Fun in a way few Bong Joon Ho movies are; there’s always a thread of weirdness for us people stateside running through his works but this is him really leaning into it, for better and for worse. Typically I hate movies that have one person playing two parts, but I was really impressed with how well Pattinson sets his face to the point where you can tell the difference between the two of them while they’re wearing identical outfits. Strange predilection for sauce throughout.
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Elevator to the Gallows 1958
A perfectly fine movie, if not a little ridiculous, built around an exceptional soundtrack by the Miles Davis. Still at the height of his powers over the cool, his experimentation with modality in this movie is extremely interesting compared to his work on Kind of Blue and Birth of the Cool because he sounds purposefully isolated in this soundscape. There are a few bass solos in tense moments and a ride cymbal flourishing in a few scenes, but for the…
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The Brutalist 2024
Art is not created in a vacuum. It needs at least three things: inspiration, bounds, and context. The latter two may be seen as reflections of one another. Bounds are necessary in that they provide a space for art to be created; paint cannot escape the bounds of its canvas, a mathematical proof must be wrought in the logic of the axioms and theorems that came before it, and the design for a building cannot exceed the space it was…
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Mirror 1975
I feel uncomfortable giving a rating to a movie that I very much don’t understand, but beyond the almost expected visual spectacle from Tarkovsky, Mirror was probably the most accurate depiction of how transient and muddying dreams and, by extension, one’s own memory are. The title seems apt considering that mirrors only reflect the person looking in them, and this film is very much one that reflects Tarkovsky instead of the audience; it is so deeply personal that much of it is rendered almost completely inscrutable. Still, each frame is intentional and important, it’s just that the intentions are hard to see
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