It's hard to anticipate another masterpiece from Bong Joon-ho, I think I'd be extremely difficult to match the immense acclaim that his previous film received, but Bong has the talent where the film exceeded my expectation nonetheless.
Mickey 17 feels like something so in line with Bong, yet felt like something new, at least to me, I've seen neither Snowpiercer nor Okja, so Mickey 17 is essentially my first English-language film from him. The editing, cinematography and use of sound…
What can only be described as gaudy, extravagent displays and whatnot, it’s all show but nothing of significance to say, yet the film parades around like it has an ounce of anything meaningful to contribute to it’s subject matter, it’s an awful, self-indulgent mess, made to look shiny in front of award voters. I will eat my shoe if this wins Best Picture.
Watching this film, it is evident as to why it only came to fruition after 40 years, why Coppola funded this entire project himself, why it garnered this monolithic hype. There were plenty of moments where I sat in complete awe, utterly bemused, with not a single clue as to where the film could be heading, it's impossible get a read on this film. Yes, it's riddled with flaws, yet in a weird way I genuinely enjoyed Megalopolis. It's an…
I always find it difficult to articulate my thoughts right after seeing a David Lynch film, Lost Highway is certainly no exception, though it was an incredible watch nevertheless. Each film I've seen from Lynch manages to unsettle in a new way, blurring a very fine line of ambiguity, in the case of Lost Highway, it feels voyeuristic, almost intrusive even, playing into the surveillance aspect of the film. It makes great use of sound and lighting to communicate tension…
