Elongated scenes lead up to a reason in their climax, others are just purely repetitive. And all of them get to that point after much banal small talk. This BS conversation is thematically purposeful (showing interaction between strangers is often soulless, alien even) but this is why pure realism isn't a product of art. A conversation about road directions or the weather is just shit, no matter the context.
Scarlett Johansson: like you've never seen her before. Erotic, mysterious, dark, beautiful, and perfect - if only the great filmmakers (like Kubrick) could have made a sci-fi fever dream like this & that amazing. I've never felt that quiet (like what could I say about it so far) or stunned in years during my first viewing (last year), by the way.
Seems I'm in the minority, but I really didn't like it. Scotland is pretty and I like that Johansson's body isn't retouched ad absurdum. But there's a certain type of film - Upstream Colour; Tree of Life; this... that break the mould, sure, but maintain the mediocrity. The innovation feels more formal, more apparent than conceptual. And it all seems suspiciously steeped in the overinflated identities of average men.
Strange & unusual. Take STARMAN, transform Jeff BRIDGES into a woman except she does'nt quite do the same things as BRIDGES ... GLAZER changes the everyday into an anguishing graphic & sound paranoia. == Etrange & inhabituel. Prenez STARMAN, changez BRIDGES en femme sauf qu'elle ne ferait pas les mêmes choses que Jeff BRIDGES... GLAZER transforme le banal & le quotidien en 1 angoissante paranoia graphique & sonore.
Tarkovsky and Lynch reboot "The Man Who Fell To Earth" via "Soylent Green". With Chrissie Hynde. ScarJo - impeccable accent, btw - learns humanity by way of a pool of black goo in a suspiciously large Glasgow flat. Contains 3 of the most disturbing scenes in recent memory - "baby on the beach" will give parents seizures. Wonderfully unsettling artful horror, up there with Repulsion, Don't Look Now and The Wicker Man.
If Birth was Glazer's ode to stately Kubrickian detachment, then the film in question finds him augmenting that approach with an Antonioni-like emphasis on landscapes as psychological projections against the spatial alienation of Nic Roeg, circa The Man Who Fell to Earth. The third act decent into shock spectacle negated the more interesting examination into human behaviour, but the atmosphere and imagery is intense.
No matter who we are inside we negotiate with the surface. This film is about who and what we are on the surface about loneliness and the artificial loneliness around us which is vividly our own about the overwhelming fear of the unconscious and the powerful figure of our biology it is the horror of how deep the darkness is within yourself. The surface is everything the spaces we fill only seen by the third person
4 stars for the score alone. Mica Levi conjures up some brilliant sounds to rival Johnny Greenwood at his best. Scarjo is a hauntingly beautiful alien who seduces Scottish loaners for the harvesting of 'human meat' on her home planet before she experiences a change of heart. The pacing of the film is delightfully reserved, allowing the tension to build slowly throughout a barage of stunning imagery.