SummaryArlen (Suki Waterhouse) is unceremoniously dumped in a Texas wasteland fenced off from civilized society. While trying to orient her unforgiving environment, she is captured by a savage band of cannibals and quickly realizes she'll have to fight her way through her new reality. As Arlen adjusts to life in 'the bad batch' she discovers th...
SummaryArlen (Suki Waterhouse) is unceremoniously dumped in a Texas wasteland fenced off from civilized society. While trying to orient her unforgiving environment, she is captured by a savage band of cannibals and quickly realizes she'll have to fight her way through her new reality. As Arlen adjusts to life in 'the bad batch' she discovers th...
Amirpour could have reined in her penchant for laconic coolness at times, but where’s the fun in that? This fractured fairy tale of the marginalized have-nots and the bonds they forge continues the director’s obsession for the genre films she grew up with while adding her own contemporary sensibilities, and the result is an ultimately satisfying journey.
I signed up with Metacritic just to write a review of this film. Some people are calling the director, Ana Lilly Amirpour, the female Tarantino. I can see why: The Bad Batch is stylish, brutal, and has a thumping good musical score. But it also has a humanity and, frankly, a complexity that Tarantino lacks. It’s appalling that this film gets only a 62 metacritic score. It’s one of the best films I’ve seen in years: original, dense with meaning, beautifully filmed. Yes, it recycles some Mad Max tropes and scenery, but to really interesting effect. Reviewers who claim the film lacks a coherent center or narrative arc are embarrassingly off-target. What starts out as a straight revenge story becomes increasingly layered, weird and challenging. It looks superficially like a genre film but is actually so much more. Don’t wait to see it on TV because it was definitely made for the big screen, both visually and musically. Just stunning.
I loved this film, It speaks of mercy, forgiveness, and the ability to look deeper into a person, to understand their perspective... Miami man and his group were ashamed that they must cannibalize to survive, hence the loud music and head phones when they took from their victims. But they did what they could to make things less painful, like the tourniquet and shot in arnels arm before amputation, probably numbing solution. Miami mans woman even said I'm sick of this **** sick of it. But in the desert, where I'm sure most wildlife/plant life has been killed off, what do you eat? How do you survive? You have to eat something, our life is a life of consumption in order for us to live something must die. Dogs eat rabbits, rabbits eat grass, grass lives off soil, soil is dead plant and animal matter. Everything comes full circle...
Miami man could have taken advantage sextually several times but didnt, infact he showed courage and killed someone to keep arnel safe, she didn't need her leg to find his daughter. Even showed compassion seen thru his art work and when he covered both of them in a sand storm. You can even see arnels confusion while they sat under the blanket he could have left her out there while he covered himself. She saw that yes he's done horrible things but morally he's more sound then the Dream, who was predatorizing young girls and feeding drugs to the rest of the villagers. All to keep them dependant under the guise that he loved them all for their strangeness, when he was using them all so he could live a soft life in comfort. Miami man showed her that life is not black or white it's grey. This film was about human nature at it's worst and at it's best seen thru Miami man.
I find this film beautiful in it's simplistic complexity and I think the reason most why people hate it is due to its simplicity. There is no plot, their is no love story, there is no guidance. As you get in every film they take your hand and lead down the path... this film is like the bible you see what you want to see and everyone sees it differently. It is meant to be vague for a reason
Amirpour has vision to burn, and inside this not-so-bad batch of splendid atmospherics and half-baked ideas is a leaner, sharper movie trying to chew its way out.
Amirpour has the potential to see things as no other filmmaker does, but she doesn’t yet have a vision, and she may not as long as she keeps fiddling around with genre conventions laid down by others. She’s an eccentric magpie of a director, and this time the pieces she collects glitter but never quite cohere.
****/2018/06/26/rezenha-critica-amores-canibais-2016/
Canibalismo, futuro distópico pós apocalíptico, sobrevivencialismo, escassez de recursos, um PUTA elenco, ocultismo e muito amor. Confiram a “rezenha” crítica de Amores Canibais.
Em um futuro onde a população é separada como mercadorias, estragadas ou não. Após a fronteira dos Estados Unidos não existem mais regras, pessoas lutam pela sobrevivência espalhadas por diversos grupos, sendo um deles de canibais e outros de seguidores de um falso profeta que se auto intitula Sonho.
Não se enganem com o frenético e tenso começo onde que Amores Canibais chega na voadora com os dois pés, da metade até o seu desfecho a obra opta por uma narrativa um pouco vagarosa mas ao meu ver bem desenvolvida, o que pode ludibriar os que pensam apenas na ação desenfreada, o filme tenta e consegue transmitir a mensagem sobre a distorção do que é certo e errado e esse constante dilema fica em nossa cabeça pelas quase duas horas de duração.
O filme conta com um bom desenvolvimento dos personagens centrais e com um apoio coadjuvante que se destaca ainda mais, principalmente o personagem do mendigo, que para mim mesmo sem proferir uma palavra diz muito e nada faz eu mudar a opinião de que seja um Jesus Cristo em meio ao caos.
Não precisamos saber o porque do mundo estar insano, separando quem presta e quem não presta ou porque algumas pessoas simplesmente decidem comer gente e exercitar-se como se estivessem em uma academia no meio do deserto. O que queremos é que aquela treta toda se resolva da melhor forma possível pra todos!
Iria assistir de novo? Sim.
Minha nota é 4/5.
