on the HD which I'll get to sooner or later, and movies like Body Heat, Body Double, Fatal Attraction, even Basic Instinct all the way up to Adrian Lyne's Unfaithful with Gere and Diane Lane (which is a remake of a Chabrol movie, thanks imdb trivia) I think are all in some way attributable to Gere's dick in American Gigolo. So I get this movie's purpose and respect it. As a child of the 80s , sex appeal was a critical component to movies back then that we have lost (i think due to porn being literally everywhere on The Internet).

It's just, for me, even if it weren't Richard Gere, I wouldn't like this movie. Godard's movie works because he uses a kind of standard noir premise and breaks the medium telling it in as new a way as he could. This movie literally has Gere singing the Jerry Lee Lewis song "Breathless" and telling the girl "I'm breathless." The end of the movie is him singing it in close-up then cutting to credits as an X cover of the song plays. Ugh.

The times where Gere has to be tough it comes off like he's playing in a school yard, the times where he's being romantic come off skeevy and pushy to me. Kaprisky is very beautiful but that's about it (I will say this. Gere's acting is much better than hers).

Also, Bruce Villanch has a small part where he's robbed while taking a shit. That was fun, and James Wong has a small role which is fun. And the cops are kind of hilarious. I spent the whole movie hating on Gere's costumes but the cop's pants at the end are just as obnoxiously loud as anything Gere wears.

And lastly, I just want to pontificate a bit about how old I am and how crappy the last 25 years have been. This movie came out 20 years after the original. So in 20 years, movies went from the French New Wave to silly spy spoofs and psychedelic hippie movies to Bonnie & Clyde to gritty 70s stuff - The Godfather, The French Connection - to the birth of blockbusters with Jaws and Star Wars and this movie is on the precipice of slashers and action franchises. Twenty years ago today, we had... 40 Year Old Virgin? A History of Violence? Munich? Walk the Line? Is it me or could these movies come out today? What the fuck? The cars Gere boosts in this movie are like 20 years old and they look like alien constructions next to the boxy shit of 1983. A 2005 car looks exactly the same as a 2025 car except for the headlights and the computer screen in the dash. Now, I guess you could argue youtube wasn't as big back then and the iPhone would change the entertainment medium toward Vine and Tiktok and Instagram. Netflix streaming, 4k, the brief window of 3DTVs... and when I think of 2010s movies or 2020s movies I think of Marvel, CGI-fest tentpole glop so maybe it's not so much as nothing's changed but more that it's changed for the worse. I think the identity of 2020s cinema might be that of a death throe? I don't want to be doom and gloom but it's hard to watch a movie like this and think of a modern comparator. But also I graduated college in 2000 and time's been on fast forward since then. I couldn't tell you the difference between 2010 and 2015 but I'm sure someone who was in high school then could.

Anyway, I guess the length of this note suggests that even though I didn't like the movie it did make me feel things, so you win this time, Richard. http://mymovie.medialife.org/?action=movieDetails&movieID=3634 Wed, 31 Dec 2025 22:33:22 GMT http://mymovie.medialife.org/?action=movieDetails&movieID=3633 This adaptation of Joseph Wambaugh's first novel follows Stacy Keach and his fellow rookies Scott Wilson and Erik Estrada as they embark in a career with the LAPD. George C Scott plays Keach's mentor and there's several other familiar faces that pop up but it's really Keach's movie.

This was pretty decent. I like how there are passages of time as we follow Keach as a rookie then working for vice and so forth. It is kind of a straight-forward cop movie but I gest the sense that it's one of the first to kick off a grittier more realistic 70s take on the cop movie vs. earlier stuff like Dragnet. I guess Bullitt was late 60s but I wouldn't call that movie gritty. So seen through that lens, this movie's pretty gritty. For today, it's kind of a standard cop movie. There's some nice LA location photography though including a very nice shot of downtown and all the freeways. I don't know my LA geography enough to know if that's special or not but it's a nice shot in the film.

On a final note, the copy of this I found online had encoding issues or something because it was all out of order, like the chapters played on random. Very jarring at first since scenes would end mid-word. I thought it was a stylistic choice at first, like almost a montage of daily life as a cop but then Keach had a mustache and George C Scott was retiring and I knew something was wrong. That's the risk of tracking these movies down online vs. buying physical media. To be honest, the effect kind of juiced the movie for me since I was mentally stitching these scenes together in my head and making my own timeline. Not something I'd want to happen with a movie I was more invested in but the movie already has a somewhat anecdotal or episodic nature so it wasn't so bad I turned it off. http://mymovie.medialife.org/?action=movieDetails&movieID=3633 Wed, 31 Dec 2025 09:23:54 GMT