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The comparisons with it's spiritual predecessor are appropriate in highlighting the thematic continuities (as well as situating it's generic subtextualities of coming-of-age horror), as it also redirects from the film's distinctive argument about the title's implied question about what it is that everyone "wants."
The initial scenes appropriately make us question the ethical positioning of team-allegiance via problematic conformity, in which we see Jake playing into mysogeny and sexism disguised as comedic competitive team-building. It's in these moments that Linklater…
The moment in which Tim drops the uncovered shoe on the ground, and the camera tilts down to reveal it sitting next to his foot, is a moment that reveals the great heights in regards to the expectations of Swanberg, enough that it clarifies what is most distinctive of Swanberg over the often comparative Rohmer, or self-paralleled Mazursky: the moment of excitable cinematic uncertainty.
Just as the we are uncertain of how such moments of character collisions will reveal futures,…
While this is perhaps not the most interesting (nor masterful) of Tarantino’s works, it does have very interesting, if not expected inter-textuality, yet what does seem to receive little attention are the ways in which he makes subtle statements about war.
While at the conclusion of the picture it becomes clear Basterds is just as much about the political strategy of the United States during World War II as it is present day. This is clear through the manner by…
While most reactions towards this version are dismissive complaints about the purity behind the “shot-for-shot” intentions or the shift in performance, what is uniquely illuminating about Van Sant’s rendition of “Psycho,” lies in what it reveals as instinctive to the formalism of nineties filmmaking.
What makes Hitchcock’s Psycho so strong are the specific kinds of details that add up to reveal the subtle shifts in thought that guide a person in a direction that is unexpected and an unforeseen result…