You can clearly tell the source material was written in first person, but the whole concept behind this is so nightmarish and gripping that I can't really complain all that much about Boorman expecting us to fill in blanks for things he cannot articulate properly (much as I would have preferred he not try and do something else). This is really less of a redneck horror film than an exploration about whether or not justice can ever be true (not…
Second viewing, still roughly as enthusiastic about this as I was the first time I saw it several years ago, which is to say it's a bloody good gangster picture, but I've become more aware of its faults.
One: The whole movie takes a dip when Gal finally gets to London, because it creates this unnecessary suspense regarding Don Logan's ultimate fate. The second he gets there we know what happened, and yet it's still played as something to be…
I have so many endorphins running through my system right now it feels like I'm typing this review in slow motion. This movie kicks so much ass. I am now fully in love with Charlize Theron. Tom Hardy remains the king of Badasses Doing Silly Voices. What really got to me, though, is how humane it is. It's really a story about kindness and mercy in a world where brutality is the common language. Miller understands that and his feminist…
Finally, PTA makes his gearshift movie, a movie that starts as a chamber dramedy and then turns into a delightfully sinful examination on what a person needs to do to get the love they need, with Day-Lewis and Krieps creating something almost symbiotic. In a way, the film recalls Yeats's description of the widening gyre, in that when one is ascendant the other is waning, only to endlessly repeat the process. A film that will almost certainly become more rewarding upon rewatches, and which marks the curtain call of one great talent and the rise of another.
I really want some asparagus.