A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
How you get there depends on where you're at.
An epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los Angeles desert) and dropout Mark (who's wanted by the authorities for allegedly killing a policeman during a student riot)...
To get a stronger grasp on this films ideas and intent one must first comprehend this piece of trivia: Michelangelo Antonioni's original ending was a shot of an airplane sky-writing the phrase "Fuck You, America". Venomous though it may be—and it doesn't need that last shot to drive its message home—it's a markedly seductive and inviting rendition of American socio-political structures through the lense of youthful/foreign cynicism, however patent. If the man's language is guns, you talk to him with a gun, so says a miscellaneous hippie. Antonioni's language isn't the type to end with lingering gun smoke, though watching credits roll by isn't far from it. "The audiences won't like it" MGM insisted, well, "That's the same old jive…
With each viewing, its dramatic "weaknesses" recede and its pure cinematic beauty resonates more clearly.
What Antonioni CAN'T do has always been as mind-blowing as what he can do. See Ingmar Bergman's infamous assessment that Antonioni is an amateur. In this film, Antonioni can't do anything; least of all, film two people talking to each other. Previously he never tried to film a conversation. He makes an honest attempt to do so here, and therein lies the problem: Antonioni doesn't have an honest bone in his body.
We have to have the courage to admit that in the past hundred years all art has been reduced to complaining. An artist is lesser or greater depending on how much he complains. They call it ‘denunciation’. The fact is that it’s complaining, because if it were protest…
→ Part of my Italian Summer Challenge
The counterculture undercurrents present throughout Antonioni’s career epitomize in Zabriskie Point, an alternately wistful and cynical outsider view of America that is more of an ironized dream-vision of the States. As a place where a hippie can just steal a plane and get away with it until he tries to repent, Antonioni views America as a hazily capitalist and off-centered country. The result of this impression is a confusing and multivious film whose thought-provoking trait and aesthetic supremacy make it one of the Italian master’s most inflaming, albeit frustrating, efforts.
The protagonist hippies are Mark, a witty dropout enraged by conventions and thus forever bored, and Daria, an anthropology student who comes to…
Sure, yeah, the leads are terrible and the dialogue betrays the fact that seemingly everyone with a remote connection to the project got a say in it, but this may honestly be, barring some rewatches of Antonioni films I wasn't prepared for at the time, my second favorite of his films after RED DESERT. Alternately wistful and cynical outsider view of America, a place where a hippie can just take a plane and get away with it, until he tries to repent. The callously arranged female models of BLOWUP give way to outright mannequins animated by ad companies who see people only as clotheshorse to prop up their products. Its dream-vision of the States thus ironized, it's nevertheless the most…
This may be Antonioni's half-forgotten masterpiece (although L'Eclisse is definitely better) which acts as a takedown of not just American values and the supposed 'American dream' but proposes the idea that there is no such thing as 'the American value' or 'the American dream' - it's a wondrous anti-celebration of life.
This review may contain spoilers. I can handle the truth.
An absolute misfire from Antonioni. There's a lot that might have worked here, but he doesn't seem able to bring it to fruition. Ultimately, the film just traps the viewer in a boring slog to the end. An end which seems intent on trying to be poignant, but instead feels trite.
A movie that gets progressively worse with each passing minute, until the agonizingly dull and on-the-nose final ten minutes. Has a strong start, and is conceptually great. Strikingly American for an Italian filmmaker.
Bourgeois hippie mumbo jumbo. :(
July Scavenger Hunt | Film #26, Task #9
A movie set in the desert or in a tropical region.
I picked this film because I visited Zabriskie Point last month, and I was curious to see what the movie was about. After reading up a bit I understood that there was to be nudity and Pink Floyd music, so what's not to like? Well... I guess you have to see this more than once to appreciate it. I was kind of bored, most of the time. It's probably me.
Ending is great though.
it's close to unwatchable but it's *just* a little closer to magic. the prototypical case of "Auteur Kidnaps Fuckload of Money, Travels to Foreign Country, Alienates Critical & Commercial Establishment By Absolutely Maxing Out The Limitations of Their Signature Technique". if there is a freakier film ending in history, let me know.
i'm down for the cause.
this thing looks like the inside of Matthew Carieri's brain.
It's Wednesday. I watched this yesterday (Tuesday). I'm brushing my teeth with an electric toothbrush. I'm typing this with one hand. I just realised you're free to type whatever you want in your diary entries. "Help! My House Is Falling Down" is on TV. It's about a family getting their house eaten, or completely demolished, by the deathwatch beetle. These insects go "tick-tock", according to the Monochrome Set.
"Zabriskie Point" is not MONOCHROME, but kind of colourful. It looks great, especially the parts SET in the desert. I thought it was quite enjoyable, right up until the last five or ten minutes. Then it became something else entirely.
Man oh man, those last minutes. Best last minutes ever. Stunning. Beautiful.…
"The point is, if you don't see them as villains, you can't get rid of them"
Randomly picked this on a lark, and it turned out to be perhaps the most appropriate 4th of July viewing one could ever make.
Edgar Wright's 1000 Favorite Movies via MUBI.