“well, there's nothing to be afraid of if you love, or have loved. it's an unstoppable force. it's unbreakable. it has no limits.”
undoubtably in a thematic dialogue with coppola’s previous feature, twixt, with the pair communicating expressions of grief in relation to art. their differences lie mainly in their positions on trauma, with twixt posing it as catastrophic for one’s ability to create and the other as a motivator to construct a better existence through collective healing. a concept…
behaves more like a poem than a film, which is in most instances to its benefit. i am still unsure as to the meaning of a few symbolic inferences proposed in its metaphorical sequences, but for a mythical conversation about creativity and the commercialism that defines it, i cannot help but be enthralled by Megalopolis and its idiosyncrasies; a deranged feature that challenges in a manner unlike any other contemporary film.
for a film about enforced corporate conformity and the lengths one will go to escape it, alien: romulus' relentless efforts to operate as an acquisitive visual emulation of the first two entries in the franchise are often questionable. the film harbours a peculiar sentimentality, one akin to the tired self-referentialism star wars has confined itself to within recent years. despite these parodical entrapments, alvarez does supply a sufficient quantity of spontaneity here. there's an unabashed outlandishness to a collection of…
a tonally corrupt picture that’s for sure. it boasts an intricate examination of a plausible future america and an analysis of the scarred lives of war photographers, yet fails to deliver on either. it feels strung together almost entirely by heartfelt dialogue scenes and tense action montages, with no sense of flow or direction between them. these scenes also largely fall flat due to no context being given to anything that is happening beyond vague real world imagery as subtle…
