Papa John’s therapist.
I don’t really know how to say this, but if you wanted that piece of printer paper with the words “We are short-staffed. Please be patient with the staff that did show up. No one wants to work anymore,” that a bunch of NIMBY restaurant owners keep putting up in their stores and drive-thrus to be made into a movie this is it— an appropriately comedic mockery of such privileged naivety.
The set designer of this movie must’ve been mainlining the secret truths of the universe, in the words of good ole’ Rust Cohle. First serious watch of Terry Gilliam outside of Fear and Loathing and various Monty Python clips in high school. Being that I’m obsessed with politics and enthralled by a film that brings them into the forefront, Brazil was quite the apt start.
At first the film reminded me of one of favorites, Lumet’s Network, with its sharp, witty satire…
This was my first interaction with Terrence Malick’s work and I was immediately aghast by the abundant sentimentality and poetic quality in both the composition of the film’s sight and sound as well as the way large, existential conflicts between the head and the heart, rich and poor, ingenuity and depravity are imposed upon a love triangle set in the pastoral West.
The film is a stylistic, technical masterpiece where Ennio Morricone’s score and Almendros’ cinematography play as much of…
Mank is so much more than a story about the writing of Citizen Kane, as Fincher uses the story of Herman Mankiewicz to tell a much more relevant and poignant story to the modern era— a man who fully throws himself against the political machine and although he can’t destroy it, he certainly leaves everlasting dents.
Mank’s Citizen Kane is revealed as much more than a profile of a corrupted man (W.R. Hearst), rather, the story is a repudiation of the broken political…