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Fight Club
USA, Germany
Drama, Thriller, Mystery
IMDB rating:
David Fincher
Edward Norton as The Narrator
Brad Pitt as Tyler Durden
Helena Bonham Carter as Marla Singer
Meat Loaf as Robert 'Bob' Paulson
Zach Grenier as Richard Chesler
David Andrews as Thomas
George Maguire as Group Leader
Eugenie Bondurant as Weeping Woman
Christina Cabot as Group Leader
Christie Cronenweth as Airline Attendant
Tim De Zarn as Inspector Bird
Storyline: A ticking-time-bomb insomniac and a slippery soap salesman channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until an eccentric gets in the way and ignites an out-of-control spiral toward oblivion.
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A controversial satire and a contemporary classic. perhaps the most post-9/11 film to have been made pre-9/11
Solid Acting and Amazing Direction A movie that wants to keep its audience unsettled from beginning to end. perhaps the most post-9/11 film to have been made pre-9/11, capturing perfectly both the stirring discontent of the Nineties and the madness both geopolitical and especially economic, that would erupt globally in the decade to come. Wildly inventive, exceptionally cast and undeniably controversial, there's an endless list of subtexts and viewpoints which will fuel debates for years. Fight Club is not just a movie, but a wake up call to a disenfranchised generation sick of being told by advertising what to drive, wear, buy, smoke, drink and eat in order to be cool. Fight Club is still today a definitive film, a statement as strong as any rock anthem and twice as packed with power chords.Essential Hollywood film of 1999.
It's Only After We've Lost Everything , That We're Free To Do Anything
I watched this movie 2 times - the first time was when I was around 11- 12 and the second time - I was about 19. And it definitely had a different impact on me. The first time I saw it I was like - wow, what a cool action movie!! But when I watched in my late teenage years, I understood it completely different. The message "It's Only After We've Lost Everything , That We're Free To Do Anything" is quite ambiguous, actually. I can't say i agree with it fully, but i also don't reject it.
An awful bore
I really didn't enjoy this film at all & I fall into the target group (male 20-30). 2/10 I'd give this.

There seems a belief too that anyone who doesn't enjoy it is either thick, against violence or especially 'doesn't get the message behind it'. Well, none of those apply to me.

In this flawed film, I understand that it was any of: a)a group of young men rebelling against a Borgeousie consumerism society. b)one man seeing how he is totally dissatisfied with life and how his mind tries to change things or c)people stopping to watch Cornelius fight himself because voyeurism is human nature the film makes a deliberate attempt to make the viewer feel guilty for being a voyeur. (I'll come to that later)

You can take your pick really, whatever way, I still find it crap. Any film (Shawshank Redmeption excepted) which concerns 'one mans' anything, generally creates no emotion in me other than boredom. The whole tagline to the film makes me want to puke: "one 30 year old man's journey of self-discovery."

So what? Are we supposed to sympathise with Norton because of this? I'm sorry but I have sympathy in films with people dying, or who's family have been killed. John Hurt triumphing over cancer in Champions, Tom Hanks in Saving Private Ryan, thousands of others. Even Norton himself actually in the brilliant American History X. In the 2nd half, I sympathise with him for the life he has found himself with.

But in this (and I find myself saying the same as I did with the equally awful American Beauty) Just because some blokes fed up & having a midlife crisis we're supposed to feel for him. Oh diddums. The only film where this premise has worked brilliantly is 'It's a Wonderful Life' with James Stewart. He was in crisis (and justifyably too) but never resorted to any of the levels stooped to here.

(That might seem a weak point, but It's just come to me & I can't put my finger on exactly why Wonderful Life is so far superior to Fight Club in tackling a midlife crisis, but they are as far extreme as you can get)

I'd also question whether we're all voyers? For every moron that slows down on a motorway to look at an accident on the other side, there's a 100 or so that can't believe the stupidity of it.

There are countless flaws too. The scene prior to the car crash wouldn't have worked? Who was Norton talking to? with the passengers there? Where did he acquire his knowledge of soap from? Would people have watched 1 bloke fighting himself? and much more too. Ok, maybe one or 2 of those have answers but I couldn't find them.

I think to really enjoy this film, you have to have clicked or empathised with the main character, and if you did, I feel a bit sorry for you. It would however account for the popularity of such things as marriage guidance councillors, drugs, footballers agents, even to a degree religion (but only when it becomes absolutely fanatical & life revolves around it).

