The fears, hopes, desires of carrying life and how that pertains to tangible objects and life withering away around you. Life begins with such excitement and energy, but concludes with shuffled feet, lost dreams and hopes.
Agnes Varda is 🔥
An invasion movie blueprinted to be a setpiece machine, but the man infiltrated it with the desire to uncover what it means to be a father. To protect, to love, to survive. Loved this more than I remember. Robby yells RAY! while his Dad is sleeping, but he only wakes up to Robby yelling DAD! Little touches like that make this a special blockbuster. I feel like this is a lost tomb of Summer blockbusters. Plus the camerawork…
I love Soderbergh’s casts and how he finds new and exciting ways to utilize all-time great character actors, but this didn’t do much for me. Starts out pretty strong but it becomes far too tangled. This late stage of his career Soderbergh is constantly attacking the system, and I appreciate that, but the ratio of it working to not working is starting to favor “not working”.
LIFE’S A BEACH
From the mind of M. Night Shyamalan, the divisive director behind Unbreakable, Signs, and The Sixth Sense, comes 2021’s newest entry, OLD. A small scale thriller with life threatening consequences set on an isolated beach with a varied cast of characters. Starring Vicky Krieps and Alex Wolff, OLD delivers on its promises, with a twist thrown in for good measure. It’s a film that should reshape how we view Shyamalan as a consensus, but his continued defiance…
Christopher Nolan owes his career to this movie.
Truly one of the most exciting, efficient, beautiful, creative movies I’ve ever seen. It took all but five minutes for me to be totally in love with everything this movie was aiming for and it only gets better. The way it’s designed, builds it’s rules, uses animation to create so many exciting images and sequences, it’s all brilliant. Not to mention that it services some stellar themes about identity, personality, and how that sparks imagination or makes us reckon with traumatic experiences.
Instantly bought this on blu-ray and I need to see more Satoshi Kon ASAP.
Forgettable, overlong, and so boring. Every bottled up cliché in the book without any of the intrigue or the fun of 1994. All of the kills suck and aren’t creative whatsoever and that’s really all this should be aiming for as the bridge between beginning and end. Borderline made me want to skip the conclusion to this because it is that uninteresting.
I didn’t expect this movie to play out this way at all. A brief sprint down the winding, structureless path of loss and forgiveness. A story about legacy and gifts that echo down the caverns of time that rings personal and unforgotten. Who knew that a simple taste of what was could open up your heart and mind to each other.
A terrific debut that should become a modern emblem for the tidal wave of emotions that independent film can be.
Completely unbearable. A two hour NFT.
Not even the animation for the looniest toons is worth getting excited about. Even if it was it’s all a visual disaster anyways. From the moment this opens to the moment it ends, it tries so hard to make us feel nostalgic about anything and everything without giving it an ounce of purpose. Characters infiltrate beloved movies from various channels of time and WB winks and nods thinking they’re being clever. Instead it’s a…
Ultimately annoying, but fundamentally sound and thoroughly singular. This could have easily fallen in the trap of being derivative and emblematic of slashers we’ve obsessed over, but it’s lore sets it apart. Genuinely perplexed how this manages to sell an absurd premise and completely nails it. The setup is sweeping, and the payoff is tied to the structure of this, and the entire vision. Not really all-in on it, but I’m curious where 1978 goes, and how it’ll conclude this weekend.
One of the kills in this is the best thing since sliced bread.