Well, it seems that we are not so many to have loved this film. Too bad because tomorrow will be merciful to us. Richard Kelly is an UFO in the sad Hollywood sky, his screenplays reflect the anxieties of an artist in front of the world he lives in. His vision is smart, coherent and, most of all, bitter. Masterpiece.
Monstrous mating of 2 monstertrucks. Monstrous couple between S.M. GELLAR (Buffy) and - the Rock - Dwayne - JOHNSON, oscar of rolling eyes. Monstrous Zelda RUBINSTEIN (Poltergeist). Appaling. ==== Monstrueux accouplement de 2 monstertrucks. Monstrueux couple S.M. GELLAR (Buffy) & la montagne de muscles Dwayne JOHNSON, oscar du roulement d'yeux. Monstrueuse Zelda RUBINSTEIN (Poltergeist). A gerber.
I might be in the "misunderstood masterpiece" camp if 80% of the images weren't flat and hideous and more of the actors appeared to have any idea what Kelly wants from them. And that's something of a big if.
Rewatched this last night for the first time since living in Los Angeles. I liked it more than the last time I watched it in college. It's a fun, ridiculous, intricate tale of political corruption, militarized police, and celebrity. Kind of ahead of its time, tbh.
A convincing portrayal of Trump's America: the film is prescient, yet unable to fully capture the madness of the "real thing". Kelly was perfectly aware that the amount of damage that the US can - and will - inflict to the world under a neo-fascist dictator, twitter-addicted inarticulate moron is paramount, and yet, his punchline fell flat.
Richard Kelly definitely is a fan of Philip K.Dick, it's obvious in this film, so the scenario is quite interesting but the general postmodernist aesthetic of the movie is a little bit weak in my opinion: it goes in every direction, maybe it was his purpose to saturate his movie, but sometimes it's just seem a little bit "too much", it could have been a really good movie if some sequences were build in a simpler way