Nothing about Burning is certain except that it haunts the mind long after the credits conclude. Though Lee Chang-dong’s latest film may have not have collected any award recognition at Cannes, it was surely the strongest feature I had the privilege to see during my time there. True to its title, Burning is indeed a slow burn, a dense psychological thriller that equally balances paranoid intrigue and muted rage across its lengthy 148-minute runtime. It’s quite notable that despite this…
It's no Hereditary (which will henceforth set the standards for all first-time indie directors), but Thoroughbreds does have that unmistakably refreshing vibe of an indie debut, with all the messy, unfocused energy those two words signify.
Some pacing issues aside- the chapter structure is comically unnecessary- this was fun, fun in the way that watching an edgy black comedy on a Friday night is fun.
Everyone is cast sublimely- Taylor-Joy and Cooke play off of one another nicely.
Doesn't quite convey a coherent message like it seems to want to, but I'm content with what it is.
Kicking myself that I didn't catch this in theaters. I even saw The Shape of Water in theaters. What a waste.
No doubt in my mind that this will be one of the defining films of the decade. Out of the wonderful year in cinema that was 2017, *this* is the resounding masterpiece.
Pure psychological horror.
I was surprised how uneasy this made me feel despite taking place almost entirely in broad daylight. The queasy anxiety that Polanski evokes is Hitchcockian, requiring the viewer to project their own fear over the scene rather than handing it out for free.
Especially towards its climax, Polanski's long takes of a skittish Mia Farrow cast a brilliantly effective, claustrophobic delirium over New York City.
Fascinating to see the tremendous influence that this film alone has made on today's horror.
I'm not 100% sold on the ending, probably because I've seen it invoked in countless horror movies since.