What it's really about is how it's a total act of insanity to make a film that isn't in the Hollywood system. Subversion on the surface. Only someone like John Waters could pull this off. His distastefulness works in the film's favour. It's lurid, ridiculous and violent, but oh my is it glorious in its contempt.
The main thing is though that it isn't cynical, it's celebratory, and for that it's one of the very films it's trying to champion. I'm gonna get John Waters' name tattooed on my chest.
Coming fresh off the heels of Beverly Hills Cop, Fletch replaces Eddie Murphy with the less audacious and way more sarcastic Chevy Chase and its definitely a better film for it.
In his daydream of playing for the LA Lakers, Fletch imagines himself as being the definition of grace under pressure. I guess his comedy defines such a position also, deriving from a distanced, ironic observation that masks the panic with coolness. It's humour as defence mechanism, and it's relatable…
Either Damien Chazelle is a failed musician OR he's an old world, stodgy judge at brass band competitions who is probably also a failed musician. In reality, he's a film director and he's made one of the most frustrating films of 2014.
Whiplash is the by-product of music being stripped of it's creativity, innovation and soul. It's a film about a young man who strives for excellence in an environment that praises technical proficiency and exactness over humanity and the…
What starts out as a glacial testament to the lost art of pre-industrial process, which is in this case the farming of an island of corn, turns into a commentary on the intrusion of war in a multitude of ways.
Through a farmer and his granddaughter's lengthy journey, Corn Island manages to explore the ways in which war, in a generic sense, wages battle on land, bodies and time.
In the end though, the greatest battle is against the natural…