I've referred to Astronaut Ice Cream as "Space Food" from a very young age
Above-level suspense, great visual communication (the heat is sticky, think "Do the Right Thing"), and dark, dark, dark. It's a very skillful genre entry at best, one of the few films made by cinematographer Ted Tetzlaff, and while the details faded quickly, I had no trouble calling to mind how icky it made me feel to watch adults work overtime to snuff out a child.
Obtuse-ish, with Coward doing the heavy lifting (doing it *well*, I might add), but in large part, it requires the viewer to have an active interest in simply observing life during wartime. Snakes away from a followable, satisfying narrative in the third act. A nice preview of Lean's black and white visual strategy on full display here (see also: Hobson's Choice, The Passionate Friends, Brief Encounter, Madeline).
Or, Character Arc: The Movie. (Okay, the smugness is out of the way). Joking aside, Pumpkin defies something that obvious. It's like an after school special played as satire. It's like a teen flick bathed in the attention to detail and sensibility usually reserved for Merchant and Ivory. It's like Beauty and the Beast with no agenda. It's like a movie Todd Solondz might make if he'd grow the hell up. It's like, surprisingly remarkable.
What sets Pumpkin so daringly…
Finally delivered: This year's blueprint for generic indie filmmaking. ("But Ben, the blue car in the title means so much more than you're giving it credit for...")
Look - shut up; I don't endorse films where little girls dress up like angels and collapse on alters in churches. Films where people throw their now meaningless poetry into the ocean and watch it sink below the waves. Films where people substitute a spur-of-the-moment anger doctrine for a long prepared piece of…