Truly one of my favorite ways to shoot crime movies I’ve seen - slightly heightened through weighted compositions but grounded through handheld formalism that only breaks out occasionally.
Matt Dillon is also very hot.
One time I got quite high and tried to tell my friends that I had solved genre. Unfortunately, I am a romantic, and if I ever found the truth, I would be dissatisfied. Lars Von Trier is a nihilist who found too late that cinema is…
Silver’s really sparse and evocative use of framing really sticks out to me. BLEAK in a way I didn’t find Exit Elena but still beautiful.
There’s a painting you see about twenty minutes into this film that reminds me a lot of David Lynch’s first “film” - a projected installation of a bunch of guys throwing up. I don’t mean Neon is grotesque, though at times it may be a lot more interesting if it was, but it stumbles upon a roughness that sometimes feels thin. Lynch had to project his image of fear and disgust and anxiety on a sculpture. Neon doesn’t have that…
Oh, Saltburn. It's incredible how you try to look so pretty and interesting while saying absolutely nothing.
The visuals are straight out of a "how to make cinema" YouTube video with production design lazy enough to view an extravagant house in the background as "interesting."
Keoghan disappoints as someone unable to take glee in any of the dark humor the film attempts. Elordi is underutilized as an uncomplicated "angel" whose only implication of darkness has to come from the one…
