Who among us keeps watch over this strange watchtower to warn the arrival of our new executioners? ... With our sincere gaze we survey these ruins, as if the old monster lay crushed forever beneath the rubble. We pretend to take up hope again as the image recedes into the past, as if we were cured once and for all of the scourge of the camps. We pretend it all happened only once, at a given time and place. We turn a blind eye to what surrounds us and a deaf ear to humanity's never-ending cry.
"A work which is a winding a real winding of the cloaking of a relaxing rescue. This which is so cool is not dusting, it is not dirtying in smelling, it could use white water, it could use more extraordinarily and in no solitude altogether. This which is so not winsome and not widened and really not so dipped as dainty and really dainty, very dainty, ordinarily, dainty, a dainty, not in that dainty and dainty. If the time is…
Blends high school drama and military action genres and tropes to posit a clever demonstration of the way social rites and rituals work to perpetuate the structures on which that society is predicated. Similarly, the film's conflation of citizenry and military service astutely articulates the inescapable and implicit ways that each Western "citizen" is complicit in an on-going process of colonial violence.
The film's unflinching depictions of gross bodily harm act as a gesture of responsibility on Verhoeven's part. While…
Something like the infinite yawning of space between form and content here. All of the GRAVITY's technical precision, imaginative camera work, and digital skill are entirely contravened by its grossly heavy-handed story telling and regressive ideologies. What results is a visually impressive but exceedingly dissonant experience. The film's setting, and the balletic camera work (real or CG enhanced) that its lack of gravity affords, largely works as a distraction from its utter lack of an interesting perspective. Beyond the artificial…