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  • Dunkirk

    Dunkirk

    I'll take Otto Dix over John Singer Sargent any day.

    Enough ink has been spilled on Nolan’s excessive reliance (Mark Reliance) on exposition that I shall not linger on it too much here, only to say that the lack of exposition in DUNKIRK only brings into focus Nolan’s weaknesses as a filmmaker. He is not a filmmaker of ideas or concepts, but of slogans and taglines. His films—even in their accidentally compelling termite fashion—burrow away at these statements, expanding them…

  • Dirty Dancing

    Dirty Dancing

    an exploited laborer socks an Ayn Rand peddler in the jaw.

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  • HyperNormalisation

    HyperNormalisation

    Ultimately, Curtis’ argument is that the oversimplification of complex problems breeds oversimplified solutions, and when these overly simple solutions are implemented—often violently—they produce unintended consequences that further complicate the calculus. I would like to keep this front and center, because while Curtis has many aesthetic and methodological weaknesses, the framing of his thesis remains sound, even if he himself is not fully beholden to it. The case for complexity is a flexible position, one that does not divide political and…

  • Batman v Superman: Dawn of Justice

    Batman v Superman: Dawn of Justice

    I’m genuinely surprised by how beautiful and visually interesting the first hour of this film is. I say without hyperbole that it recalled for me Murnau’s Faust, not to compare Snyder to such a master, but hear me out: the film moves seamlessly from instances of photorealism to dreamlike abstraction. The visual and emotional landscape leaps from dreams and legends and fantasies and realities. These moments fold into each other; the lines are blurred. These moments are the highlights of…