Fight Club is one of the most unique films I have ever seen. In addition to presenting a rather fresh take on life, FC also presents its material in a fresh way.

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My main interest in the film is in that, in my opinion, it does not present characters for us to think about. Rather, it presents actions for us to think about. I will say that I cannot recall *ever* having been 'asked' by a film to both suspend my disbelief the way this film asks in its third act AND at the same time come to terms with an understanding that there is no room--or need--for disbelief.

Perhaps these comments will not make sense to the average movie goer who will dismiss this film--and, unfortunately, its premise--as another hollywood flick filled with gratuitous violence. I'd go as far as to say that this film is not about violence.

It is about choices. It is about activity. It is about lethargy. It is about waking up and realizing that at some point in the past we've gone to the toilet and thrown up our dreams without even realizing that society has stuck its fingers down our throat. I would argue that anyone caught, at some point in their lives, between a rock and a hard place--anyone who has reached bottom on a mental level--anyone who has uttered to themselves 'Wait, this isn't right. I would not do/say/feel what it is that I just did/said/felt. I do not like this.

I must change before I am forever stuck being the person that I am not.' These people, they will know what I'm talking about. These people will not only recognize the similarities between Edward Norton's character and themselves--they will be uncomfortably familiar with him. These people will appreciate Fight Club for what it is: a wake up call that we are not alone. As David Berman once said: 'I'm afraid I've got more in common with who I was than who I am becoming.' If this sentence makes any sense to you, go see Fight Club.

You won't regret it. Nfs Underground 2 Моды Скачать Бесплатно. 'Fight Club' an aggressive, confrontational, often brutal satire that is quite possibly a brilliant masterpiece. Taking the 'Choose life,' anti-consumerism rant at the beginning of 'Trainspotting,' and carrying it to its logical -- albeit extreme -- conclusion this is a big budget, mainstream film that takes a lot of risks by biting the hand that feeds it. The film's narrator (Edward Norton) is an insignificant cog in the drab, corporate machine, dutifully doing his job and what he's told without question. He's an insomniac slave to his IKEA possessions and only finds joy in going to as many self-help/dealing with terminal diseases sessions as he can.

It provides him with an escape from his sleepless nights. That is, until Marla Singer (Helena Bonham Carter), a trashy chain-smoking poser, enters his life and upsets his routine. The narrator also meets Tyler Durden (Brad Pitt), a charismatic soap salesman whose straightforward honesty, candor and sleazy lounge-lizard outfits are a breath of fresh air. One night, after the two men have bonded over beers, Tyler asks the narrator to hit him. At first, it seems like an absurd request but after they pound on each other for a bit, a strange feeling overcomes them. They feel a kind of release and satisfaction at inflicting pain on one another. In a world where people are desensitized to everything around them, the physical contact of fighting wakes them up and makes them feel truly alive.