Less Haneke or Tarkovsky, much closer to Raoul Walsh or Mervyn LeRoy. Considered the new Criterion Blu here in terms of how often economic the film's narrative and visual strategies can be, with some questioning of the always reverent approach to the filmmaker as opposed to inquiry into film style.
"A colleague of mine once posited that movie theaters are slowly morphing into the mall—a space for people to hang out more than experience film, and this film certainly made that experience seem like less a warning of doom than a proposition of truth. Goodbye Cinema, Hello Capitalism 2.0."
A tale of phonies
Made by phonies
In second hand clothing
Who enjoy playing as phonies.
Flowers and garbage.
"Russell's most exciting moments are three-layered: a familiar narrative or comic convention is exaggerated into a transgressive act, then grounded with a flurry of humanizing psychological detail."
-Dan Sallitt, 2002.
American Hustle would easily fit into the same realm as Pain & Gain, The Bling Ring, and Spring Breakers in the excess/over-belief in the American Dream run of films that amounted to…
Not charted on maps
But preserved in paintings.
"Car le temps de l'amour
Ça dure tojours."
I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about…