🧡 = remarkable/would revisit
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On the Silver Globe 1988
Żuławski had to insert commentary/documentary sequences into his science-fictional essay, and what you get is a dialectical montage as a positive side effect of state censorship: it makes the distance between life in the last decade of the Soviet bloc (in Poland) and life on the remote planet very sensible, in a way that exposes you to a sphere of meaning that is about to undergo a phase transition, contrasting with a sphere of meaning that seems to be stuck in the stage of psychotic mythopoesis (read: the white delirium of murderous god-makers). Despite all these great things, it begs for a sharper, 90-minute cut.
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May December 2023
The story of the romance between the neurotic and the hysteric is standard, but Burch's script complicates it by introducing the element of grooming. Joe is well into his 30s, but he remains the 13-year-old who thought he had one big romantic chance (beyond which everything probably felt too uncertain to handle). Haynes seems to be sparingly borrowing melodramatic accents from Lifetime TV productions, turning his images into "pulp" through digital graining, and letting Marcelo Zarvos bring out the camp in Michel Legrand's 1971 soundtrack. In this regard, it's sometimes hard to believe that Will Ferrell had no significant creative input as co-producer.
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The Mule 2018
The older Clint gets, the more it looks like Mike Judge drew him into existence, and it made me realize that there were latent elements for an animated conservative comedy-drama in his late production. You get a fleeting sense of the vibe when he dances to MYBADD or interacts with Dykes on Bikes. Yet there was so much naiveté in the directing at times that I fantasized an anti-naturalist Eastwood who, unlike Eugène Green, would feature typecast automata without renouncing the texture of American life post-Trump, or whatever still stands after it forces 80-year-old horticulturists to start moving blow.
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Nashville 1975
24 lives in the sphere of influence of the Grand Ole Opry. A careful interweaving of material that, in a denser dramatic context, would rank merely above denotative interludes. Still, that is how the film cashes out in a way that channels the extreme patience of Wiseman's longer documentaries, except that Altman serves up his study of the Music City in lightly satirical tones. Almost all the characters are striving for their piece of the pie, their big moment of exposure, but the focus regularly shifts to the banality of their domesticity, of their pettiness, to the point of a Balzacian narrative concatenation.
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