Writer in Los Angeles. Critic for www.entertainmentvoice.com
“Men,” the latest from Alex Garland, provokes a half and half reaction from me. The first two acts are packed with great tension and sense of dread, both revolving around the theme of toxic masculinity. Yet the third act completely goes off the rails into the kind of postmodern cinema that would like to imitate directors like David Lynch, without truly understanding the rules of surrealism. Basically, the ending makes no sense apart from posing as an intellectual statement.
Philippe Mora's "Swastika" provoked fights and near rioting at the 1973 Cannes Film Festival. Today it stands as a fascinating, terrifying document of a society gone insane because of nationalism, mystification of culture, despair and every other element that birthed the Nazis. Mora's film is composed entirely of documentary footage of both Hitler's public and private spheres. It chronicles the years 1933-1939 with just the raw footage, edited to a stunning crescendo to the music of Wagner, Beethoven and nationalist…
A pagan phantasmagoria, full of sequences with the texture of a strange dream you had last night. It is also the year's most original metaphor for the trials of being in a toxic relationship. More ritual than cinema, or cinema as ritual, Ari Aster has composed a hallucinatory work of art with some surprising dark humor at its core.