"when the image is new, the world is new"
Some of the most gutless, ideologically suffocating, Sleepy-Joe Biden-era puffs of cinematic smoke blown up audience's butts I've seen in quite some time. Two or three ad-libbed, Post-Apatow riffs here float to the top of the toilet bowl. If that. Everything else, however, made my brain seize, slurp out of my ears, then slop on the floor soon after.
Jonah goes to writer's jail--but Mike Epps & Duchovny save this flop some stars. I will lose sleep over that Louis Farrakhan Kufi bit. Yikes!
Smith never really pushes his subject's buttons, allowing himself to come off more like a co-conspirator rather than critical force. Which is fine--if not a lil' soft, narratively speaking. Obviously, RDJ and Sr. take command of how/why/in what order their relationship (tattered and torn it may be) is to be broadcasted to the public. But what really moves me most are those fragile moments when a father and son's guard grinds down, however briefly, revealing all the unanswerable questions left…
Cinema of unbridled momentum and diesel fumes. MM;FR is a movie firing so furiously on all cylinders it almost seems redundant now to mention any one of its greatest attributes save to remind whoever's reading that it is, indeed, one damn fine piece of art. But a few more words of praise can't hurt, can they? Let's just say that Miller's latest addition to the Madverse is a case-in-point of 'kinetic' media--revelling in a purely idiosyncratic sense of…
"He's not a fucking genius, Stewart. He's an entrepreneur."
Well oh well. Interesting to see Garland move his particular brand of gloom/doom glass-box sci-fi into the luminous world of 'primetime' television. Hulu's packin' heat baby! Or trying to. Or wants you to think it does. Either way, Devs does make for some good episodic fun, or dread, however you see it--with some caveats. I think I still prefer a Garland anchored by the more limiting demands of medium/small-scale Hollywood production.…