Uncut trash

I had to abandon watching Uncut Gems, the movie slavered over by nearly all critics in one of those cases where their enthusiasm looks more like a group dynamic than anything the mere audience can understand, after 30 (maybe 40?) minutes.

Three things about the film were rendering it unwatchable:

1.    has there ever been a movie with a worse sound mix?   It had to be intentional, and I presume designed to make situations seem more stressful; but to me it's a complete artist failure, and doesn't feel like real life at all.   If you have seen it, you would surely have to know what I mean - the way dialogue is surrounded by a soup of other noise (mostly, other people voices).  Here's how I think real life works:  even if you are in a room where everyone is talking but you are concentrating on one speaker, you either have to both shout to be heard over the din, or you are able to mentally focus on the one voice and don't notice so much the other murmur.  And in film, unless you have characters shouting at other over noise, that is why you can reduce the other ambient noise to a level (and a kind of blur) where the audience doesn't find it distracting.   This movie ignores that completely.

I don't know how they did the sound in this film - maybe they did just put mikes all over the place and let the extras talk and not bother mixing it at all.    But it really, really, drove me nuts, because my mind refused to accept that this is how sound in film should work.

2.   Has there ever been such a praised film with such a God-awful, weirdly anachronistic musical soundtrack?   It reminded me a bit of John Carpenter's cheap-as electronic soundtracks.  But he was working in the 80's - this film is set in 2012.   I have no idea why they thought this was appropriate, and it kept intruding too.

3.   As I have always said, it doesn't matter what the swear word de jour is, and I don't care if it reflects how certain people in New York speak - its intense overuse in a screenplay renders dialogue into a tedium of listening to what is effectively just a verbal tic.   (Don't teenagers who get into the trap of using "like" once or twice n every single sentence start driving you nuts?  Why am I supposed to find one verbal tic irritating, but not another?)    I see that it's in the top ten movies for "f count" - looking at the list there is only one other I have seen (Casino - and I remember feeling it was OK-ish but not particularly great).   


Of course, movies about seedy characters and a quasi criminal underworld are not generally my thing, and I have repeated asked what does someone like Scorsese want to forever keep returning to it.  (He has, by the way, an executive producer credit on this film.)     But even so, I just couldn't stay with the film, which didn't seem to setting up a "first act" that held any dramatic interest anyway.

I have looked at reviews for any negative ones.  At least Dana Stevens in Slate seemed to be nearly as bothered by the sound mix as me:

...most conversations in Howard’s world are operatic screaming matches, conducted over the competing noise of overlapping background dialogue, the incessant buzzing of the locked bulletproof glass door that leads into the shop, and an ambient—perhaps too ambient, as in omnipresent—electronic score by Daniel Lopatin, who composes under the name Oneohtrix Point Never. 

And her conclusion:

...I found the result to be claustrophobic and, finally, dull, with scene after scene that hammers home the same point we understood from the very beginning: that Howard is a lost soul, fated to run both his business and personal life into the ground. 

Very glad I gave up on it when I did!

And finally, there is pretty good reason to suspect that the critical reception is not being met with the same response from audiences:  Variety asks Uncut Gems’: The Startling Indie Smash That Audiences…Don’t Like?