dear lord, did i love this movie.
there's something inherently sinister about these vintage fairy tales, which are so boastfully naked in their storytelling that a raw sexuality emanates from the furniture. maybe i've just watched too much Borowczyk, but in sublimating all thoughts of sex into a storybook-pure concept of "love," all eros assumes a darker desire. i know Demy loves this stuff, but there's something really unsettling when a filmmaker capable of such darkness feigns innocence... like Herzog…
ah, the beauty of low expectations.
(and a worrrrrying start that eventually bubbles into something with real comic momentum).
for your consideration:
Bobby Moynihan (Best Supporting Actor)
i liked how we knew / tracked everyone at the party. and i laughed when the thing got stuck up that guy's but. and when Dianne Wiest said a dirty non-word. laughter is good. it makes me happy.
i spent roughly 5 hours of this 2-hour movie thinking about how young Helena Bonham Carter was the OG Rory Gilmore.
i also spent a few moments thinking "oh, there's a lot more scrotum in this Merchant Ivory jam than I would've expected."
this is the proto rom-com done right, and with just the perfect gait. bonus points for the most punchable Daniel Day-Lewis performance of all time.
"i love you."
as if i needed further reason to think Han Solo gets way too much credit...
gambling addicts along the French Riviera... what a genre. this would be make such a splendidly melancholy double feature with Patrice Leconte's masterpiece, THE GIRL ON THE BRIDGE. and both films have opening shots for the record books. (Best Opening Shots: A Record, Harvard University Press 2016).
the world of chronic gambling is such a gentle portal to existential despair... Demy gets it, that closed circuit of purpose. i have to go now.
i think it can be said with some degree of certainty that this film contains the single greatest sword slice in cinematic history (you know the one... with the hanging body... i giggled like Harry Knowles, and then i moved to a monastery in order to repent for 7 years, and now i'm back with a vengeance).
it's a shame how the grindhouse product churned through '60s and '70s Japan displayed a far greater degree of thought / concern for…
first things first, BB-8 should be in every movie ever made. i understand that certain legal and logistical realities might make that difficult, but that's your problem. i'm sure disney's lawyers are perfectly reasonable people.
BB-8 is the best character in the whole fucking galaxy. omg what if he's a death star??? what if somewhere in space there's a GIANT BB-8 ADORABLE DEATH STAR??? save us, colin trevorrow, you're our only hope. honestly, i would have been much more on…
casting and flat lensing of the opening scene prompted me to expect something much more in the style of a Sy-Fy Channel original, so i was pleasantly surprised by the simple, leathery pleasures of this revenge western. it adds up to approximately nothing, and never seems to make the most of its accomplishments (the business of dealing with the bad guys is more than a little shrugged off), but 4 men — the right 4 men — shuffling through the…
clear-eyed, playful & pissed as hell. long, but a long time coming, Spike Lee is always at his best when it's an emergency, and this is a *god damn* emergency.
it's also bigger than guns, leveraging that verrrry real threat into a broader look at the institutional rot that results from chronic maleness. the wild all-over-the-place jazz is to be expected, but Spike can't make this sort of thing without it.
also, Nick Cannon... has talent? this is a lot to take.
it won't matter down the line, but it's thrilling how current CHI-RAQ is. see this movie before you forget who the fuck Ben Carson is.