Unlike Crash, its obvious precursor, Titane does not follow the internal logic of its own momentum it shifts gears, but remains clunky and disjointed. Watching this movie felt less like a wild ride and more like cleaning up an oil spill.
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To Live and Die in L.A. 1985
Freidkin had the rare ability to distill cinema to its purest essence. The montage at the beginning is one of my favorite examples of this from his work. (when they clear the log in Sorcerer being the other)
Someone could write an essay about this movie, forging money, and The Work of Art in The Age of Mechanical Reproduction. We’re all left chasing something that’s just a copy of knock off. Ok maybe I’ll draft it up in the morning.
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Civil War 2024
Unlike the political thriller (Three Days of the Condor, Parallax View, etc...) which seeks to uncover a mystery in a fundamentally unknowable vortex of secrets and deceptions, the A24 Civil War movie is possibly best understood as political horror. That is to say it proceeds with the assumption that its content is something we already understand (Dracula, a ghost, a werewolf) and that we should be afraid of. There is nothing weird or eerie about this film (Mark Fisher) and…
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