The fat lady was the only part that really soared. But it was decent over all.
A crap Buñuel crossed with a 6th-form Marquez, ZAMA is a collosal failure on every conceivable level, and a cautionary tale about the hubristic folly of adapting modernist masterpieces.
In the mind of its creators ZAMA is doubtless a rich deep postcolonial dreamscape of defamiliarised deconstructed tropes, but in practice it’s just a clumsy mess of misused cliches.
This should be taught at film school, but not in a good way. There’s more to making a film profound than just moving…
Saw two Blumhouse films back to back today: HALLOWEEN (general release) and CAM (LFF 2018), and CAM was by far the better film.
Really interesting, unsettling exploration of online personas, addiction, and identity theft. Ominous, subversive and urgent. Benefits from knowing its milieu and what it’s trying to say, and aligning all the writing in support of its core story. Just very well written in general.
(Reminded me of the (very good) David Tennant Dr Who episode MIDNIGHT, with a malevolent inscrutable force at work, stealing identities).
Coming soon to Netflix!