Simultaneously melancholic and hilarious, Butch Cassidy and the Sundance Kid plays as an entertaining, exciting, poignant goodbye to the classic Old Hollywood brand of western. Many of the tropes are there, and the film romanticizes and expands upon them to create something fresh. The chemistry between Newman and Redford is un-fucking-matched.
Possibly too abstract and slow-burning to fully work as a thriller, but undeniably a success as an unsettling mood piece. The atmosphere of dread Roeg creates is tough to shake, and the recurring visual motifs and associative editing techniques bring the supernatural aspects of the story to life in unique and unexpected ways.
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other movie this year. Furthermore, seemingly every major critic loves it. It has a 90% on Rotten Tomatoes, an 84 on Metacritic, and my boy Film Crit Hulk placed it at the very top of his 2012 list, ahead of Django Unchained, The Master, Looper, and several other terrific titles. However, there's something none of…
"I just wanna feel that we both wanna, like, be in love. I want it so...bad."
Have you ever felt like you're drifting aimlessly through life? Have you ever longed for someone to love, a longing that runs so deep you can hardly contain your emotions when you're alone in your bed in the middle of the night? Have you ever felt like everyone's abandoned you? Have you ever felt like none of it means anything? Have you ever felt…