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Portrait of Jennie 1948
Truly bewildering for something like this to exist: a studio-produced art film from the 1940s with absolutely no selling points, and much of its artistry stems from the producer’s obsessions rather than the director’s. David O. Selznick was in love with Jennifer Jones and developed this project around her, and indeed very few films have ever been more loving to a person’s face than Portrait of Jennie; that said, if I were the producer of Gone with the Wind and…
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Blue Velvet 1986
This is not a review but rather a strange, somewhat ghostly story in relation to it that has to do with the recent passing of my sweet Stevie. Nevertheless, I feel the need to share it, and it still goes over a lot of what I love about "Blue Velvet":
When I watched "Blue Velvet" for the first time four years ago, it changed my life. It deepened my love for cinema—and truly all art—in ways I never expected. I…
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Teen Witch 1989
I feel embarrassed because I was just talking to my friend about how horniness plays a key part in some of the most iconic teen movies like Grease, and then I turned this on immediately after saying that, and the horniness factor is amped up so much and so creepily that it made my skin crawl. The opening dream sequence followed by the locker room dance are just… gross feelings all around. Not all the parts are bad here, it’s…
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Road House 1989
It feels like Road House must be the cultural artifact of the 80s, perfectly encapsulating the attitudes of the decade in a tight 2 hours (although my sister found that the original cut was over 3.5 hours, which makes sense considering the extremely detailed and fantastical microcosm this creates). Late stage capitalism reaching the American frontier, infecting this impossible town with postmodern architecture and cynicism; boobs everywhere while the men and their homoerotic relationships are sold as the real sexual…
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The Substance 2024
Suffers from the problems a lot of Lynch/Cronenberg-inspired films encounter: there’s no balance between the sincere kitsch and ironic camp; the body horror and surrealist imagery could be more creative and less manipulatively conveyed; and the thematic material is much too simplistic and heavy-handed. That latter point is probably the most problematic for the The Substance. With it winning the award for best screenplay at Cannes, I was expecting something intelligent, but you can pretty much guess exactly what this movie…
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Asteroid City 2023
Wes's—or really America's—"Between the Acts." People finding this his most emotionally distant, difficult, and melancholic. And yeah, it's probably his most difficult. But it's also him at his most vulnerable and emotionally transcendent, inspecting deeply into why he does what he does, why his films have that melancholic touch, the meaning he is striving for, and the meaning he will never understand. All in a world that's caught between the "acts," the next global catastrophe or revolution or innovation like the nuke. Just so very good. Maybe even great.
Also, Matt Dillon ♥️
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