Craig Davis Pinson

Craig Davis Pinson

Composer from Mexico City

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  • Snow White

  • Suzume

    ★★★½

  • Black Bag

    ★★★

  • Presence

    ★★½

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  • Snow White

    Snow White

    Rachel Zegler good. CGI abomination dwarves baaad. Gal Gadot weird.

    A deeply uneven experience for me, but I'll be damned if Zegler doesn't churn out a commanding performance. There's also a number of beautifully crafted orchestral arrangements, and I actually liked a couple of the new songs. I'd say about 30–35% of the film is unwatchable, the rest is mostly okay, and some bits actually do soar.

  • Suzume

    Suzume

    ★★★½

    I enjoyed this one, and helped rehabilitate my relationship to Shinkai's work after the disappointment I felt with Weathering With You a few years ago. However I still have to say that his work tends to leave me feeling like I ate too much cake – it apes the magical logic of Miyazaki, but at its core it's high octane melodrama, and it gets to a point where I wish he would just embrace the interpersonal character development and drop…

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  • Mickey 17

    Mickey 17

    ★★★½

    I appreciate how the weird little salamander-dude energy cooked up by Robert Pattinson infects every aspect of this film. Did feel a bit grey for me after a certain point, though.

  • Maria

    Maria

    ★★★★

    Suffused with the spirit and stylized artifice of opera, I really enjoyed this fantastical riff on Maria Callas's life. Romantic, decadent, and indulgent, it provides Angelina Jolie with an appropriate canvas to occupy that mythological, always distant and profoundly contradictory figure of the operatic diva. As a composer, this film reminded me of the deep impact 19th century opera had on me, and of the great stories its performers have embodied. The slower, theatrical narrative rhythm that Pablo Larraín borrows from the operatic genre is a welcome breath of fresh air in a market saturated with films made for obliterated attention spans.

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