Great to look at.
What the hell?
Who better to adapt the work of a literary titan than a titan of laughably bad filmmaking? The fact that this is happening boggles my mind. After being panned for practically every film and other piece of art he's bought his way into the public's eye, he actually said to himself "Now you're ready for Faulkner!"
A great example of Fuller's dynamic and natural story-telling ability, however this film is far more lucid than the bugged-out (and more memorable) stuff he'd go on to direct. The entire Eclipse box set is just him getting his feet wet. Still, this one offers a lot to consider for an 81-minute B-western. Recommended for fans of the man, but not for those who have yet to see the more notable titles in his oeuvre.
There are moments where its "mumblecore" roots become too prevalent for my taste, but ARP's ultra-grainy vision of a drab world inhabited by deviants, losers and jerks makes the film shine among its contemporaries. In the constantly expanding ocean of American indies that deal with talkative, off-track 20-somethings, this is one of the only titles I'd recommend. I'm interested in seeing what Perry takes on next.
I wholeheartedly believe that this is one of the finest and most distinct feature debuts of the 2000's (so far at least.)
Kren has rhythm.
How can I watch this?
I gave this two stars instead of one because the crying Vincent Gallo face at the end provides an unexpected laugh.
Eternal Sunshine of the Spotless Tree of Life at Marienbad.
This film gradually turned my brain into mush and I want to re-experience that as many times as possible.
A slightly meaner Tiny Furniture.
Good late Brakhage.
Korine rightfully sees himself as a cinematic poet. In the cases of Gummo and Julien Donkey Boy, his poetry exuded the spirit of figures like Plath or Cummings. Sadly, Spring Breakers exudes nothing but Korine's own dead spirit. He's been tamed in every regard, even stylistically (which I thought would be its saving grace.) This isn't a satire on pop culture, it's just a cleverly packaged contribution to it.
It's funny to me this "satire" element was what made me enjoy it the most. It would be one thing if it became a pop culture icon but the people who it was marketed for ended up hating it (not that im much of a fan of it either). Just the montages of drunkeness and franco's speech about "look at all of this shit", it would be hard to say there is not an element of satire or at least a critique of the values of youth sub culture. Besides that there were so many wrong things with the film, especially the ending was just too ridiculous and a majority of the acting felt forced and completely unnatural. I mean you knew it was getting bad when he started doing Black Key music videos, but hey gotta make a living somehow haha.
Amazing ideas and some truly amazing scenes made tedious by poor story-telling. One could argue that it wasn't the directors intention to editorialize by adding a more concrete story, but he makes numerous decisions that do so regardless. This thing feels like footage waiting to be sheered by 25 minutes and then reassembled into a more cohesive film. Still, props to Oppenheimer and his crew for pulling this one off.
Where as "House of 1000 Corpses" serves as a well-crafted homage to the dirtiest elements of slasher films, "Lords of Salem" serves as a similar homage to a more cerebral style of horror. Taking influences from films like "The Shining", "Rosemary's Baby" and "Possession", "Lords of Salem" marks a mature step forward for Zombie and a return to form as a horror lifer making fetish films for the like minded. Good stuff.
Drenched in heavy drama, sensation and style, I'd never recommend this to a person who is looking for austere understatement and subtlety. It's also unnecessarily long. Inarritu really knows how to jab at the gut though and this film is his strongest example of that. He's exceptional at what he does. His rhythm is impeccable, his use of noise is artful and his crescendos provide the perfect amount of catharsis.
Glossy images of great looking, quirky people. They sure know how to make a serious mental illness as palatable and harmless as possible at the Weinstein Company.
If you were to liken scenes in a film to songs on an album, then "Zardoz" would be of the strangest albums ever made with a number of seriously amazing songs on it.
So... Volker Schlondorff is kind of a psychopath.
Interesting that the synopsis uses the word "schizophrenic" though the term is never explicitly stated in the film itself. There is a lot of information that's purposely omitted in this story and I wonder if not generalizing Peter's disorder is an example of that device. After all, the ending makes a clear point about not jumping to conclusions and Peter demonstrates behavior consistent with several disorders.
Not bad, but what the fuck was going on with those two scenes scored with shitty, out of place rap songs? Apparently QT drew influence from "Bad Boys II" and "Fast & Furious" for this one.
The most unique, ambitious, imaginative, clever, multi-faceted film to ever leave me feeling exactly like I did before seeing it.
Found this to be a return to the stripped down, essay-like form that Haneke worked with in his earlier films. Made me think of Bresson and Pialat's "Mouth Agape." Funny that Haneke has no problem scratching out the eyes of a mentally deficient child in "The White Ribbon" yet handles the decaying of an elderly person's body with such delicacy and respect. Perhaps this topic hit a little too close to home for him.
If I wasn't sold on the 'video games can be art' thing before, I definitely am now.