Maybe it's just me & I'm fortunate but so many people seem unable to get through the little problems that life throws up on their own & without help of any kind anymore, like inventing a friend for one thing.

I know plenty of people who like this, intelligent some of them, so I've no problem with people who enjoy 'Arty & deep' films with psychological meaning to them. I just don't. But not through failing to understand them, Just merely through not connecting with characters who suffer problems like a 'mid-life crisis for non deserving reasons'.

On top of all of that, it was a very slow film too.
The first rule of Fight Club is to watch Fight Club!
I watched this movie along with District 9 on a long car ride. I approached both the same way I approached the 1986 version of The Fly: is this going to be so disgusting I'm going to barf ten minutes in? Luckily, like The Fly, both movies were incredible, and Fight Club was definitely the better of the two. The plot tells the story of an insomniac man (Edward Norton in his best role) who wants to improve his life. He gets that chance when he meets Tyler Durden (Brad Pitt in one of his best roles), an increasingly insane soap maker who creates the fight club of the title. Finishing off the terrific team is director David Fincher, whose work includes Se7en, The Game, and The Social Network. Without giving anything away, the 3/4 mark of the film gives us a MAJOR unexpected twist. After finishing the movie, I didn't know what to make of it. Five minutes later, I knew this film was a modern masterpiece that deserves its place at #10 on the top 250 list.
The comparison to Clockwork Orange makes me puke

This is a dismal movie. I'm going to spoil some stuff, so don't read if you don't want, but read on if you want to save some time and money.

After I sat through this abomination, I knew I'd come on here and see that it got great reviews, because it tried to be so artsy that weak-minded people would say they liked it just to try to convince themselves that they have advanced taste. Midway through I told myself that if I heard that "I am Jake's this and that" line again I would get up and leave, but sure enough I kept hearing it and I stayed. Maybe I'm as dumb as the filmmakers. The fact of the matter is that I haven't seen a plot this full of holes since "Slugs". So if I start a fight club, the participants will just start showing up at my doorstep out of the blue and turn into mind-numbed drones that do my evil bidding??? Not only that, but this movie also taught me that if I stick a gun in my mouth and pull the trigger, not only will I live but I'll be able to talk to people in my normal voice, as long as I put a gauze pad on it.

If you still don't know, this movie is about a clinically-depressed guy who's search for therapy leads him to Brad Pitt, who teaches him that beating the bejeezus out of people will brighten his spirits. More guys find out about this, and they all join the "fight club" and then naturally go live with Pitt to become his evil minions. Of course! This must be how the Wicked Witch found all those monkeys. Their evil deeds get worse and worse, and the supposedly still-sane Norton inexplicably keeps hanging out with this bunch. This leads to one totally inane scene where the evil monkeys return from a gunfight with one of their members dead, and all Norton can do is whine "C'mon guys, cut it out".

So after this movie backs itself into a miserable corner, it's only escape is the equally awful "It was all a dream" ending, where we find out that Brad Pitt was just Norton's evil imaginary friend, and that Norton had been committing all these acts himself. Please audience, forget the fact that the "imaginary" Pitt managed to pull Norton from a burning car wreck and pick him up off the ground and hurl him down a flight of stairs. I don't care how psycho you are, your imaginary friend cannot physically pick you up.

Plot hole #9233 asks us to believe that during this short time, Norton had been in EVERY MAJOR CITY in the US forming more armies of mind-numbed robot monkeys, and that every male over the age of 18 in the United States was now a member of his "secret" evil gang. So anyhow, Norton finally realizes that he's been crazy all this time, and to kill Pitt he sticks a gun in his own mouth and blows his neck off, a wound which apparently isn't as debilitating as you would think, since he manages to get right up and make up with his girlfriend and watch peacefully as his evil plot comes to fruition. But wait, you thought he was sane now and would be horrified at what he did? So would I, but that apparently also is not the case.

Before you typically think that my movie tastes aren't as cultured as yours, let me tell you that I loved the masterpiece that was "A Clockwork Orange", and this movie was NO "Clockwork". If Clockwork ended by telling you that the old man in the wheelchair was actually the killer and that McDowell was just his evil imagination, then we'd have a comparison, but Kubrick wasn't that horribly stupid.

