Superman Kills Benjamin Netanyahu
(This movies take on politics is fucking fascinating in both good and bad ways, also it was Hawk Girl, but anyways fucking whatever)
Despite some very big flaws with pacing, structure, and some dialogue (other things as well). This movies take nails a lot of other stuff. And it’s just like an actually good superhero movie, it’s a great Superman story. There’s a lot of discourse about the films stance on world events (which is valid)…
Film isn’t evil by intention, but that doesn’t stop it from being evil.
TW. Discussion of sexual assault and trafficking.
With Sound of freedom it’s best to start from the ending. There are three aspects to it. The saving of the child, the real life events, and the message given by Jim Cavizal.
The child is saved and given back to her family, this is after an earlier sting where she is not fond but 54 others are saved. Ending…
I thought I’d dislike on rewatch but no, this movie rules and is actually pretty direct about its messaging. Also the miniseries is also really good. I’ve heard dumbass things about that as well.
Best piece of Lupin Media. That’s not even a fucking competition (sorry late part of part one and part two). Best interpretation of all of these characters. Fujiko especially just rules here (she is the best character when done correctly) but it’s hard to articulate everything right with this movie. Some people have spent literal hours discussing that.
Miyazaki has only made great films. Most people have one three pointer and a couple of dunks. Every Miyazaki is a halfcourt shot
You fuckers can yap your asses off all you want about style over substance (a fake critique). But that doesn’t changed the fact this has something to say and it says it in a very interesting way. This film has a lot going on about the state of industrialized society’s as a whole (maybe Andersons most politically loaded) but on a purely personal level the idea of can we be saved, is there enough that we can do to find…
This should be the last movie we ever make. What else can we do after this….
So slow and intentional, not showing it’s cards until the very last minute of the film.
Building in the ideas of narration, information relation, and the constructs of story. Here I think this does kinda try and reconcile Dahl’s personal demons. Kinda completing the arch of looking at Dahl’s work.
Dahl was a problematic figure. In his personal life he had anti-Semitic tendencies, his writings, in their original form, often bled through his own racism. But how do we reconcile…
First of all, I remember why it took me four years to rewatch this, it’s genuinely one of the most upsetting films I’ve seen.
Second, this is why I love horror it makes the unbearable aspects of life and makes it into something sorta bearable. I say sorta because this movie will fuck you up, supremely!!!
Finally, the Score, acting, and writing/direction are all some of the best of the past two decades. This influence modern horror but most people…
Oppy, as I like to call it. Is Nolan’s American Epic. Like most American epics it’s has so much to cover and leaves a lot that shouldn’t. Covering Good old Oppy from the mid 20s to the late 50s it’s doesn’t cover all of it. Making its point clearly, insisting
on it for hours. Many chin is and ideas left loose.
I’m glad I didn’t have a panic attack though, I was expecting it and that’s what kept me from doing it in IMAX.
‘Time doesn’t heel all wounds… maybe a bandaid’
I was very afraid with W. Anderson’s out put after the life his first three I’ve been on a one on, one off system. Life Aquatic, Love; Darjeeling lesser. Fox, Love; Moonrise Less so. So on and so forth. The chain is broken. Here with French Dispatch and now this it’s two for two.
A lot of people are looking at this in an existential sense, but I’m not one to look…