As close as adult-oriented films get to event cinema. A juicy historical revenge fantasy.
My tweet thoughts:
Loved every minute of Django Unchained, precisely because of how full-on and unrestrained it was. What QT likes, he does. And here it works.
Nods and winks don't harm it. Django is structurally sound. Any of the ace cameos and fun interludes are icing on an already well made cake.
I can see where the logical cut point was but I was glad that it didn't. Didn't feel it drag.
I love that Broomhilda's surname offers a suggestion of where her lineage potentially ends up. These touches are wonderful.
As a spectacle, Gravity is unbeatable. It pushes the possibilities of what film can represent as a visual and emotional medium.
But, in the same fashion as similar endurance cinema like 127 Hours, it started to drag in the middle. It was saved by a powerful turn from Sandra Bullock but the situations started to get repetitive.
It is still an extraordinary piece of cinema and a huge achievement in terms of visual effects driven by story. As a character piece it's a far more interesting emotional study of what drives people to seek solace in the farthest reaches.
Instant reaction tweets in lieu of a full review:
O. M. F. G. People, you are gonna piss your pants when you watch THE AVENGERS. Believe the hype. Can not imagine how it could be bettered.
Absolutely every constituent element gets its chance to shine. No-one is wasted. I'm still delirious. It just crackles with energy.
For anyone who felt the lead-up films lacked sufficient third acts, consider them acts one and two. Let this be the umbrella third act.…
I won't say too much before I've rewatched but this is a hugely satisfying end to the trilogy. It's not problem-free but there's so much about it that is both admirable and exhilarating that the problems are minimal.
Anne Hathaway lights up the screen every time she appears. It's a fantastic take on Catwoman. Actually, there's barely a performance out of place.
The first half, while messy, is engaging but it's in the latter half that it really comes into…
The good bits are better and the bad bits are worse a second time.
It's still stunning stuff though. Most of the flaws I can find are relatively cosmetic and can mostly be explained away.
Broader in scope than the first two, it keeps it admirably reined-in (relatively speaking) in spite of an excess of characters.
Improves with each rewatch.
It does play out as more a series of vignettes than anything else, but it hangs together as a glorious whole. The individual scenes all have satisfying arcs within them and the tension is palpable. ‘La Louisiane’ stands as possibly the finest scene he’s ever filmed.
Most of the issues I have with it are minor and cosmetic (Samuel L Jackson's occasional narration, multiple typefaces etc) but, I suppose, endemic of the indulgence that makes Tarantino films what they are. It wouldn't be the same experience without these unexpected quirks as reminder that the whole thing has his mark branded through it.
Powerful (as if the subject could be anything but) and artfully handled Agreeably short on bombastic, showy performances but nevertheless filled with fantastic acting the brings the morality of the story to the fore. I's rooted in a proper character, as opposed to a cipher, and on a human scale that makes the whole thing that much more devastating.
Quintessentially Wes Anderson take on youthful first love with all the symmetry, idiosyncratic musical choices and mannered quirk you would feel short-changed without. Is it going to win him any new fans? Probably not. But those who dig his vision, like me, are likely to be in their element.
Oddly enough, it's his first proper period film but he seems to have been inordinately drawn to the 1960s in all his previous work. He has a real feel for evocative…