Long time, no ganj-talk!
Long time, no ganj-talk!
Aesthetically and spiritually, Action Point harkens back to 80s summer-camp comedies that have largely gone out of production, if not style nor fashion, recently.
The Rider stands as a testament to how easily the conceptual advantages of casting non-actors can be overwhelmed by the practical disadvantages.
Is it too much to ask for a movie to be more than just a TWO-AND-A-HALF-HOUR video game cutscene?
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.
With Hannah, Charlotte Rampling further cements herself as the Queen of wordlessly-anguished loneliness.
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.
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”
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 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.