The visuals and music are amazing, but an exceeding amount of one good thing is extremely annoying. Its like the best scenes in Kubrick done over and over again except not as good. It was supposed to be psychological sure, but it wasn't, it just became pretentious and unimaginative. And fuck that 1966 scene. It completely destroys the whole beautiful aesthetic that this film does so well by using actual film stock.
It's the John Maus album of '80s (and '70s and '60s) surreal and existential sci-fi/horror cinema. An idealized, laser-perfect vision of the past, like a perfect NES emulator running Ninja Gaiden II precisely the way you remember it in your most vivid dreams. There are different types of derivation and homage, and this is my favorite.
A bizarre cross between a music video by Daft Punk, an early David Cronenberg's short, and an episode of Space 1999. I recommend watching segments of 10-15 minutes with a electronica/ambient soundtrack - the dialogues are negligible anyway. It reminded my of Amer - the remediation of the Italian giallo' iconography and the 1970s athmosphere are worth the tragically slow pace and slim narrative.
A polarizing film about how the druggy idealism of the 60s vomited up the 80s and doomed us all. Slow and ethereal, with only the barest narrative thread. But: I. LOVED. THIS. MESMERIZING. FILM. It is Kubrickian and Lynchian and Delorian-Woodpanelian-Synthesizerian-Whiteplasticpyramidian & sticks with me indelibly like the bad trip that turns the central character into a monster. "Bring back the mother lode, Barry…"
I wholeheartedly believe that this is one of the finest and most distinct feature debuts of the 2000's (so far at least.)
Too simple of a story that's really not much more than a mash-up of the 80s "retro-futuristic" movies the filmmaker has drawn his inspiration from. Visually it was impressive at times, but overall tiring and gimmicky. You praise Cosmatos because he has emulated cross-fades and synth music like his favourite films? It's beyond pastiche, it's boring. This was a disappointing, lifeless affair.
Muted shadows, geometrically symmetric shots, and monotonous soundscapes create a window to a very dismal world in this retro-futurist sci-fi pic. So much so that in contrast, the scenes following the subject's escape from the institution and into the outside world are visually arresting. Michael Rogers exudes a paralytic and infectious sense of despair, a very poignant and memorable performance.
Ultimately ineffectual plot exposition is forgivable when framed with some of the most distinctive, evocative, and sublimely atmospheric aural and visual aesthetics I've ever seen. Utterly alive with dreamlike, sterile alien menace, like a dimly-recalled nightmare, Beyond The Black Rainbow is an icy plexiglass, steel, fluorescent and analogue synth confluence of Tarkovsky, Lynch, THX 1138, Ridley Scott, et al. ★★★★
Visually stunning, but nothing more. Oh, have I already said it's visually stunning?