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.
Category: Remember All the Movies, Terry, We’d Go See
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.
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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.
THE PARTY (Sally Potter)
Even though The Party isn’t technically based on a play, this new movie exhibits both the best and worst attributes of stage-to-screen adaptations.
7 DAYS IN ENTEBBE (José Padilha)
7 Days in Entebbe is to political thrillers what fellow 2018 releases 12 Strong is to war movies and what Den of Thieves is to cops-and-robbers yarns.
THOROUGHBREDS (Cory Finley)
Thoroughbreds is mostly an exercise in style, but there’s some substance there too.
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