Is it too much to ask for a movie to be more than just a TWO-AND-A-HALF-HOUR video game cutscene?
Category: Remember All the Movies, Terry, We’d Go See
Kriepsletists
The names of the actors who turned in my two favorite film performances of 2017 were not read from the podium at this year’s Academy Awards ceremony.
HANNAH (Andrea Pallaoro)
With Hannah, Charlotte Rampling further cements herself as the Queen of wordlessly-anguished loneliness.
Revision Vision: A QUIET PLACE
If A Quiet Place was a play, I would say it’s in desperate need of a dramaturg to devise richer dramatic manifestations of the aural concept.
The Theatricality of Reality’s Surreality
In case yesterday’s esotericism didn’t make this clear, let me state simply for the record: Steven Soderbergh’s Unsane is my favorite movie of 2018 thus far.
Continue reading “The Theatricality of Reality’s Surreality”
The Surreality of Reality
Steven Soderbergh’s Unsane is a Kafka-esque, capitalist nightmare for the iPhone age, injected with Brechtian aesthetics to convey the 21st century’s pervasive, conflicting distortions of reality sitting in our pockets every day.
RAMPAGE (Brad Peyton)
Rampage commits the same critical mistake as so many of these sorts of movies: too much of the humans, not enough of the big bad monsters.
“Original” Scores
For a movie or show to be nominated for Best Score at the Oscars or Tony (or any other offshoot) Awards, the music written for it must be predominantly original.
THE LEISURE SEEKER (Paolo Virzì)
The Leisure Seeker is tonally all over the place, and none of those places work, mostly because, as executed, they’re not particularly believable.
JOURNEY’S END (Saul Dibb)
R.C. Sherriff’s 1928 play Journey’s End is to the stage what the 1930 film All Quiet on the Western Front is to the screen.
Write All Nite 