fill the void up with celluloid
top 4 = most recent 5-star first watches
yeah so I’m thinking there’s probably a reason it took almost 100 years to make a full-fledged Looney Tunes feature. absolutely unconscionable that a Daffy Duck cartoon could drag this much. a smattering of good gags, certainly not enough to make it feel worth my time. all the best passages are basically just condensed music videos. partially my fault because I’ve never especially cared for the verbose post-millennium incarnation of the Tunes but wow am I disappointed
I’m absolutely sold on Osgood’s whole deal at this point — but I think he’s at his best when he’s personal and restrained and atmospheric, his worst when he’s checking off the boxes of genre convention and audience expectations, so I’m glad he resisted the impulse to get too looney tunes with it. it’s sort of touching how apparent it is that he found meaning in such an obviously outlandish story, and commendable how much he didn’t beat you over…
it’s really just hitting me that we have Kony 2012 to thank for well meaning millennial/Gen Z liberals going on Instagram whenever a “crisis” hits a foreign country to call for Western military intervention. this was the first taste of international awareness and “activism” for a lot of people my age, and it has warped their brains completely. Jason Russell deserved much worse than mere public humiliation.
finding new ways to address voyeurism on film is difficult but this is the freshest take I’ve ever seen, and it’s absolutely startling, gut-twisting. really understands what it is about the notion of “red rooms” that captivates us and freaks us the fuck out at the same time. at points reminded me of a kind of slow cinematic Unfriended: Dark Web, another all-time internet horror film — the highest praise I can give something like this. that score is fucking unbelievable