In the land of savages!
The overall concept was good, but I did not like the initiation. I don't like any film of cannibalism. I don't know why such films are made. What's the point! Definitely not entertainment or art. It could only encourage such savage culture. So I thought I made a mistake picking it to watch. Except the opening, the rest of the film was different. Then ended as a just below average product.
In a near future, where all the criminals, illegal immigrants are dumped in a waste desert land. So they have made their own system, divided by two. One the savages and the other is kind of civilised, but not without flaws. A new arrival who experience from both the end, had to decide where she belongs when a series of bad events had taken place.
Here comes another film from a woman director. Her previous film was one of the worst in the history of filmdom. And again this is not her best work either. Though I liked the cast. They all performed well, particularly Jim Carrey. Yes, I did not recognise him at first. Then there's Keanu Reeves. But Waterhouse was good. I wish her a good future. Generally not recommended, but then it's your choice!
5/10
If you watched a 10 minute clip of The Bad Batch at any point in the movie you would think 'Wow, that looks really good'. But the film really falls apart once you actually sit down and watch it in its entirety. @postcynic Calling Amirpour "the female Tarantino" is like calling my dog "the female Tarantino" (I don't have a dog). I have no problem giving praise to a filmmaker but what you are saying is asinine. Are you Ana Lily's grandmother? Clearly there is some bias there.
The Bad Batch is the first American film from Iranian director Ana Lily Amirpour. Just a few years ago, Amirpour launched onto the scene with A Girl Walks Home Alone at Night. A chilling black-and-white vampire film, A Girl Walks Home Alone at Night was a slow and thinly written film, but one with enough atmospheric tension and narrative progression to complement Amirpour's stylish visuals. The Bad Batch, however, does not possess the same quality. Rather, this desert-set and sun-drenched film about a young girl named Arlen (Suki Waterhouse) who is sent to a prison for undesirables set in a portion of land south of Texas that is claimed by no state, is one that has many stylish sequences but just has nothing under the surface. There is no readily apparent theme, idea, or narrative hook to this film. It is devoid of tension or intrigue, both of which were found readily in Amirpour's prior film. Instead, The Bad Batch serves an indulgent excuse to wander around the desert with a model who cannot act.
The film's strongest element is certainly its visuals. Though just a mishmash of Amirpour's inspirations from, mainly, western films or more modern drug-infused indie films, The Bad Batch is nonetheless an often gorgeous work. The classic western low-angle shot of a person walking towards the camera from a distance with the sun at their back is utilized here and looks terrific. Shots of the terrain or even the blue-lit shots in the home of The Dream (Keanu Reeves) are often rather gorgeous. However, the pinnacle of this film is when Arlen takes drugs at a concert held by The Dream. Tripping with the camera spinning about, rapidly cutting, and lit by the blue aura of the moon, this sequence is one that really captures the moment perfectly. With this editing technique, Amirpour simulates the feelings of being on drugs rather well. Her distorted vision and her dangerous encounter with cannibal Miami Man (Jason Momoa) really do ramp up the tension as she is unable to decipher what is going on, who he is, and what could happen to her as she trips out of her mind. Often visually gorgeous, The Bad Batch is a film that can be defined as a hypnotic fever dream. Unfortunately, though it may possess the colorful and stunning visuals, it also shares the confusion, lack of cohesion, and shallowness, of a fever dream.
This is largely communicated via the plot's lack of narrative thread. Jumping from event to event as Arlen traverses this territory that holds people in the "bad batch", the film seems to lack any forward motion. Things occur, she has a bad encounter with cannibals, she is upset and goes to get revenge, she stops getting revenge randomly, she has to find Miami Man's daughter, she does not for a while, and then she finally starts looking only to meet him again. There is just nothing to grab onto. It is a plot that sort of just floats by with nothing but stunning visuals to hold it together. A lot of this issue is contributed by the film's absolute lack of dialogue. Thinly written films are fine, but the problem with The Bad Batch is that too often the dialogue is so sparse it is only used as exposition or to explain the thematic meaning of events or phrases. Often on-the-nose - The Dream explaining what "the dream" means or Arlen asking Miami Man why he is in the "bad batch" - and exposition-laden, the dialogue in the film's random appearances are never really welcome. Never illuminating anything regarding the constantly shifting direction of the plot, never really building characters, and only serving to explain what is happening at a certain location, The Bad Batch is just a hollow endeavor that lacks any meat on its bones.
Of course, there is no requirement that a film tell a story. There does not need to be a narrative thread to a film to justify its existence, but then two things must be true. However, it then has to have great thematic depth to provide substance to the film-viewing experience, be character-driven, or be shorter. On all three fronts, the film fails. At an overlong and bloated two hours, the aforementioned lack of characters hardly helps matters with Amirpour hesitant to ever write anybody in this film beyond one-dimension. With regards to its themes, the film hints at some intrigue regarding The Dream and his harem of women, how Comfort runs on drugs, and more, but it hardly does anything with these items. Rather, it just presents it as it is, never explains how he got the money and place to live in a desert prison, and moves on. Amirpour never dedicates time to exploring his lifestyle or, when it does, it just comes out and explains what it all means. With such thin writing, The Bad Batch is hard to describe as anything better than vapid and pretentious. It has nothing going on in its mind of any depth and when it does, it just comes right out and says what it is about via simplistic metaphors ("the dream is inside me" or growing fruit).