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Unforgiven 1992
The deconstructionist Western par-excellence.
Stripped of all genre-typical, frontier romanticism (even Freeman's loyal side-kick gives up his best friend before he meets an indifferent offscreen death) and unchallenged myth-making of any kind, it's kind of a perfect end point for the entire concept of the cinematic Western.
Sure, maybe the themes are obvious and over-emphasised in the script, but with Eastwood's superlative, you could even argue, flawless direction, and his willingness to emphatically state, 'this is all I have left to say', about a genre he helped define, the profundity becomes almost overbearing.
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All In The Game 2006
Incredible. A feature length episode of The Wire if instead of Baltimore and its institutes, the institute was the English football pyramid
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Resident Evil: Retribution 2012
Paul W.S Anderson is an auteur. This is not a provocation but a fact. Retribution is his most formally and aesthetically accomplished work to date, a masterpiece of abstract visual design and sci-fi photography. If my words seem tenuous then consider the rapturous reception that greets every one of Christopher Nolan's style free, pseudo-profound Batman misfires. Retribution is a superior work, a video game tableaux comprised of rich and arresting imagery. Anderson is mistakenly dismissed as a hack but the artist is actually working within the confines of Hollywood genre cinema, constantly transcending and elevating it through the triumph of his avant-garde visual sensibility.
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One from the Heart 1982
“Movie love. The look of love. How movies do love. What movies have done to love. How we love or don’t love because of the movies. How we let ourselves love in movies but not in real life. What came first, movie love or real love? Which one is real and which one isn’t? Which one still exists? Which one doesn’t? One From The Heart is about all these things, whether it means to be or not.”
Masha Tupitsyn
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