I'm not 100% sure what the film's thesis is. I'm not even sure that it's one of those documentaries where you spend a certain amount of time with a subject and the takeaway is that you've got a lovely portrait of a complicated individual or human contradiction at the end. Uwe Boll says enough, shows enough, and does enough in RAGING BOLL, that I feel the picture should be a bit more complete than it is. Ultimately, we're left with…
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Team America: World Police 2004
Through all the shaky jitteriness that comes with making an action film with marionettes, TEAM AMERICA is joyously and enthusiastically ambitious. There's an astute and self-assured cinematic vision (and cinematic IQ) employed to make this work. This creativity involves shooting coverage of these scenes as if this were a traditional action film. Closeups of actors faces, multiple angles, cutaway inserts, and backgrounds well populated with extras (the number of puppets used in the production is jaw-dropping, really). And add in…
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1917 2019
With all of its production value, gimmicky roving camera, and (falsely advertised) real-time narrative, 1917 is impressive to experience, but honestly is a little light on an emotional core. George MacKay and Dean-Charles Chapman lack the weight, it seems, to make me care about them. Honestly, the long, 'look-at-me' shots have such forward momentum and 'what's next' drama, the audience never really gets a moment to slow down and get to know these young soldiers. And, that's what I think…
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Nomadland 2020
The reference to 'Nomad' in the title of Chloe Zhao's new film has a twofold meaning. Quite literally, Frances McDormand lives a nomadic existence. She lives in her van and travels across the expanse of the US countryside, stopping along the way for periods of seasonal work. She's like a member of an ancient pre-agriculture civilization, always moving, no home, following a roaming food source. Only she roams and camps in her van. In Zhao's film, Nomad also refers to…
