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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,…
This review may contain spoilers. I can handle the truth.
While this picture does work in a similar vein to the intertextual self-analysis of Bresson (or, of course, Peckinpah) wherein each of the ‘Eight’ are essentially self-analyses about the manifestations of the previously ‘officially’ embraced features (enough for John Ruth’s fate to be intrinsically linked to that of Stuntman Mike, or how the Six-Horse Judy/Joe Gage moment of ill-fated connection recalls the lime/coconut love affair of Vito Cipriani and Milo Ruiz via any previous incarnation), what is perhaps most intriguing…
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…