For the heavy, intense, almost oppressive material, the film achieves a surprisingly brisk pace. And it’s that sometimes light touch that creates some narrative tension; they don’t want to wear the audience out with the grueling, wrenching subject matter, but attempts at and moments of levity clash with what’s just been put to screen.
I am certainly not qualified to speak on any of the film’s shortcomings as an adaptation of the Walker novel, or its handling of the story…
The opening titles let you know that you’re in for quite the puzzle. Another crackerjack entertainment from the Finchman that’s got another curveball to throw just when you think you’ve got it figured out, all the way to the very end. And just in case you’re not thinking “Hitchcockian,” the woman shows up with the Vertigo hair.
I don’t know what to think of Sean Penn. He brings an unusual presence and energy, that I didn’t dislike, but sometimes takes…
The opening moments, as we zoom out through space and time to the sounds of 20th century history, set the stage for an amazing cinematic experience, exploring faith, science, and the timeless charisma of Matthew McConaughy. His screen presence speaks to the film’s greatest strength: the filmmakers’ unwavering confidence in everything they do, from the kinda corny childhood flashback scenes to the spliced in Bill Clinton, the grandstanding courtroom denouement to the perfectly done special effect shots. And standing above…
Part two of our Poor Little Rich Boy Farce double feature finds Buster Keaton pretending to be a champion boxer. The most unbelievable aspect is that anyone would think Keaton too unathletic to be a believable fighter. He’s absolutely shredded during the (way too long) training sequence, but everyone’s still like “check out this guy.”
There are times where his camera is utilitarian, simply a tool to get all his great physical comedy and brazen stunt work. But then there…
