Ford would actually agree with you on this.
Art playing (defensively? pathetically?) with stickered mirrors upon stickered mirrors upon stickered mirrors, while trapped in a corner by a mob of pimps and semi-circle jerkers.
The novelty wore off during the second viewing. However, the "last" scene of the film was still very powerful.
Could have been a great film if it didn't have the pacing of a brick.
The dystopian genre has become the opiate of the mainstream, distracting us from the true dangers.
Interesting how it's as if the camera-eye is already "paganized" with the island, by that I mean it doesn't agree with the horror-viewer's normal reactions. The viewer feels estranged both from the film's subject and its technique.
Imagine you watch this film for the first time, but you've not seen the trailer or have any notion that it's a monster movie. This isn't how I saw it, but by the time I was halfway through the film, I was dreading the inevitable appearance of the monsters. The film was doing fine without them.
I love this film, but I have to admit that when T-Bird starts chanting "There ain't no coming back" he could be saying that there will be no returning to the quality of the film before and including that scene.
My problem with the film is the soundtrack. 95% percent of it should have been silenced.
A little uneven during many segments, and the character of Tyrone was superfluous.
A master of the moment.
I have not seen the original, but I have to say that if you want to watch a serio-comic vampire movie you're better off watching The Lost Boys. Better pacing, and much better balance of humor and horror.
A work of calm romanticism.
A very impressive and admirable historical epic that balances authentic realism with dignified characters trying to create a better world in a cursed land. The main character of Balian is the film's weak spot. Whether this is because of Bloom's performance, deficiencies in the character's script, or both I'm not sure. However, Kingdom of Heaven is still one of the best historical epics ever made.
For me, Legend is the definition of "guilty pleasure". Rarely will one see a film with this much potential fail to such a degree by the end. Had it continued to develop into a demonic revision of The Beauty and the Beast it could have been a masterpiece, but instead it decides to end as just another recycled adventure fantasy. Even the film's visuals, its most redeeming trait, are dull by the climax.
An eccentric drama about faith in love and faith in the absurd, and makes me question the line separating the two.
An investigation of a 16th century prince and composer turned into Gothic exploration of music and madness.
An auteur before the invention of cinema.
Kieślowski's films remind me of the plays of Henrik Ibsen in their naturalness and ease with symbolism, and I would say that Kieślowski is even better at it.
A lyric film about an artist struggle for purity. It's interesting to note that there are elements of Thomas Mann's Doctor Faustus in Visconti's film as well, which adds another darker tone to the film.
For better or worse, the word "interesting" is almost impossible to evade when writing about Timecode. With that said, I must say that this is an "interesting" film in every positive sense of the term. A cinematic quartet that experiments with visual and dramatic counterpoint, and even admits with metafictional parody its own experimental "interesting-ness".
After the self-destruction of western culture in Our Hitler, Parsifal seems to show the redemption of western culture, or at least the memory of it at its zenith in a rapture of music.
A masterful film about the synthetic horror of the alien other and the hidden self.
I wish Syberberg had continued the stylistic experiments of Ludwig with Karl May. There was so much potential.
Whereas Our Hitler isn't just about Hitler but all of German culture and more, this film doesn't escape the grand narrowness of Ludwig's castle into the rich world of 19th century Germany.
My third Zulawski film, after On the Silver Globe and Possession. It cemented my intuition that the director of these mad strips of film will be a favorite of mine for years to come.
An ode to the veiled wind and its gazing admirer.
This a beautiful and detailed film, but something is holding it back. It gets a little lost in the spectacle of a historical costume drama and forgets how much potential the characters have. It could have been set in its final years and cemented D'Hubert's character in older life, and then his past with Feraud could have been shown through flashbacks or other means. But perhaps that's more of a plot for theater.
At first glance it seemed very interesting, but by the time the film was over the poetics felt recycled and unoriginal with nothing new to offer its over-trodden themes.
The invisible walls of Dogville cast long shadows in this dark satiric masterpiece, maybe too dark for some to laugh. An alternative title for this film could have been Our Heart, as it is a reinvention of Thornton Wilder's play Our Town, but to a far greater effect.