I am Jake's bad movie review.
Ironic Anti-Corporate Message
The 90s were a time that focused on anti-corporate propaganda, where movies were openly mocking the corporate American life style where people were drones that worked their 9-to-5 job looking for an escape from the repetitiveness of their lives. Movies such as the Fight Club depicted their main protagonists in dull business attire, bland colors to drive the point home of the bland lives that these characters were living until their opportunity for release came along. Camera movement in these scenes were particularly slow and the camera would only zoom into Norton's face to emphasize the daily struggle he was experiencing in his life. After an explosion at his apartment, Norton is given the opportunity to escape the norm of everyday life as everything he has done in his life thus far is now gone. Fight Club mocks this scene as the first part of its anti-corporate message where Norton's entire collection Ikea furniture is now destroyed. However, Norton was lucky he recently met Tyler Durden, a man who encompasses all the traits that Norton wishes he also encompassed, a man who actively destroys the social norms such as splicing pornographic content into a family film and peeing in soup containers at a high-class restaurant. With nowhere else to turn, Norton seeks out Durden in an attempt to chase a life away from corporate structure. The house, is run down and decrepit, with a basement that floods anytime it rains, sketchy electrical connections and one that barely provides shelter, one that most Americans would choose not to live in. It is when he moves in with Durden that Norton learns of Fight Club, an organization that allows men to free themselves and express their masculinity by fighting one another until the other taps out. In the fight scenes themselves, the lighting stages the fights as being the focal point of the images, but blacks out along the first row of the ring of other fighters symbolizing that these fights are salvation for these men who are done with their mundane lives. The lighting in these scenes also tie into the movies anti-corporate message saying that nothing matters to these men in the outside world, the only thing that matters are these fights. As the movie progresses more subtle changes occur. As Norton chases his more perfect life, we see Durden become a more prominent character in the film, taking up more screen time and Norton seeming to suffer from his insomnia more severely than ever. Durden pushes Norton to become more daring in his actions to chase a high of living that Fight Club itself can no longer satisfy. This manifests itself as Project Mayhem which becomes the physical destruction of corporate life in the movie as the Fight Club evolves and becomes a terrorist group focused on destroying shops and statues that worship the corporate life. The ultimate goal is the destruction of ten skyscrapers among the city, but steps are taken to ensure that only the corporations are attack and innocent civilians are not caught up in the destruction. To emphasize the actual destruction, multiple camera angles are used which and at the point of impact, slow motion is used. The destruction also sees the lighting transition from dark before the terroristic act begin to the scenes being lit up by the explosions to show a relief on corporate America from the chains that Norton and Durden feel as though they are unshackling for the common corporate worker. However, some of the anti-corporate messages are lost when product placement sees the movie ironically being endorsed by the corporations that it is trying to portray as destroying the American dream. The thrill ride and twist ending make Fight Club an enjoyable movie, if not one that almost was lost in how ironic it could become.
Flashback Humor
(Spoilers herein) Films like this frustrate. This is so competent, so engaging that I curse it for wasting the chance to say something memorable, or important or perhaps both.

What's good is the way that they've solved the `narrator problem.' here, the narrator has imagined the hero (we find out), which is rather clever. We become cocreater of the hero because the narrator has cast the whole film as a conversation with us to explain the last scene which we see in flashback at the beginning of the film. Along the way, we are reminded that we are messing with the film, and the film with us. This latter goes so far as to have the hero work as a projectionist, explaining cigarette burns. He inserts subliminal pornography, which we see throughout with a longer, more noticeable flash toward the end. When we find out about Pitt's non-existence, it is underscored by images on `video.' Add to that the inherently cinematic nature of voyeuristic personal violence, and this film has us captured.

When we return to the last scene, Pitt tells us that the whole thing is `flashback humor,' the most strongly selfreferential trick I know in film. Obviously, the self-referential notion of narrator is the reason for this film. That's why Ed Norton bought the film rights to `Motherless Brooklyn,' which exploits a similar experiment in the narrative mystery. In that case, the narrator has Tourette's.

So the film competently captures us, and then what? A wasted opportunity. My major complaint is that this film meant nothing, imparted nothing, only thumbed its nose as if to say: I can capture you as easily as the doofuses in the story and for just as capricious a reason. We deserve better. You with talent should do better.

