Second viewing, this time in a packed arthouse theater full of cheering Lynch heads and first time college students from Chapman University. Like Blue Velvet, it's hard to truly appreciate some of the comedic aspects through Lynch's treatment unless you can safely laugh alongside a crowd. I'm happy to report that so much more is made clear on a rewatch, but still much remains baffling, and I've accepted the fact that virtually no one understands at all what is actually going on despite the countless theories—though I'm pretty sure Adam is just an analogue for Lynch's career. Maybe on a 17th watch I'll get another clue.
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Blue Velvet 1986
Third viewing. The greatest danger for an artist is total freedom, and for director David Lynch, his auteur status is a result of his pure creative vision, whose mind and ideas are completely exposed in his work. Blue Velvet is extravagant and horrifying. It's philosophical and mythical. Such a comedic masterpiece too. Bravo, Hopper.
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The Nightingale 2018
For first time viewings such as this, it's common that I write down notes and project bullet points so that I have things to talk about when writing reviews on Letterboxd. While that is normally the case, I found myself enthralled and completely horrified wherein I forgot to do so. The Nightingale may be unwatchable for many due to its extreme violence and sexual brutality, but writer/director Jennifer Kent goes the hard route by denying any mantra of gratuitous exploitation by instead focusing on the emotional pathos of the protagonist Clare and her companion Billy, both of whom break the mold on victim identity.
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The Electric State 2025
I hate to see such a cool fucking dystopian sci-fi adventure concept turned into a flaming bag of cricket shit. I can recall its graphic novel the film is based on from Swedish artist Simon Stålenhag having swept the online circuits circa 2018, and for reasons that are unfathomable, the guys who spearheaded the last two Avengers outings acquired the source material to adapt it into A New Hope. That's a $320 million budget to breathe life into a niche…
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The Fall Guy 2024
Ah yes, another casual movie-going experience with director David Leitch where one must bite the bullet with insufferable quirky dialogue and spoon-fed exposition, scene after scene after scene, with no short supply of dumb action bleached with absurd antics that are pretty thin, redundant, and one-note. Like his predecessor Bullet Train, it's the tonally daft and utterly incompetent discrepancy of the action and humor that ends up ruining the experience. Leitch is the type of filmmaker who realizes in the…
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