Before or since I have never been so incredibly gripped by a film. The two notable moments both involve Lleweyln; first when he's taking water back to the dying Mexican in the desert, second during his showdown with Chigurh at the second motel. How did the Coens generate such agonising suspense with virtually no music?
Well, one thing is the film is very tactile. It brings attention to small details, like the dent the lock makes in the wall of…
You spend almost the entirety of this movie feeling un-engaged because the characters are so archetypal, so unlovingly written, so uninhabited by the actors (except Dafoe) that you just don't give a shite about what happens to them at any juncture.
Richard Brody says the dialogue heavy nature of this film makes it feel "sluggish" and "lugubrious". Sounds about right.
Gains a star for the aerial shot of the giant shadow of the hand moving across the town. But The Witch stills stands as Eggers' best.
Utter crap. Tarkovsky can actually fuck off with this faut-philosophical faut-arthouse bullshit. I hate that the brilliance of Ingmar Bergman's Persona gave filmmakers permission to make shit like this. If you are going to abandon plot completely you need to fill that void with some other thread or theme that is strong enough to carry the viewer's attention for two hours, not just wank over the screen with your varying film stocks and random injections of stock footage which make…
This film is kind of awful. Their horrible constant bleating voices, especially that of Elizabeth Taylor, begin to grate against your ears like some terrible music. Thoroughly unpleasant experience.
