Michael Hanake meets the Blair Witch Project in Kim Gok's Exhausted, a vicious kick in the pants to everyone in the audience, all in the name of "style." A man meets a mute woman, and as any reasonable person would do in such a situation, makes her his prostitute. But the pimping is the least of our problems. As we get exhausted by the grainy faux-16mm camerawork, the film gets increasingly deranged. The closest thing we get to a sympathetic character is the pimp, simply because he's got too much self-respect to fuck a mute whore. Everyone else is either a gory mess, or a gory mess in disguise. Even the prostitute, which even a thug like Lars von Trier would make likeable, comes off as a delirious scary woman whose shrieks strike like blows to the jugular.
Kim Gok has seemingly abandoned the Marxist critiques of his short films, going instead for mindless brutality which culminates in an endless bloody freak-show involving, among other things, a pair of scissors going where pairs of scissors should not go. In the middle of the bloodbath, we get an extended long take of the beaten prostitute's near-dead face, but it does not elicit sympathy or pity. In fact, images of the victim only make us shy away in shock. (Indeed, the extended sequence led to continuous walk-outs during the Pusan screening.) The long take invites us to stare, but it assumes we're as sadistic as the victimizer (and the film) is. Meanwhile the sound-effects (mostly a rumbling bassline that shakes the theater) pulsates with pure wickedness. With Hanake, shock creates reflection, which asks that we be critical. Here, we only want to escape. I suppose Exhausted has some virtues; the shots of drilling machines and factories provide a mesmerizing phallic backdrop to the pimp and prostitute's pursuits. But everything else hurts too much. At least Kim Ki-duk lets us breathe. Exhausted makes Bad Guy look like Lady and the Tramp. (asiaarts.ucla.edu)
That's why we fall . We fall to get back up .
父母的眼睛是光，照亮孩子的未来。 更努力更付出更懂得牺牲精神
所以，非法移民是否值得提倡？他们提供的社会劳动力，是否跟他们享受的社会福利相匹配？
可以看得比较轻松愉快的影片，无论剧情人设特效都充斥着好莱坞流水线化的标准品质，但攒在一起倒不算太违和，这几年好莱坞水平下降得厉害，这片子倒是让人找到了一点“前疫情”时代的感觉。
心甘情愿困在“死侍”类型角色里的瑞恩雷诺兹。《死侍》、《王牌保镖》、《大侦探皮卡丘》、《失控玩家》和《红色通缉令》，在不同的影片扮演着相同的自己。我很喜欢瑞恩雷诺兹，但我不想看到“小贱贱”和他自以为是的嘴炮。
流水账电影，励志题材拍得让人毫无波澜也是蛮有难度
这不像是电影。更像是创作者们合作的一个展示作品，为了冲奥去的。小K秀表演，摄影秀构图，后期秀调的滤镜，服装师更不谈了。唯独导演，没平衡好这一切。也不全怪导演，剧本本来也不够。
这选角选的与其说是多元宇宙梗不如说是伦理梗
好无聊，为什么爸爸认出了未来的儿子，妈妈没有认出来，太假了
Une grosse publicité maniérée du paysage allemand, de Chanel, de KFC, de tout ce que tu veux sauf Diana...
对了，不知道现实中字母哥真的对第一个代理人不离不弃呢？
能看出来k很用力，但可惜表演有点刻意过分了
不及预想出彩，瑞安仍旧定型。爱情是在错误的地点与正确的人重逢，亲情是以逝去的微光照亮漫长的未来。陪伴是能敞开坚强的怀抱、也能袒露脆弱的缺口，勇敢是能接纳未知的结局、更紧拥有限的相遇。难熬的是深夜的酒，能够慰藉的仍是清晨的粥；神圣是当我仰望星空，幸福却是与你俯瞰大地。
时间论点好像太随意了而且没有悖论…就当爆米花电影看吧，顺便吐槽一下IGN评分，一个评游戏的评电影，好片评低分，烂片评高分，这部给了9分…跟着相反的来看估计就行了…
商业爆米花，没什么营养，合格无趣，小贱贱戏路越走越窄，这是要彻底定型了吧。
故事流水账，电影乏善可陈，字母哥自己挂执行制片的名头，所以他也不会告诉你他是怎么变这么厉害的，反正就是一下子就天赋异禀选秀进NBA就是了。
瑞安·雷诺兹和沃克·斯科贝尔互相斗嘴之类的内容，凑时长的剧情，佐伊·索尔达娜饰演的Laura过来秀一段类似西部复仇片的科幻式战斗就没了。
挺好一题材拍的是真不行，建议大家出门左转看刚有了资源的《必胜球探》。
最近莫名各种接触希腊，希腊的书希腊的电影。字母哥还是励志的，这片子也从一些角度展示了选秀的过程，挺好。
概念还挺好的 看到母亲的桥段还以为要神作了 可惜也只是浅尝即止 影片执行得有些草率 可以定义为披着科幻外衣的家庭温情片 最后的调情和互动真的挺动人的 还是值得一看
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