Julia Ducournau’s Raw is a sensationalist and sensational allegory for mankind and womankind’s tenuous relationship with their ever-present animalism.
Category: Remember All the Movies, Terry, We’d Go See
THE SENSE OF AN ENDING (Ritesh Batra)
Ritesh Batra’s The Sense of an Ending adheres to The Lady in the Van’s (2015) artistic model, somewhat for better but mostly for worse.
QUEEN OF THE DESERT (Werner Herzog)
James Franco rocks one of the all-time worst accents in Werner Herzog’s Queen Of The Desert.
A WOMAN, A PART (Elisabeth Subrin)
Elisabeth Subrin’s A Woman, a Part is an all-too-rare showcase for Maggie Siff wrapped in all-too-common pedestrian packaging.
THE ASSIGNMENT (Walter Hill)
Whereas the John Wick franchise stylishly parodies B-movie revenge-thrillers, Walter Hill’s The Assignment IS a B-movie revenge-thriller. Continue reading “THE ASSIGNMENT (Walter Hill)”
THE BLACKCOAT’S DAUGHTER (Oz Perkins)
chOz Perkins’ The Blackcoat’s Daughter is yet another example of a horror movie trying to employ a stylish mood to obscure its vacuous substance.
ALL THIS PANIC (Jenny Gage)
Jenny Gage’s All This Panic is an invaluable DOCument (get it, because it’s a documentary?!) of modern teenage life, made all the more essential by how rarely Hollywood accurately depicts these pivotal years.
DAVID LYNCH: THE ART LIFE (Jon Nguyen, Rick Barnes, Olivia Neergaard-Holm)
In David Lynch: The Art Life, the heralded title director relays intimate psychological stories from his early life and painting career that must have inspired his films, but their relationship to each other is presented merely implicitly as opposed to sufficiently explicitly.
Continue reading “DAVID LYNCH: THE ART LIFE (Jon Nguyen, Rick Barnes, Olivia Neergaard-Holm)”
COLOSSAL & THE LOVERS: Lies in Advertising
The respective relationships between the misleading trailers and actual movies for Nacho Vigalondo’s painfully perplexing Colossal and Azazel Jacobs’s fascinatingly perplexing The Lovers exemplify two types of flicks that spawn false advertising, both for the same predictable reason: commercial appeal.
Continue reading “COLOSSAL & THE LOVERS: Lies in Advertising”
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