Ex Machina is the kind of science fiction movie that hammers home Solaris' point (or one of them anyway). Attempts to study or, in this case imagine, the inhuman or post-human almost always collapse into yet more navel gazing. Ex Machina is a decent film about a very particular delusion: The god complex as it manifests in twenty and thirty-something male technology professionals; Frankenstein 2.0. But it fails utterly when attempting to depict an artificial intelligence. The best it can…
The Gift is an efficient, machine tooled film in which not a second is wasted and every detail is essential. As a result it feels more than a little airless. That's a fault I could forgive - if it's end purpose was a little more ambitious or if it was more interesting on a moment to moment basis.
Birdman is so in your face that it makes a motif out of characters speaking directly to the camera. It's a manic, propulsive, eager little thing driven by a relentless drum score, a swooping camera and restless actors who talk as though they could burst into flames at any moment. It's populated by caricatures and filled with the kind of passionate nonsense that regularly fills columns exclaiming that Hollywood has run out of ideas, or that theater is a dying…
There's a long history of feminist werewolf stories and it's easy to see why: Aside from the terror of big, nasty dogs the horror of the werewolf lies in a loss of control over one's own body. When Animals Dream gets great of mileage out of this subtext. Before the protagonist, Marie, has even begun to wolf out she's subjected to an intrusive doctor's examination and the unwanted attentions of a local boy.
By the time she's asserting pride in…