The problem with mass modern filmmaking is that directors do not know how to control the frame. TV has won. The shaky cam close-up has won. The over-the-shoulder shaky cam medium shot that just bobs erratically with frantic micro-zooming has won. Cinema is more an endangered art than ever before. Billy Friedkin KNOWS HOW TO MOVE THE FUCKING CAMERA AND BLOCK THE SCENE AND LIGHT THE SET AND EDIT THE SEQUENCE. WHO KNEW? CINEMA, LADIES AND GENTLEMEN!
Not a horror film but about the most horrific watch I've had in 2017. You're pinned into a corner trying to wrestle with the film's monumental miscalculations in soap opera drama and "rapping granny" comedy yet it's also an existential crisis in basic storytelling structure, plotting, character development and audience contempt. A perfect storm of amateur doodling with a mass medium. Here today, gone Trevorrow. So long, bud! You'll be remembered as the dude who took a $200 million shit on everyone's childhood.
A simple fact: action movies have been neutered, half-baked, half-written and served cold for children with Attention Deficit Disorder. Die Hard has aged into a lost art. It has a wholly original, unpredictable screenplay, crisp with sharp dialogue matched with badass line delivery through the mouths of believable human characters (This sentence alone cannot be attributed to a single modern action film). There is a tight plot that gradually escalates, accumulating ZERO gaps in logic equaling to not a single…
"Time just gets away from us."
Only the Coens. The most authentic western in modern memory, only the Coens could accomplish what they do here and they warrant rewatchability to spare. For one, the Coens are masters of language. Always have been, always will be. The way they go about capturing the Old West linguistics and dialects and transplant them into unique and unusual accents of characters is an absolute treat to experience and in the process, transplants the viewer…