Lesser complaints:

Norton and Pitt are excellent, though Pitt has much the simpler requirement. Why waste Helena Bonham Carter? She's got the moxie; she's been memorable before. I think the director just didn't know how to use her beyond a vapid sullenness. Another wasted opportunity.

Narrative tricks like this are best when they follow the detective story `play-fair' model. This is what `The Sixth Sense' does. On a second viewing of that film, everything works, but with new information. More, some minor problems become clearer. Not so with this film. The writers have played too fast and loose with motivations. It is rather in the `oh, that was a dream' or the `oh, time travel reversed that' category. And it could have been tidier in this regard without messing anything up.

Most every scene was weird (a good) because it ran against short-term expectations. But the scene where Lou and thug visit the fight club is pure stereotype, and predictable. Why?

I wish the last scene were more, more something. This is where it really begins to hit you that the whole thing was motivated by an illusion, with as much effect.

Bottom line: this film is so good, and its makers so talented that should be held to higher standards. I give it a 9 for competence. You should see it for that reason. But it has no purpose.
Peli para repasar
It brings you many interesting life perspectives. Without letting yourself be carried away by the context that it raises of violence and its mental illness, the protagonist explores the modern lifestyle, what contributes to our reality and objective existence, also explores possibilities of how to change what you do not like about yourself, how to work from yourself to generate the external change you want.
Great hidden message only few know
we do not talk about magic. the film is a great metaphor for the system that has given us all a role. this is just a normal man with a twist of Chucks' style of portrayal is almost unseen by most modern Americans still to this day, late November 2017 Love the discussion with his alter ego
Welcome to Fight Club!
"Fight Club" (1999) Review By Christopher Tran

"Welcome to Fight Club. The first rule of Fight Club is: you do not talk about Fight Club. The second rule of Fight Club is: you DO NOT talk about Fight Club!" At least that's what Tyler Durden, played by Brad Pitt, exclaimed when he first established the so-called "club" in the basement of a bar. Never could he have imagined such a simple rule could lead to the expansion of the club to simply multiply overnight. He along with the Narrator, played by Edward Norton, create a dynamic duo that could influence the lives of many in the film which eventually led to the many emotional and intense scenes.

Originally a novel published by Chuck Palahniuk in 1996, the book would become a movie that would intrigue the thoughts of others into believing such a reality could exist in the U.S. at the time. While the time period for the film isn't specifically stated, it can be deduced to take place around the mid-90s. Multiple events throughout the film from explosions, riots, vandalism, to multiple personalities and various psychological disorders, make the film seem so realistic yet impossible for society at the time. The films realism approach with these multiple chaotic events gives it the dark noir vibe that most of David Fincher's, the director for this film, films take and also the reason he receives so much criticism from those who watch his films. This "dark noir" is depicted with multiple sexual scenes as well as vandalism and malicious activities centered around a crime driven film. The amount of suspense from the plot as well as the characters mixed personalities creates such an amazing film.

Going to the characters, just by comparison the Narrator and Tyler Durden are strong opposites. Yet, they somehow create a bond that allows them to create their own society. A society where one looks up to the other, wanting to be like him, almost like the average movie duo where one is obedient to the other while the other has the more vocal personnel. What makes this film great is how the interactions between these two characters evolve, deconstructs and soon implodes under the realization of the Narrator and his dual personality is what creates the amount of tension evident in the film.

The role of Marla Singer in the plot also has its impacts. An obstacle to the narrator becomes the romantic and sexual motivations for Tyler Durden's temporary relief. Despite what a nuisance she appears to be to the narrator by being the one mental block that interrupted his support group relief, she appears to be the main reason for the narrator to keep his mind straight especially during the time when he knows she would be in grave danger. Her psychological problems, as well as drug abuse, in the beginning, were there mainly to express the darkness of the crime central film and how some people at the time experienced some problems that she had to endure or bestowed upon herself.

Diving into this film seems great, plot and all. A story that revolves around chaos, destruction, and conflict. A psychological game that plays not only with the viewers of the film but also with the other characters in the film that play along with the "game" with the addition of the double personalities. A love triangle that appears strange yet somehow begins to make more sense as the film plays out. And most of all the fight club that started it all, acting as both the psychotherapy and the personality development the story needed. This movie has it all, a must see!
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