The Farrellys at their fullest potential. Everything I've ever wanted in a film of theirs—in fact, their masterpiece. So many disguises, pawns, deceptive aesthetics; all of the deformities and the imperfections. The descent into earthy, hard-bitten conservative humanism in a FB film has never been sweeter, or more delicately wrought (though it has perhaps been more elaborately staged, c.f. the finale of There's Something About Mary). Nonetheless, despite it not being written by the brothers, Kingpin is the purest…
I suspect the central ideas and thematic subtext driving this thing are rather straightforward, and at times simplistic, but the way it goes about them is honest and its lead character almost always interesting to follow. Grisebach's formalist mapping of the milieu and its relationship to the men, also, is bracingly striking. After watching, it felt a bit like I was filing the experience of the characters into my own personal memories (due to, it should be said, both…
An ugly-in-spirit, clumsily styled (ed. the swivel reaction pans to Teller's face are atrocious) faux Social Network. Upsettingly celebrates antagonism and verbal violence as reported. J.K. Simmons's performance is terrible and Teller is too smothered by Damien Chazelle's pop psychologizing to be able to make an impression.
Chazelle's amateurish world is so limited in its artificial scope, beginning and ending within the unexplored confines of his pat human experience ambitions; he is prone to arrive at an…
It's not as if some comedy was the last thing Iñárritu's work needed—I disliked Birdman a good bit less than I thought I would.
I liked it better when it was called Venus in Fur (and even then I didn't like it that much, but Polanski’s film's similarities and divergence from Iñárritu's work are instructive). Pretty middling on it overall, and though it exceeded my expectations, its thinness becomes glaring in hindsight. The tone and performances annoyed me…