Not bad, as ‘Castle Wolfenstein’ adaptations go.
Fellini, yes; but also Tati and Coppola.
A different kind of filmmaker would have included a third act turn where all the bedlam of Mexico’s class, racial, and political divides undoes this marvelous portrait of familial love and endurance. Not Cuaron.
The hype is absolutely real. Just a stunning film with so much going on in every square inch of the frame. It’s going to be studied for decades.
“I have so much to tell you.”
St. Louis International Film Festival Screening #3
Hey, look, Hirokozu Koreeda made his own ‘Shameless’.
First funny. Then sweet. Then heart-wrenchingly sad.
Ultimately, I prefer the gentler, less vinegary tone of his last three “family” films: ‘Like Father, Like Son’, ‘Our Little Sister’, and ‘After the Storm’. And I’m not sure the glut of “twist exposition” in the third act works all that well. Those quibbles aside, this is still a tremendous film.
Every cinematic experience is inherently subjective, but the horror genre presents a particularly vivid illustration of just how personal responses to films can be. Fear is a primeval emotion – perhaps *the* primeval emotion – and as such it’s tremendously challenging to parse exactly why a feature might elicit shrieks of terror from one viewer and an indifferent shrug from another. A critic can describe whether a horror picture “works” from a storytelling standpoint, or why the elements…