Home
AudioAsylum Trader
Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

For Sale Ads

FAQ / News / Events

 

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.

You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login


Login to access features only available to registered Asylum Inmates.
    By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username:

The Name that you picked or by default, your email.
Forgot Moniker?

 
 

Examples "Rapper", "Bob W", "joe@aol.com".

Password:    

Forgot Password?

 Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:  
Your Email:  
Subject:  

Message Comments

   

Original Message

"Boyhood:" the most lauded film of the year, the latest from Linklater, the director of the

Posted by tinear on August 10, 2014 at 08:42:06:

Ethan Hawke/Delpy trilogy about the couple through time.
Here, he has done the same thing, but with one character, following the same actor for thirteen years--- from 5 to 18.
Patricia Arquette and Ethan Hawke also are seen during these years in real time--- as the parents-- and their transformations also are surprising: Hawke ages very well, Patricia… less so.
But Ellar Coltrane, the center of "Boyhood," is the reason to see the film: his performance is Oscar worthy. His sister, the director's daughter, Lorelei Linklater, is good, but it's hard not to see she's a Latina--- not possibly a blood relative. Poor choice in casting, Richard!
The film?
Pretty standard American story, nothing very surprising, nothing upsetting--- a melodrama. It is interesting to ponder how the Japanese master Ozu took just such bland material and fashioned masterworks, but he was a singular genius and it's unfair to expect anyone to approach that mastery, again.
Still, in a summer of disappointment, this film stands out among those that haven't resorted to FX or violence.