A melodrama masquerading as a comedy.
There is a lot of good stuff here, but all of that is burdened by a weak script and really rough editing.
Pharrell offers some catchy original tracks to accompany a pervasive collection of 90s hip hop, but his contribution to the on-screen band, Oreo, creates a dissonance between the kids performing on screen and the music the audience hears. It never once feels like a punk garage band from Inglewood. It feels like,…
A powerful portrait of sexual addiction. Michael Fassbender gives his most captivating performance (of so many) of the year as Brandon, a man drowning in emotionless rage. McQueen's use of camera placement puts the audience intimately close to Brandon, creating a simultaneously repulsive yet engrossing experience.
The gorgeously gritty images of New York City and Brandon's inability to connect with anyone, not even himself, create a film that feels like an update to the world of Travis Bickle. The streets…
Well... That whomped. Truffaut + (Future-dystopia + the 60s) = a pretty awful idea. Honestly that equation probably works just the same without throwing Truffaut into it, but as the director and a screenwriters he must be held responsible. Why are there soooo many shots of the fire truck speeding to its location? Why did it all look like a sitcom set? Why does the future look so much like the 60s? Why did no one even try to get…