The slightly lame existential imperatives of the script are tightly constrained and kept to a minimum by Carpenter’s careful control and, in a funny twist-of-fate, Chevy Chase’s lax channeling of the material. What Carpenter and co. end up with is, at times, a quite gentle and observational film that is orchestrated through Carpenter-brand composition playing alongside Chevy’s physical presence or lack thereof. The invisibility SFX never feels as if it tends towards artifice but rather announces itself constantly as a product of careful engineering, to be admired in its own right and which gives way to some opportunities for playfulness.
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Mulholland Drive 2001
David Lynch, wherever you are, I hope there are angels as beautiful as the ones in your films. I will have something better to say about this film one day, but today is not that day. Thank you, anyway. You made the most mysterious film in the history of cinema.
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Wayne's World 1992
Comedy working against its own plot. Comedy created from gesture and image and the breaking of cinematic convention. Comedy that is as much a creation of the script and so much of what you’re not supposed to do in a script.
In other words, a hilarious, properly cinematic, piece of stupid comedy for a stupid era. In other words, an example of a freedom that existed in cinema. In other words, a light that fights against the dark forces of John Hughes.
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