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Where can I watch this? Does not come up in justwatch.

A24's putting it in limited release on April 19th and then going from there.

Omensetter wrote: Sat Mar 02, 2019 8:16 pm A24's putting it in limited release on April 19th and then going from there.

Thanks. In the mean time I'll check out It Follows.

Aunt Peg wrote: Wed Dec 05, 2018 5:45 am

Ribs wrote: Wed Dec 05, 2018 12:42 am It’s out on BD in France next week. I don’t really think A24 minds considering the Lobster was a huge success for them and was out on other platforms for a very long time.

What are the chances of the French subtitles being optional?

100% - I have the Blu Ray and you can select 'Off'.
The quality of the disc is excellent too.

Not surprising and probably wise, but A24 really dropped the ball on this one and let down Robert Mitchell. This thing premiered in Competition at Cannes and received decent reviews! They clearly should have stuck to their original release date. I get to see it sooner, but naturally one wishes better for these sort of films.

I assume A24 will eventually release this on physical media or will I have to purchase the French Blu Ray?

I saw a June US Blu-ray release mentioned somewhere

domino harvey wrote: Sat Apr 06, 2019 5:27 am I saw a June US Blu-ray release mentioned somewhere

Thanks for that. I'll hold off for the US release.

never mind.

D50 wrote: Sat Apr 06, 2019 2:13 pm Just checked justwatch and it's available on amazon to stream.

You might want to check that title again. Although it's probably a better viewing experience.

This can be taxonomized among other LA-based shaggy-dog stoner-mysteries, alongside The Long Goodbye, The Big Lebowski, and Inherent Vice (and maybe The Big Fix), of which Under the Silver Lake is probably the least of these. It's a daft plot, to be sure, but it speaks to how hyperlink culture and conspiracy culture intertwine, and how most of pop-culture is geared toward skewing the minds of men (especially men). Garfield's character internalizes and interlinks an abundance of ephemera into a working theory about his world, and the fact that he might be wrong (or that he might be right?) is definitely a key component of the film. Without spoiling anything, the fact that his character is unemployed factors heavily into his willingness to submit to his wildest conclusions. The original conception of The 'Burbs also tried this, with an unemployed Tom Hanks using his abundant spare time to speculate on the crazy next-door neighbors, and with the possibility that he has been wrong the whole time. Much like Adam Scott in Parks & Rec, men get weird when they don't have a job.

Meanwhile, Under the Silver Lake feels long, and a major thread (involving music) is an OTT miscalculation. The pacing is meandering and the stack of tangents begins to feel like one-damn-thing-after-another. I didn't like Garfield's character even though I recognize him in the real world. However, I bought into all of the above in the original (fantastic) trailer that dropped, it feels like, ten years ago. Shooting for an internet-era stoner-noir is admirable, it mostly hits, and the vague hostility or bafflement directed toward it is itself baffling. It's not necessary to like Garfield, or to tie every thread into a Grand Unifying Theory, which itself reduces everything to a breadcrumb and minimizes the lunatic randomness around us. It may be that Garfield's urge to make everything connect is his main dysfunction, and a symptom of his inability to gain momentum in his life. This is a worthy film in many ways, and is bound to develop a cult following.

I guess it's logical for a movie about how life can be so uneventful we start grasping at straws trying to turn the smallest things into huge stuff, but this gave me what I felt to be... well, an uneventful movie.
Clocking at 2h30, it's also absolutely dragging all along and while the first hour was relatively pleasing, I started not caring anymore about what was happening past that. It's not Garfield's (or the cast's) fault, because he's quite good in it, and the movie is visually well crafted, but the movie seemed mostly interesting in packing and stacking the biggest amount of useless details, and not much more.

Maybe it would have felt more impactful if it was much tighter (like 1 hour tighter) but as it is, it just felt shallow to me, but more problematically, it felt very self-indulgent, but also tediously overlong for such a superficial point to make (a point that I don't think is daring or clever or original, or anything).

I have no doubt it's likely to develop a cult following but I'm not sure it'll be for good cinematic reasons.

All these hidden messages sort of make me want to watch it again, but even when I'm into art like this (Mulholland Dr. Inherent Vice, House of Leaves and Infinite Jest) they tend to be both surface and what lies within. I just felt this wasn't, even though I was grooving with it for a while. The thing is the message just lacked any investment on my part, contrary to something like Inherent Vice that also is hard to make sense of (if it does at all) but has so many emotions lurking within for me to watch onto.

I did find here they weren't adding much, except trying to build a web of some sort that ended up being pretty much useless red herrings (though I guess that WAS the point, the result remains this).
Much of it also, indeed, felt too detached to drag me in somehow, and I just felt kept for a long time at a distance for this. I'm also unsure if we are supposed to laugh at all of this and consider Garfield as a silly stoner wasting his time chasing a mirage or if we're supposed to feel for him and care for his search. That didn't help.

Most people who liked it seem to enjoy this middle ground i.e the film criticizing Garfield but also making us follow the same path as he. Which is why I said I appreciate the lengths they went to with the hidden symbols but the reveal was just too blatantly stupid and silly but not funny or ridiculous enough for me to ermbrace it.

I actually liked the reveal, which I didn't find funny but clever though.

Disasterpeace score - an orchestral work surprisingly! - now available from him on Bandcamp.

It's another fantastic score--best part of the movie

Available to stream.

Lionsgate has updated their listing and seems to indicate this will just be a BD-R!

The recent Half In The Bag episode (spoilers) was on the film and says that apparently the film was streaming on Amazon in the wrong aspect ratio. Hopefully that will be sorted out for the Blu-ray release. The film looks quite interesting from that discussion, although I do have a bit of a weakness for 'insane Los Angeles set follies on paranoia and surveillance' films such as Southland Tales and The End of Violence (and of course Lost Highway).

Is David Robert Mitchell out there peeing on film executives' lawns?

I rented this on Amazon about a week ago and it was in the same aspect ratio as the trailer.

I thought the film was awesome too. It is self-indulgent but for me that manifested not so much in shagginess but, almost the opposite, hitting certain points in the (nearly) formulaic hero's journey with a little too much operatic obviousness. While the Pynchon comparisons are appropriate, this is really its own film with its own identity apart from Inherent Vice. It's different in the way it nails specific male elder millennial anxieties and does so with an edgy, live wire paranoia rather than a vague, smoky, stumbling one.