Farzad-Doosti

Seeing this movie in 2025 offers a truly unique experience. Watching Play now, you can clearly sense the death of culture and the fragile peace of European nations reflected in its story. The film's unsettling realism hits harder in today's context, making you question how much has changed-or hasn't-since it was made.

As a foreigner, I found the cafe owner's reaction fascinating yet frustrating. When he simply said, "Please call the police," it felt like he was brushing off a serious issue, reducing it to a formality. My impression was that he'd never faced such problems before and had no clue how to handle them. This helplessness seems woven into the film's fabric-it's so realistic that I had to remind myself this might just be the nature of their society, not an exaggeration. It left me wondering: if a child walked into a cafe in 2025 with the same desperate request, would people still respond so passively? Or would the events in Europe over the past few years-rising tensions, social shifts-push them to act differently, to actually help?

The film also digs into deeper ideas. A society that tramples its own values and then gets attacked doesn't deserve pity-it needs to confront the oppressor head-on. Play shows this through subtle moments, like the bureaucracy on the train. That scene stuck with me: the train conductor, trapped by rules, can't make a simple decision. It's a perfect metaphor for how systems enslave people, stripping away their ability to act freely or morally.

Visually, the cinematography is striking. The long, steady shots create a cold, almost documentary-like feel, forcing you to sit with the discomfort. It's not a film that spoon-feeds you answers; it demands you think. Looking back, I appreciate how it balances art and social commentary without preaching. It's a slow burn, but one that lingers.

The Brutalist starts strong, with an engaging first half that draws you into László's immigrant struggles. However, the second half drags, losing focus with a scattered plot and irrelevant detours. The inclusion of nudity and explicit scenes feels gratuitous, adding little to the story or emotional depth. While the film aims for raw realism, these choices alienate rather than enhance. At 3+ hours, it overstays its welcome, turning a promising drama into a tedious slog. Decent performances and visuals aside, it's a mixed bag-6/10 for effort, but lacking coherence and restraint.

Overall, this is neither a great film nor utterly terrible; the hype around it was way overblown!!

By far the worst Joker series to date, I hope there will be no more Joker with Joaquin Phoenix.

The Musical Joker! At least if you wanted to give this genre a chance, wouldn't you use Lady Gaga? Really? Are you kidding me? Gaga? Is there a famine of actors?

This has been a clear insult to the fans and lovers of the first film, in no way did the director stick to the elements of the success of the previous film, Suicide.

Even no element from the comic book can be seen in the movie!!!

It seems that the film's existence can be described as a selfish project for Todd Phillips, Lady Gaga and Joaquin Phoenix. Of the film's $200 million budget, at least a quarter of the production money has been given to Phoenix, Lady Gaga and Todd Phillips.

Due to Todd Phillips and Joaquin Phoenix's desire for more acclaim than box office success, the film was conceived as more of a Broadway play than a feature film.