It'd be a shame if Moving Image's recent Tsai Ming-Liang retrospective didn't plan on traveling (to either Los Angeles or anywhere, honestly), because three films (Stray Dogs and two Walker shorts) in and this guy is doing something that's harder and harder to describe. Shots dedicated to close-ups on sweat dripping down a face is not the kind of thing you're prepared to think about when watching most movies.
No No Sleep takes Lee's ever-slow-moving monk out of the public…
"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 a lot of pointless trend pieces this year. Like these films, it is also fueled through the specific vision…
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 how depressing the film is, the hints of both a traumatizing past, and that in a way, Sam…