Popular reviews

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  Review by autocinephilia 6

  If I wasn't a film theory major, this would be the worst film I've ever seen.

  That statement may sound pretentious (which I most certainly am), but I feel entitled to that comment after seeing half of the theatre walk out during the second short.

  The purpose of 3x3D is not storytelling or whimsy, but the film makers are instead attempting to place 3D cinema in the context of film theory -- specifically, the antiquated debate of realism versus formalism.

  The filmmakers involved are most definitely on the side of pure formalism in film, and the opinions they share are strongly against 3D.

  This movie's purpose is one which many would consider noble: to kill the 3D movie. The film…

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  Review by evan 3

  just logging this for the Greenaway for now, a film Amy Taubin deemed “unwatchable,” Greenaway at the age of 70 has crafted a digital schizoaffective theme park ride , unlike anything I have ever seen

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  Review by Sean Gilman ★★★ 3

  4+4+1/3 = 3

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  Review by Weston Adam ★★★★½ 2

  It is always a daunting task to approach perhaps the great monolith of cinema, Jean-Luc Godard, in any capacity. Even more difficult are those works late into any particular 'wave' of work, for as he develops to a perfection the parameters within which his work is to be set, the titan of his thought is fully let loose. In "Les Trois Désastres," his approach to Visual Essay is brought impossibly to fuse the technical and the personal present as if the companion piece to his following work "Adieu au langage." It is accomplished, as his Essay pieces are by editing still or moving images from film (in typical Godard fashion these also include his own) music, quotes, and waves of…

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  Review by Arthur Tuoto 2

  Episódio do Godard em 2d.

  Se um dia eu assistir em 3d quem sabe escreva alguma coisa mais decente sobre, até porque me parece que muito da lógica da sobreposição do Godard deve ganhar toda uma outra relação de perspectiva e textura. Mas de toda forma é bom ver ele partir justamente do France/tour/détour/deux enfants (rola até chamar o James Cameron de monstro pela conversão 3D do Titanic), que é um trabalho chave dele e da Miéville no período de transição para o vídeo, para realizar o primeiro trabalho em 3d; mantém essa abordagem que parte de um aparato contemporâneo para refletir sobre a essência primária das coisas, no caso aqui toda uma questão de perspectiva e profundidade que envolve…

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  Review by SergeGainsbourg ★★

  Who the fuck is Edgar Pêra?

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  Review by Christa Lee ★★½

  4 1/2 stars for the Greenaway, lavish, funny and overwhelming as usual

  0 stars for Edgar Pera, who can get the fuck to hell, it’s fucking unbearable and blackface in a film from 2013 is seventeen steps beyond unacceptable, I don’t care how clever you think your Al Jolson reference is 

  5 stars for Godard, it’s proto-Goodbye to Language 

  Viewed in 2D, tragically. One day I’ll see the Greenaway/Godard as god intended

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  Review by Drew Gebhardt ★★★★★ 1

  Pêra is right.

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  Review by Tex

  A 3D screening of the Greenaway would wipe out a Victorian village. A modest inscrutable little history lesson meant to teach you nothing  

  just watched the greenaway

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  Review by Jesús Cortés

  Les trois désastres se llama el episodio que Jean-Luc Godard aporta a esta obra colectiva, que conmemora con tres cortometrajes filmados en tres dimensiones la fundación de la ciudad portuguesa de Guimarães.

  Por sí solo, sin ninguna ayuda de los otros dos directores -Peter Greenaway y Edgar Pêra- que firman (pero ¿filman? son respectivamente un holograma tan repleto de información como inerte y un molesto chiste “interactivo”) en la película, impide que el conjunto sea eso precisamente, una triple calamidad.

  Un corto, el de Godard, heterogéneo en su navegación entre varios trabajos pasados, más que derivativo o extensión de algo anterior concreto, quizá anticipo o laboratorio de pruebas en este formato tridimensional de su inminente Adieu au langage, inquietantemente fúnebre…

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  Review by urinalsarejustok ★★★

  Even without subtitles the Godard section kinda blows the other 2 out of the water lol. No subtitles is sort of a major loss with Godard though, more-so than most other films that conceive of audio as something in harmony with images, most often more or less a redundancy. Maybe the core concept to understand when approaching and engaging with Godard is this separation between image, audio, and text. The relationship between the 3 is always shifting, and he himself has made attempts to alter further through his methods of translation & approach to subtitling (Film Socialisme's "navajo subtitles" being the most famous example.) So, losing out on any translation is a heavy blow to both the sound and text parts…

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  Review by Ryan ★

  baby wearing 3d glasses blowing sparkles