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  • Le pont du Nord 1982

    ★★★★½ Watched 18 Jul, 2014

    Le Pont Du Nord has enough things in common with Paul Auster's New York Trilogy for me to suspect that Auster knowingly might've ripped Rivette off. Both works are meta games commenting on the storymaking process. Maps, patterns, connections made in the minds of the protagonists — is the mystery merely the fruit of subjective imagination? That is the question. Le Pont Du Nord however has elements that make it more ambigious and surreal experience.

  • Under the Skin 2013

    ★★½ Watched 16 Jul, 2014

    An underdeveloped narrative thread with seemingly improvised, often laughably banal dialogue delivered by an average cast, meets a few images and musical elements fit for an art exhibition and form a pretentious mishmash of failed mood building attempts. Admittedly though, extracted and re-assembled, around five minutes of the material would probably make a great experimental short. If Under the Skin has a clear, coherent idea beneath its surface, Glazer certainly does not manage to convey it.

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  • The Royal Tenenbaums 2001

    ★★★★★ Rewatched 14 Jan, 2013 4

    Wes Anderson's films are known primarily as Wes Anderson films, which is not very surprising seeing as he has developed his very own style, consisting of symmetrical colorful photography/art direction infused with sweet sounding pop songs, a combination that it takes mere seconds to recognize as distinctly andersonsonian. When looking back it's clear though that it was Anderson and Owen Wilson as a pair that had something really special going in the late 90s and early 00s. It was their…

  • Black Swan 2010

    ★★★★ Watched 25 Dec, 2010 4

    What begins as a classic fairy tale with rivalry between noble, overly sensitive ballerina and a free-spirited dancing partner, guilt-inducing mother and a character that resembles an evil queen with cruel intentions (Cassel's dirty minded instructor), derails via the more mature themes of personality disorder, sexuality and mutation, slowly and steadily into a beautifully controlled, complex mess. Neither Portman nor Aronofsky has ever been better.